Schutz - Schwanengesang | Carus CAR83275

Schutz - Schwanengesang

£13.05

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Label: Carus

Cat No: CAR83275

Format: CD

Number of Discs: 1

Genre: Vocal/Choral

Release Date: 23rd February 2018

Contents

Artists

Dorothee Mields (soprano)
Gerlinde Samann (soprano)
David Erler (countertenor)
Stefan Kunath (countertenor)
Georg Poplutz (tenor)
Tobias Mathger (tenor)
Martin Schicketanz (bass)
Felix Schwandtke (bass)
Margret Baumgartl (violin)
Juliane Laake (viola da gamba)
Sarah Perl (viola da gamba)
Frauke Hess (viola da gamba)
Friederike Otto (cornet)
Sebastian Krause (trombone)
Julian Nagel (trombone)
Fernando Gunther (trombone)
Stefan Maass (theorbo)
Stephan Rath (theorbo)
Matthias Müller (violone)
Matthias Perl (violone)
Clemens Schlemmer (dulcian)
Michaela Hasselt (organ)
Dresdner Kammerchor

Conductor

Hans-Christoph Rademann

Works

Schutz, Heinrich

Der Schwanengesang, SWV482-494

Artists

Dorothee Mields (soprano)
Gerlinde Samann (soprano)
David Erler (countertenor)
Stefan Kunath (countertenor)
Georg Poplutz (tenor)
Tobias Mathger (tenor)
Martin Schicketanz (bass)
Felix Schwandtke (bass)
Margret Baumgartl (violin)
Juliane Laake (viola da gamba)
Sarah Perl (viola da gamba)
Frauke Hess (viola da gamba)
Friederike Otto (cornet)
Sebastian Krause (trombone)
Julian Nagel (trombone)
Fernando Gunther (trombone)
Stefan Maass (theorbo)
Stephan Rath (theorbo)
Matthias Müller (violone)
Matthias Perl (violone)
Clemens Schlemmer (dulcian)
Michaela Hasselt (organ)
Dresdner Kammerchor

Conductor

Hans-Christoph Rademann

About

Heinrich Schütz composed his last work, a monumental setting of Psalm 119, in 1671 at the age of 86, complemented by a setting of Psalm 100, and a setting of the German Magnificat. This group of works, known as the "Schwanengesang", or "swansong", is a highly personal musical declaration, distinguished by its elegance and spiritual depth. As part of the Schütz Complete Recording, the Dresdner Kammerchor conducted by Hans-Christoph Rademann has again made a recording which sets new standards, presenting both the sung and the expressive elements of the composition in exemplary fashion.This recording of the fragmentary-surviving Schwanengesang is based on an edition of the music by Werner Breig, published in November 2017 as part of the Stuttgart Schütz Edition. In many passages it suggests other approaches to reconstruction from the version published in 1984, and so approaches the Schwanengesang in a completely different way.

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