Mein Herz ist bereit (My heart is fixed): North German Cantatas and Organ Works of the Baroque
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Label: Rondeau
Cat No: ROP6059
Format: CD
Number of Discs: 1
Release Date: 2nd January 2013
Contents
Works
O, welch eine Tiefe des ReichtumsPartita: Wer nur den lieben Gott lasst walten
Vater unser im Himmelreich
Der Herr hat seinen Stuhl im Himmel bereitet
Mein Herz ist bereit
Ich bin die Auferstehung und das Leben, BuxWV44
Praeludium in G minor, BuxWV148
Toccata in D minor, BuxWV155
Nach Finsternis und Todesschatten, TWV1:1150
O Jesu dulcissime
Artists
Gotthold Schwarz (bass)Hauke Ramm (organ)
Soloists of the Sachsisches Barockorchester
Works
O, welch eine Tiefe des ReichtumsPartita: Wer nur den lieben Gott lasst walten
Vater unser im Himmelreich
Der Herr hat seinen Stuhl im Himmel bereitet
Mein Herz ist bereit
Ich bin die Auferstehung und das Leben, BuxWV44
Praeludium in G minor, BuxWV148
Toccata in D minor, BuxWV155
Nach Finsternis und Todesschatten, TWV1:1150
O Jesu dulcissime
Artists
Gotthold Schwarz (bass)Hauke Ramm (organ)
Soloists of the Sachsisches Barockorchester
About
Both facets can be heard on the present recording: on the one hand, the influence of the free compositional style which superseded the strict contrapuntal technique of Palestrina’s music, that had taken flight in the realms of Florentine opera and from there found its way into church music and to Germany through the mediation of Heinrich Schütz; and the music of Georg Philipp Telemann, represented here by his cantata ‘Nach Finsternis und Todesschatten’ on the other.
The vocal works by Franz Tunder, Dietrich Buxtehude, Nicolaus Bruhns, Christoph Bernhard and Georg Philipp Telemann which are recorded here, however, not only stand in close relation to the tradition from which they arose as well as to the musical aesthetics which they themselves developed, but also show manifold links amongst each other – especially through their composers and contexts.
These vocal works are complemented by organ pieces by Georg Böhm and Dietrich Buxtehude, performed by Hauke Ramm, church music director and organist at St Wilhadi Stade, at his church’s high Baroque Bielfeldt organ. This is one of the largest instruments of its kind in North Germany, and was constructed by Erasmus Bielfeldt between 1731 and 1736.
The present recording with Gotthold Schwarz and the Sächsisches Barockorchester also takes into account the specific historical performance contexts of the North German Baroque. Such considerations are underlined by the use of appropriate instruments: the soloists of the Sächsisches Barockorchester play on period instruments.
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