CANTATE
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Label: CANTATE 56834 Our Price: $14.75 Quantity in Basket: none GEORG PHILIPP TELEMANN (1681 – 1767) 1st Quatuor in D major (“Nouveaux Quatuors”, Paris 1738) Suite V in A minor (“Six Concerts et Six Suites”, Hamburg c. 1733) Sonata in A major (“Essercizii Musici”, Hamburg C. 1740) 6th Quatuor in E minor (“Nouveaux Quatuors”, Paris 1738) |
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Label: CANTATE 57617CAT Our Price: $7.00 Quantity in Basket: none WELL KNOWN CHOARLES/BACH SETTINGS; BACH CHOIR, ETC./RILLING |
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Label: CANTATE 58001 Our Price: $14.75 Quantity in Basket: none FESTIVE CONCERTI FOR TRUMPETS, M.MULLER(TIMPANI);P.SCHUMANN(ORGAN) |
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Label: CANTATE 58003 Our Price: $14.75 Quantity in Basket: none CANTATAS: SOLOISTS |
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Label: CANTATE 58005 Our Price: $14.75 Quantity in Basket: none ARNOLD MENDELSSOHN (1855 – 1933) GEISTLICHE CHORMUSIK, OP. 90 (FIRST RECORDING) Motet for Passion Week, Op. 90 XI Passion Hymn, Op. 90 I Motet for Pentecost, Op. 90 IV Motet for Day of Prayer and Repentace, Op. 90 VIII Motet for Advent, Op. 90 V Motet for the Commemoration of the Dead, Op. 90 VI |
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Label: CANTATE 58006 Our Price: $14.75 Quantity in Basket: none WIND MUSIC FROM THE TIME OF SCHUTZ BOCHUM WIND ENSEMBLE, |
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Label: CANTATE 58009 Our Price: $14.75 Quantity in Basket: none NEW MUSIC IN CHURCH: ZIEGLER (ORGAN) |
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Label: CANTATE 58011 Our Price: $14.75 Quantity in Basket: none “DER HIMMEL LACHT! DIE ERDE JUBILIERET” GEORG PHILIPP TELEMANN: Concerto in C major JOHANN SEBASTIAN BACH: Cantate 31: “Der Himmel lacht” (Choral); Cantate 129: “Gelobet sei der Herr” (Choral) GEORG FRIEDRICH HANDEL: “Julius Cesare”: Finale; Aria from “Semele” GIROLAMO FRESCOBALDI: Canzona dopo l’epistola MARC-ANTOINE CHARPENTIER: Te Deum: Prelude ANTHONY HOLBORNE: Allemande EDVARD GRIEG: Nordische Suite: Solveigs Lied; Springtanz; Ballade; Lied EUGENE GIGOUT: Toccata in B minor JEAN JOSEPH MOURET: Rondeau HANS-JOACHIM MARX: Wachet auf, ruft uns die Stimme MUSIK AM HOFE LUDWIGS XIV: M.R. Delalande: Musique Royale; J.M. Leclair: Sarabande; J. Aubert: Trumpet Tune; J.B. Lully: Marche gay MUSIC FROM THE ENGLISH RENAISSANCE: W. Byrd: A Medley & Wolseys Wilde; M. Peerson: The Fall of the Leafe; G. Farnaby: His Humour & G. Farnaby’s Dreame; Anon.: A Toy |
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Label: CANTATE 58012 Our Price: $14.75 Quantity in Basket: none Ach Herr, strafe mich nicht, TWVW 7:3 533 Darzu ist erschienen der Sohn Gottes, TWVW 1:208 518 Passions-Actus, TWVW 1:1332 515; Ich freue mich im Herrn, TWVW 1:826 547 Sei getreu bis in den Tod, TWVW 1:1248 527 und 613 Sächsisches Vocalensemble/Matthias Jung World Premiere Recording |
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Label: CANTATE 58013 Our Price: $14.75 Quantity in Basket: none FRANK MARTIN (1890 – 1974) Sechs Monologe aus “Jedermann” Drey Minnelieder; Trois Chants de Noel Poèmes de la Mort This program of vocal works show the emotional range of the Swiss composer Frank Martin. |
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Label: CANTATE 58015 Our Price: $14.75 Quantity in Basket: none CHAMBER MUSIC with ORGAN - SUITE op. 149 for violin, cello and organ; 6 PIECES, op. 150 - Joachim Diedrichs, organ; Anke Niessing, violin; O. Niessing, cello - The gigantic output of Joseph Rheinberger continues to be mined. Here are two delightful chamber works with an unusual combination of instruments. |
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Label: CANTATE 58023 Our Price: $14.75 Quantity in Basket: none BENJAMIN BRITTEN: Missa brevis (1959); PETR EBEN: Missa Adventus et Quadragesimae (1951/52); JEAN LANGLAIS: Missa in simplicitate (1952); Missa brevis (1935); PAUL SCHMALZ: Deutsche Marienmesse (German Lady Mass)(1933) At first glance the choice of the five Masses recorded here may seem strange because of their diversity. A closer look, however, reveals them to be a sounding documentation of an at times highly individual type of mass setting from the twentieth century, representing a wealth of characteristic manifestations both in terms of time as well as venue. Of central importance is the influence of the specific church music practices within the framework of the liturgy and its predetermined circumstances. |
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Label: CANTATE 58024 Our Price: $14.75 Quantity in Basket: none ...dass die leben (that they are alive) - Cantata on texts from the Bible and Yitzhak Katzenelsons "Lied fumn ojsgehargeten jidischn Folk" sirventes berlin/Stefan Schuck Joseph Dorfman, living in Tel Aviv, has for long established himself as one of the leading composers in Israel. His music is performed frequently in Israel and abroad, and a number of his students have already passed his influence to a newer generation of musicians. Joseph Dorfman has also been a "voice of Israel" in that his compositions deal with the fate of the Jewish people, its culture and its music. Many of his compositions present traditional Jewish music in a new face. They show us a modern composer in a new and unforeseeable encounter with the old Eastern-European Jewish musical tradition. This ranges from his Treatment of the sacred melody of Kol Nidrei, to his infatuation with the secular melodies of the Jewish instrumental musicians, the Klezmer. In his novel treatment of these melodies, Dorfman does not use mere quotations, or simple harmonizations of the melodies, but he takes the old motifs and uses them as fuel for his new compositions. In a way, Dorfman does to Jewish music what Chagall did to the old figures of the Eastern-European Shtetl. He casts them anew and creates new forms out of them. To be sure, Dorfman's musical language is removed half a century or more from that of Chagalls pictorial language; it is more abstract and uses newer techniques. But the basic idea of giving the old tradition a new soul is common to both artists. The cantata, with it's rich melodic and harmonic easy to understand, using four languages (German, Hebrew, Russian and Yiddish) was first performed 2003 in Berlin in combination with an exhibition of works by Gero Hellmuth, partly shown in the booklet. |
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Label: CANTATE 58031 Our Price: $14.75 Quantity in Basket: none FIRST RECORDINGS! Missa Renovationis; Missa Non sine quare Daniel Deuter, violin I; Beate Voigt, violin II; Bernhard Hentrich, cello; Torsten Hoppe, violone; Michael Poscharski, violone; Merit Eichhorn, positive organ; Stephan Thamm, postiv organ Knabenchor Dresden/Matthias Jung With the emergence of basso-continuo–accompanied solo singing, polychoral performance, and the concertato style, the musical form of the Mass also underwent a significant change, originating in Italy, during the first decades of the seventeenth century. Cautiously, the stile antico vocal polyphony in the tradition of Giovanni Pierluigi da Palestrina, to which one continued to feel obligated in accordance with the stipulations of the Council of Trent, was gradually enhanced by elements of the stile moderno, until around 1650 with the Messa concertata a new compositional paradigm that combined both styles with one another was established. The scoring of this new type of Mass was as simple as it was flexible: added to the basso-continuo–supported vocal ensemble were two additional, independent obbligato instrumental parts, and the vocal parts were strengthen by supplementary singers (ripieni) and/or instruments when possible or necessary. Thus, from this time on, contrasting tonal effects could be achieved, and, at the same time, motet and concertato techniques, solo or choral passages could be freely combined with one another. The result was a clear musical revitalization of the Mass setting, and the new genre spread both south and north of the Alps with corresponding success. Johann Caspar Kerll, born at Adorf in Vogtland in 1627, was considered by his contemporaries as the most outstanding representative of the Messa concertata. Owing to the continuing reception of his works for keyboard instruments, he is primarily known today as a composer of instrumental pieces. His fame, which during the seventeenth century extended far beyond the German-speaking areas, was based on his secular and sacred vocal works – and here above all on his Mass compositions which subsequent composers of both denominations studied as model examples of consummate counterpoint. In his Musicalisches Lexikon (Leipzig 1732), Johann Gottfried Walther appreciatively described Kerll as the composer of numerous “Masses of exquisite art”. And in the late eighteenth century these Masses were still offered by Breitkopf & Härtel, and Johann Caspar Kerll revered alongside Bach and Handel as the “German Orpheus”. |
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Label: CANTATE 58032 Our Price: $11.99 Quantity in Basket: none Admission to the Convent: Procendentem sponsum de thalammo; Nonnenkrönung - Praise: Cantate domino canticum novum; Ad te domine levavi oculos meos; Revela oculos meos; Si oblitus fuero tu/Super flumina Babylonis; Ibant gaudentes - Suffering: In omnibus his non peccavit lob; Si bona suscepimus - Promise: Tribus signis deo dignis; Puer nobis nascitur - Protection: Protector noster; Scapulis suis obumrabit tibi dominus; Pastor bonus; Genti peccatrici; Redemit dominus populum sum; Pastor bonus; A facie furoris; Scapulis suis obumrabit tibi dominus - Heaven: Locutus est ad me unus de septemn angelis; Audivi vocem in celo On the Lüneburg Heath there are six women’s convents which are still alive as protestant convents (after the reformation) until today. In their archives respectively in libraries abroad there are lots of music manuscripts of the middle ages almost unknown today which are in their singularity of enormous importance not only for the music history but the history of convents in northern Germany in general. The Hanoverian musician Prof. Ulrike Volkhardt and the music historian Dr. Ulrike Hascher-Burger undertook a first sighting of the musical material in all convents on the Lüneburg Heath. On the basis of scientifically recognition they put the middle aged music into the context of the “devotio moderna”, transcribed and instrumented the pieces. Well bases science, artificial practice and knowledge in mediation of both aspects work here together fruitfully. So for the recordings middle aged musical instruments were reconstructed and learned to play. Selected musical examples are now, interpreted by the Ensemble devotio moderna, for the first time made accessible for the public on the label CANTATE. Every CD of this series has it‘s own theme. Besides music devoted to the daily life of the convent one liturgical high feast has it‘s special focus. The series is accompanied by detailed, illustrated booklets which inform in all aspects of this singular musical culture. NPR Review of Cantate 58032: Musical premieres happen all the time. A new piece makes its debut in a concert hall or music club. But there's another kind of premiere — when centuries-old music, lost in the dust of history, gets rediscovered and performed once again. Music commentator Tom Manoff has made something of a discovery himself. He's been listening to a new CD of very old music — a collection of anonymous medieval sacred songs, recently discovered in manuscripts from convents in an area of Northern Germany called the Lune Heath. Spiritual Emotion In Music The new CD, God Shall Be Praised, Music from Lune Convent, features music from a cloister first established in the year 1170. The pieces date from the 13th to the 16th centuries, and have remained unknown for hundreds of years. It's like listening to a lost musical world. Many spiritual traditions share something universal in their music — a sense of devotion and of the way music turns that emotion into pure sound. The music on this CD may sound simple, but it's not. The rising and falling patterns of the melodies were composed with subtle genius, to interest the ear but also create a sense of calmness and inner reflection. The performances are by the Ensemble Devotio Moderna, a group of fine musicians who took these recently discovered manuscripts and transformed them into a remarkable world of music, sound and culture. There are several ways to enjoy this recording. One is to follow each piece with the Latin text, taking notice of how the melody makes a particular text sing. For example, Tribus Signis Dignis tells the story of the three kings who follow the star to Bethlehem. After the soloist sings a verse, there is a group response, always on the same words, translated as: "The star, the star shines, the whole congregation rejoices." Another way to listen is to just let the music float beyond such details and experience it as a lost world — a world less cluttered, when time was measured by shadows on a sundial in a garden. - All Things Considered, May 13, 2009 |
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