Label: RAUM KLANG 10101
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GUILLAUME DUFAY (1400 - 1474): Hymnus - In adventu Domini; JACOB HANDL-GALLUS (1550 - 1591): Ante luciferum genitus; TOMAS LUIS DE VICTORIA (ca. 1548 - 1611): O regem coeli; ERHARD MAUERSBERGER (1903 - 1982): Weihnacht; MATEO FLECH (1481 - 1553): Riu, riu, chiu; FRANZ XAVER GRUBER (1787 - 1863): Stille Nacht; GEORG CHRISTIAN SCHEMELLI: Ich steh an deiner Krippen hier (1736, arr. J.S. Bach); ANON.: Hosianna dem Sohne Davids; O Heiland reiß die Himmel auf; Angelus ad Virginem (14th cent.); Maria durch ein Dornwald ging (15th cent, Johannes Weyrauch); Ther is no rose of swych vertu (15th cent.); Es ist ein Ros entsprungen (ca. 1500, arr. Michael Praetorius); O sanctissima (trad. 1789, arr. Hans-Joachim Rotzsch); The Virgin Mary had a baby ba7 (trad., arr. Hugh Keyte/Andrew Parrott); In dulci jubilo (13th cent., arr. Georg Schumann); Schlaf, mein Kindlein (trad. Russian, arr. Dietrich von Bausznern); Rise up, shepherd and follow! (trad. American, arr. Hugh Keyte/Andrew Parrott); Le Baylère (Auvergne, arr. Goff Richards/Karsten Wolf); O Jesulein süß (ca. 1623, arr. Johann Sebastian Bach); ding-dong ding! (Piae Cantiones, 1582, arr. G.R. Woodward

Ensemble Amarcord
Christmas has been celebrated for many centuries in all corners of the world, and this tradition has brought forth what are probably some of the most beautiful and enduring folk songs. The present CD is as diverse as the cultures. It goes from the well-known “Es ist ein Ros entsprungen” by way of Sicily (“O sanctissima”) to Trinidad, and from Gregorian chant through the Renaissance to a Christmas motet by Thomaskantor Erhard Mauersberger (1903-1982). In adventu Domini contains Advent and Christmas pieces from a period of over a half a millennium, including real gems that are gems not just because they are not to be found on any other Christmas CD. And of course the Leipzig vocal ensemble amarcord once again arouses enthusiasm with its incomparable sound.

Label: RAUM KLANG 10105
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Missa quinque vocum super Incessament (WORLD PREMIERE RECORDING!); Incessament mon povre cueur lamente; Gregorian Chant from the “Moosburg Gradual”

Vokalensemble Amarcord
“INCESSAMENT” – hidden behind this mysterious title is an exciting CD program at whose center stands the world premiere recording of the Missa Incessament by Pierre de la Rue (c. 1452-1518). Gregorian chant from the Moosburg Gradual supplements the Mass. Two of de la Rue’s compositions with close connections to the Mass frame the program: the French chanson Incessament, on which the Missa Incessament is based, and its incarnation as a Latin motet – Sic deus dilexit – for Protestant Germany. The program was planned in collaboration with J. Evan Kreider, the leading de la Rue researcher, and Gregorian-chant expert Godehard Joppich. This CD was recorded in the marvelous basilica of the Benedictine Monastery at Wechselburg, Saxony, providing the music with an appropriate atmosphere.

Label: RAUM KLANG 10106
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THOMAS MORLEY (1557/58 – 1602): Now is the month of Maying; I love, alas, I love thee; ADRIAN WILLAERT (ca. 1485 – 1562): Vecchie letrose; HEINRICH ISAAC (ca. 1450 – 1517): Innsbruck, ich muss dich lassen; PIERREE PASSEREAU (ca. 1509 – ca. 1547): Il est bel et bon; ANON. (Scotland, 16th c.): Remember me my deir; HANS LEO HASSLER (1564 – 1612): Mein gmüth ist mir verwirret; JOHN BENNET (ca. 1575 – ca. 1614): Weep, O mine eyes; ANON. (Spain, ca. 1500): Dindirín, dindirín; ORLANDO DE LASSUS (1532? – 1594): Bon jour: et puis, quelles nouvelles?; Bonjour, mon coeur; JOHN DOWLAND (1563? – 1626): Come away, come, sweet love; Come again, sweet love doth now invite; CIPRIANO DE RORE (1515/16 – 1565): Anchor che col partire; LUDWIG SENFL (ca. 1490 – 1543): Ach Elslein, liebes Elselein; Das Gläut zu Speyr; THOMAS WEELKES (1576 – 1623): Since Robin Hood; Strike it up, Tabor; HENRY VIII (1491 – 1547): Pastyme with good companye; ALONSO DE ALBA (1522?): La tricotea; ADRIANO BANCHIERI (1568 – 1634): Contrappunto bestiale alla mente; ANTONIO SCANDELLO (1517 – 1580): Ein henlein weis; JUAN DEL ENCINA (1468 – 1529/30): Cucú, cucú, cucucú; Fatal la parte; JOSQUIN DES PREZ (ca. 1440/55 – 1521): El grillo; Mille regretz; JACQUES ARCADELT (1507 – 1568): Il bianco e dolce cigno; GIOVANNI GIACOMO GASTOLDI (ca. 1533 – 1609): La bellezza; NICOLAS GOMBERT (ca. 1495 – ca. 1560): Triste depart; THOINOT ARBEAU (1520 – 1595): Belle qui tiens ma vie – Pavane; JUAN VASQUEZ (ca. 1500? – ca. 1560): Gentil señora mía; BALDISSERRA DONATO (ca. 1530 – 1603): Chi la Gagliarda; ANON. (bei Pierre Attaignant, Paris 1530): Quand je bois du vin clairet - Tourdion

amacord (vocal ensemble):
Wolfram Lattke,tenor; Martin Lattke, tenor; Dietrich Barth, tenor; Frank Ozimek, baritone; Daniel Knauft, bass; Holger Krause, bass; with Michael Metzler, percussion
A musical journey to sixteenth-century Europe with secular vocal music of the Renaissance! The vocal ensemble amarcord brilliantly interprets the music of this epoch in its newest production “The Book of Madrigals” (RK ap 10106). With this CD, the young ensemble presents Renaissance music and madrigals by European composers such as John Dowland, Thomas Morley, Ludwig Senfl, Adriano Banchieri, Orlando de Lasso, and Josquin des Prez. Cipriano de Rore’s “Anchor che col partire” – one of the most popular madrigals of its time, and in arrangements and adaptations still an “evergreen” over a century later – is also masterfully sung here. With the release of “The Book of Madrigals,” amarcord has added another impressive CD to its discography, which with Pierre de la Rue’s “Incessament” (RK ap 10105) and “Nun komm der Heiden Heiland” (RK ap 10205) contains two recordings honored with the prestigious “Contemporary a capella Recording Award” 2006.

Label: RAUM KLANG 10107
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FRANCIS POULENC (1899 – 1963): Quatre petites prières de Saint François d’Assise (1946); Laudes de Saint Antonine de Padoue (1959); From Huit chansons françaises (1945/46): La belle si nous étions & Clic, clac, dansez sabots; Chanson à boire; DARIUS MILHAUD (1892 – 1974): Psaume 121 (1921); JEAN CRAS (1878 – 1935): Dans la montagne; GIOACCHINO ROSSINI (1792 – 1868): Chœur Quelques Mesures de Chant Funèbre; Prière; CAMILLE SAINT-SAENS (1835 – 1921): Sérénade d’hiver; Saltarelle

amarcord (vocal ensemble):
Wolfram Lattke, Martin Lattke, Dietrich Barth, tenor; Frank Ozimek, baritone; Daniel Knauft, Holger Krause, bass
After three extremely successful CDs with vocal music of the Middle Ages and Renaissance, amarcord turns this time to the wonderful French vocal music of the nineteenth and early twentieth centuries. The exquisite singers from Leipzig once again demonstrate their amazing versatility. Starting in the second half of the 19th century, amarcord present some less well-known facets of the works of Rossini and Saint-Saëns. Meanwhile the 1920s with their pioneering spirit are represented by compositions by Cras, Milhaud, and the young Poulenc, whose entire works for male voices recorded here stretch into the post-war period. But one thing that all the items in this album have in common is their deep rootedness in France and the French: in for instance tradition, dialects, dances, incidents, feelings and savoir vivre. In a nutshell, this album is ‘très français’!
Check it out and enjoy this unique listening experience!

Label: RAUM KLANG 10108
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Label: RAUM KLANG 10111
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ARTISTS: Ensemble Amarcord

Label: RAUM KLANG 10205
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MEDIEVAL & RENAISSANCE VOCAL MUSIC
Alle psallite cum luya; Veni redemptor gentium; Nun komm her Heiden Heiland; Angelus ad Virginem; Magnificat sexti toni; Veni redemptor gentium; Stella splendens; Pastores laquebantur inter se; Officium Nativitatis Domini; Vetus abit littera; Vidrunt omnes; Veni redemptor gentium; Sys willekomen heirre kerst; In dulci jubilo; Oviridissima virga; Ther is no rose of swych vertu; Es ist ein Ros entsprungen; Veni redemptor gentium; Alleluya: A nywe werk

Vokalensemble Amarcord
The CD production “Nun komm der Heiden Heiland” by the prize winning Leipzig vocal ensemble amarcord marks the beginning of a collaboration between RAUMKLANG and apollon classics. In the future, the CDs from apollon classics will be released by Raumklang as “edition apollon,” and the main focus on productions with amarcord. On the present amarcord CD, the hymnus “Veni redemptor gentium” and its German translation “Nun komm der Heiden Heiland” (“Come now redeemer of the heathen”) serve as the basis of an unusual program of Medieval and Renaissance music for the Christmas season. With a fascinating mélange of jubilation, contemplation and Christmas splendor invoked in nearly forgotten pieces – by J. Vaet, P. Dulichius, and H. Isaac, among others – and well-known Christmas songs, performed by five wonderful voices, this CD represents an exciting addition to the myriad of available Christmas CDs. The CD’s program developed out of the concerts organized every year by amarcord in St Thomas’s Church, Leipzig, for the benefit of UNICEF. Founded in 1992 by erstwhile members of the St. Thomas Boys’ Choir in Leipzig, amarcord has since become one of the world’s leading vocal ensembles.

Label: RAUM KLANG 2001
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“ENTWURFF EINER WOHLBESTALLTEN MUSIC…” – INSTRUMENTS AND INSTRUMENTATION IN THE MUSIC OF JOHANN SEBASTIAN BACH
JOHANN SCHELLE (1648-1701): Lobe den Herrn, meine Seele, Psalmkonzert fur 2 funfstimmige Chore, 2 violinen, 2 violen, fagot, 2 zinken, 3 posaunen, 4 trompeten, pauken und basso continuo
Johann Sebastian Bach (1685-1750)
Kyrie, Gott Vater in Ewigkeit (BWV 672), aus dem dritten Teil der Clavier-Ubung; fur Orgel manualiter
Sinfonia (BWV 76/8), aus der Kantate “die Himmel erzahlen die Ehre gottes”, fur Oboe d’amore, viola da gamba und b.c.
Betrachte, meine Seel' (BWV 245/31), Arioso aud der Johannespassion, fur bass, 2 violen d’amore, laute und b.c. mit kontrafagott
Wann kommst du, mein Heil? (BWV 140/3), Duett aud der Kantate “Wachet auf, ruftuns die Stimme”, fur soprano, bass, violino piccolo und b.c.
Sonate G-Dur, in den Fassungen fur viola da gamba und cembalo obligato (BWV 1027) und fur zwei traversfloten und b.c.
Ricercare a 6 (BWV 1079/5) aus dem Musikalischen Opfer
Mein gläubiges Herze, frohlocke, sing', scherze (BWV 68/2), Aria aud der Kantate “Also hat gott die Welt geliebt” fur soprano. Violoncello piccolo, oboe, violine und basso continuo
denburgisches Konzert Nr.1 F-Dur (BWV 1046) fur “2 corni di caccia, 2 oboe, e bassoon, violino piccolo concertato, 2 violini, una viola e violoncello, col b.c.

Ensemble Leipziger Concert

Thomanerchor Leipzig

kinstrumenten-Museum der Universität Leipzig

Label: RAUM KLANG 2002
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St. Matthew Passion, TWV 5:35

Ulrike Staude (soprano); Elisabeth Wilke, Martin Wolfel (alto); Marcus Ullmann (tenor); Jorg hempel, Egbert Junghanns (bass); Magdeburg Chamber Choir; Dresden Baroque Orchestra; H-C. Rademann, cond.
Contained within Telemann’s huge output is an equally large number of Passion settings. He composed over 46 Passions (!) of which 20 have survived. This recording documents his 1750 setting of the Gospel of St. Matthew. It is the first LIVE RECORDING of this work issued from a performance at eth 15th Magdeburg Telemann Festival. (2 CDs)

Label: RAUM KLANG 2003
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Worldes blis ne last no throwe (anon. ca. 1265); Hevene queen (instr. Version of “Edi beo thu hevene quene” (late 13th cent.); Miri it is while sumer ilast (anon. ca. 1225); Ar ne kuth ich sorgeh non (anon. ca. 1270); Bryd one breere (anon. ca. 1300); Dou way Robin/Sancta mater gracie (anon. late 13th cent.); Wel wer hym that wyst (anon. early 15th cent.); Abide, I hope it be the best (anon. early 15th cent.); Plus penser que dire (anon. early 15th cent.); Alas, departynge is ground of woo (anon. early 15th cent.); My woeful heart (anon early 15t cent.); Lullay lullow (anon. early 15th cent.)
WALTER FRYE (fl. 1450 – 1475): Alas, alas is my chief song; So ys emprentid
ROBERTUS DE ANGLIA (fl. 1460 – 1475): O fallaze e ria Fortuna
JOHN BEDYNGHAM? (1422 – 1460): Agwillare

Ensemble Belladonna:
Miriam Andersén, voice & harp; Rebecca Bain, voice & fiddle; Susanne Ansorg, fiddle & rebec
Medieval composers knew all about how pleasant certain kinds of pain could be: in matters of love and fate, pain was not only unavoidable but a source of inspiration. Since poetry was not read but performed in the Middle Ages, music was composed in order to give both secular and sacred texts a public voice, and to give colour and shape to a particular style of poetry. In contrast to the highly ornamented passion of Italian songs, or to the carefully constructed music of the idealistic French, the sweet sounds of the English reflected a more direct and often intimate style of poetry. Telling tales of lost love and ultimately of the transience of worldy pleasures, our collection of songs (performed in part instrumentally) is a tribute to the melodious melancholy of the English.

Label: RAUM KLANG 20030
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CARLO GESUALDO DA VENOSA: Occhi del mio cor vita; POMPONIO NENNA: S’io taccio il duol s’avanza; Ecco, o mia dolce pena; GIOVANNI GIROLAMO KAPSPERGER: Arpeggiata I & II; Toccata I, II, IV; MICHELANGELO ROSSI: O prodighi di fiamme; GIOVANNI PIETRO DEL BUONO: Tre Sonate sopra, Ave Maris Stella; DOMENICO MAZZOCCHI: Lamentum Matris Euryali; Chiudesti I lumi, Armida; PIETRO EREDIA: Passa la vita; CLAUDIO MONTEVERDI: Vespro della Beata Vergine: Magnificat

Evelyn Tubb, soprano
Marie Nishiyama, harp; Stephan Rath, lute & chitarrone; Paulina van Laarhoven, lire; Arno Jochem, violin
- Ensemble “The Earle his Viols”
- Dresdner Kammerchor; Ensemble Alte Musik Dresden; Blaser Collegium Leipzig
- Hans-Christoph Rademann, direction
There was an intense concentration of religious, artistic and scientific trends of the period in the Rome of the late 16th and in the 17th centuries. These trends found their appropriate audience in the “world’s marketplace” the Popes and their cardinals, the great religious orders and the Roman aristocracy used art and science for the glorification of the Church and as a stage for its worldly representatives and spiritual forefathers. The fact that art in Rome could play such a huge role in legitimizing power and reputation was partly due to the fact that the political structure of the Papal States was based on an elective monarchy. Each election changed the relationships of power between the pontiff, cardinals, the Roman aristocracy and the powerful religious orders. Embedded in the contradictory context of spiritual and political power, the patronage of the arts and sciences was a widely used means of securing standing and prestige in the present and for the future.

Label: RAUM KLANG 2005
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OTTAVIANO PETRUCCI, VENEDIG 1501
HAYNE VAN GHIZEGHEN (ca. 1445?vor 1497)/Anonym: De tous biens playne à 4
PETRUS BOURDON: De tous biens à 3
JOSQUIN DESPREZ: De tous biens playne/Canon Petrus & Joannes currunt in puncto à 4; Adieu mes amours à 4
JEAN JAPART: (ca. 1474?nach 1507): Jay pris amours à 4; Helas que il est a mon gre à 4; Amours fait mult tant que nostre argent dure/Il est de bonne heure ne/Tant que nostre argent dure à 4 (?)
ANON.: J'ai pris amours/De tous biens; Hor oires une chanzon à 5; Hor oires une chanzon à 5; Bergerotte savoysienne; Dit le burguygnon à 4
JACOB OBRECHT: Tandernaken à 3; Tsat een meskin à 4; Rompeltier à 4
HAYNE VAN GHIZEGHEM: Amours, amours à 4; De tous biens playne à 3
HEINRICH ISAAC: La morra à 3; He logerons nous à 4; Helas à 3
ANTOINE BUSNOYS: Je ne fay plus à 3 & à 4
JOHANNES DE STOCKEM: Vray dieu d'amours Anonym, Pourquoy je ne puis dire à 4; Brunette à5
ALEXANDER AGRICOLA: Le eure e venue/Circundederunt
PETRUS CONGIET (?): Je cuide se ce tamps dure à 3 & à 4

Annemieke Cantor, vocals

Les Flamboyants:

Michael Form, direction & flute

Viva Biancaluna Biffi, fiddel

Norihisa Sugawara, lute & fiddel

Agileu Motta, lute

Irene Klein, viola da gamba

Rogério Gonçalves, percussion

Label: RAUM KLANG 2006
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RICHARD JACOB WEIßGERBER (1877-1960)
In the Museum of Musical Instruments of the University of Leipzig
MIGUEL LLOBET (1878-1938): Fünf katalanische Volksweisen
JOAQUIN RODRIGO (1901-1999): Zarabanda Lejana à la vihuela de Luys Milan; En los trigales; Junto al Generalife
MANUEL DE FALLA (1886-1944): Homenaje pour le tombeau de Debussy
AUGUSTIN BARRIOS MANGORE: Preludio en Do-menor; Choros de saudade; Mazurka apasionada; Sueno en la floresta
ASTOR PIAZOLLA (1921-1992): Cuadro estaciónes portenas
FRANCIS POULENC (1899-1963): Sarabande

Thomas Muller-Pering, guitar

Label: RAUM KLANG 2101
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ITALIAN LOVE CANTATAS AND CHAMBER MUSIC
Trio-Sonata in F-Dur (Op. 2 Nr. 4) für Traversflöte, Violine* und Basso continuo
»Tu fedel? tu costante?« (HWV 171), Kantate für Mezzosopran, 2 Violinen und Basso continuo
Sonata in g-moll (Op. 1 Nr. 6) für Viola da gamba und Basso continuo
»Süße Stille, sanfte Quelle« (HWV 205) aus »Neun Deutsche Arien« für Mezzosopran, Violine* und Basso continuo
Sonata in e-moll (Op.1 Nr. 1a) für Traversflöte, Viola da gamba, Cembalo
»Mi palpita il cor« (HWV 132) für Mezzosopran, Traversflöte und Basso continuo
Trio-Sonata in h-moll (Op. 2 Nr. 1) für Traversflöte, Violine* und Basso continuo

The Bouts Ensemble

Stephanie Houtzeel, mezzo-soprano

Charles Brinks, traversflöte

Ulrike Kunze, violin

Margret Baumgartl, violin

Heike Johanna Lindner, viola da gamba, violoncello

Léon Berben, cembalo

Label: RAUM KLANG 2201
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CHRISTMAS NOEL – WEIHNACHTEN
SCHUTZ: Tröstet, tröstet mein Volk
RHEINBERGER: Ave Maria
BRAHMS: Täublein weiß O Heiland, reiß die Himmel auf
ECCARD: Übers Gebirg Maria geht
PART: Magnificat
REGER: Macht hoch die Tür / O Jesulein süß / Kommt und laßt uns Christum ehren
PRAETORIUS/SANDSTROM: Es ist ein Ros entsprungen*
DEMANTIUS: Fürchtet euch nicht
FREUNDT: Wie schön singt uns der Engel Schar
POULENC: O magnum mysterium; Hodie Chjrisus natus est
RIEDEL: Freu dich, Erd und Sternenwelt / Kommet, ihr Hirten
GUNDERMANN: Auf dem Berge, da wehet der Wind
MENDELSSOHN BARTHOLDY: Frohlocket, ihr Völker
MANDYCZEWSKI: Stille Nacht

Dresden Chamber Choir - Hans-Christoph Rademann, direction
At the German market the CD "Chrismas" with the "Dresden Chamber Choir" (directed by Hans-Christoph Rademann) was already published last year. It was very successful - after few weeks the CD was sold and have been released a second time. Hans- Christoph Rademann and the "Dresden Chamber Choir" have chosen wonderful pieces around Christmas - very popular song, unknown titles and a few of contemporary pieces. The program tells us the christmas-story in musical kind - beginning at the Announcement to Maria until the Worship of the shepherds. The CD shows a wide ranging-mix from early sacred music (Heinrich Schütz: Tröstet mein Volk) until romantic choral pieces of well-known Christmas songs (Max Reger: "Macht hoch die Tür") - as well as some new compositions by Arvo Pärt, Karsten Gundermann and Jan Sandström. The Dresden singers keep always the balance between wide dynamic contrasts and pure intonation. In the last few years the Dresden Chamber Choir has received several international prizes. At the 5TH International Chamber Choir Competition in Marktoberdorf in 1997, the choir was awarded the first prize and was officially judged to be "internationally outstanding". *awarded by the International Federation for Choral Music as "CHOhrwurm" (choral earwig) of the month.