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Wydawnictwo: Chandos
Nr katalogowy: CHAN 20260
Nośnik: 1 CD
Data wydania: lipiec 2022
EAN: 95115226025
60,00zł
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Epoka muzyczna: barok, współczesna
Obszar (język): niemiecki, angielski (Szkocja)
Rodzaj: motet, hymn

Schutz / Bach / Macmillan: Revoiced

Chandos - CHAN 20260
Kompozytor
Heinrich Schutz (1585-1672)
Johann Sebastian Bach (1685-1750)
James Macmillan (ur. 1959)
Andrea Gabrieli, Owain Park, Giovanni Gabrieli, Johann Michael Bach, Roderick Williams, Orlande de Lassus, Sarah Rimkus
Wykonawcy
Corvus Consort
Ferio Saxophone Quartet / Freddie Crowley
Heinrich Schütz:
Ich weiß, daß mein Erlo¨ser lebt, SWV 393
Das Wort ward Fleisch und wohnet unter uns, SWV 385
Selig sind die Toten, SWV 391
Was mein Gott will, das g’scheh’ allzeit, SWV 392

Andrea Gabrieli:
O salutaris hostia

Johann Sebastian Bach:
Zion hört die Wächter singen
Weil du mein Gott und Vater bist
Nun ich weiß, du wirst mir stillen
Jesus bleibet meine Freude

Owain Park:
Miserere after Allegri

Giovanni Gabrieli:
O magnum mysterium, C 3

Johann Michael Bach:
Herr, ich warte auf dein Heil
Ich weiß, daß mein Erlöser lebt

James MacMillan:
Christus vincit

Roderick Williams:
Ave verum corpus re-imagined

Orlande de Lassus:
Aurora lucis rutilat

Sarah Rimkus:
Mater Dei
Following its previous album Evoke, with the pianist Timothy End, the Ferio Saxophone Quartet returns with this exciting and innovative programme of works for saxophone quartet and voices. Founded and directed by Freddie Crowley, the Corvus Consort is a vocal ensemble based in the UK, which draws its members from a pool of young singers in the early stages of their professional careers. The project was inspired by the Quartet’s 2018 recording, Revive, an album of baroque transcriptions.

Freddie Crowley writes: ‘Heinrich Schütz in the preface to his Geistliche Chor-Music, of 1648 (from which four of the items on this album are drawn) wrote: “You can perform some of these pieces [...] with an organ or instruments on the choral parts along with a full choir.” The instruments he had in mind were not saxophones, of course, which would not be invented for another 200 years, but I suspect that he might have found them an excellent choice!

Schütz intended his collection to be a demonstration of good composition without basso continuo, focussing on counterpoint as the foundation of compositional technique. It is these contrapuntal properties that make his and other baroque and Renaissance music so infinitely adaptable into new forms – transitioning effortlessly onto the saxophone, for example – and the same properties that underpin the four contemporary works on our album, all inspired in their own different ways by music of the Renaissance.’

Recording: Church of St Jude-on-the-Hill, Hampstead Garden Suburb, London; 16 – 18 November 2021.

Zobacz także:

  • COV 92210
  • CAR 83273
  • CAR 83258
  • KGS 0066
  • SIGCD 713
  • HC 22024
  • COV 92213
  • ARS 38598
  • HC 21029
  • CHR 77465