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Outil de traduction ~ (Très approximatif) |
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Reviewer: J.
F. Weber This is the sixth complete set of the op. 6 of Heinrich Schütz (1585–1672). After significant partial (and overlapping) collections from Helmuth Rilling on Nonesuch and Musicalische Compagney on Arion/MHS (Fanfare 7:2), Hans Grüss’s Eterna recording (827834-35) was issued on CD (10:2). It had some impressive elements, including Hermann Christian Polster’s bass solo Fili mi Absalon, the highlight of these works; Peter Schreier (featured on the cover more than the other soloists) in Cantabo Domino; and three boys from the Kreuzchor in Veni dilecte mi, but otherwise it won respect simply for being the first complete set and the first recording ever of three pieces. It was followed quickly by soloists with Les Sacqueboutiers de Toulouse on Erato; I have the complete set on two LPs, but soon after, a single CD appeared omitting four selections to make it fit on one disc. Next Concerto Palatino (16:2), Matteo Messori (30:5), Roland Wilson (not received for review but acquired later), and Manfred Cordes (39:5) added to the sizable discography. Now Hans-Christoph Rademann has added it to his ongoing recording of the complete works of Heinrich Schütz, making this book the most duplicated of Schütz’s collections after the Geistliche Chor-Musik.
Op. 6 was
published in Venice in 1629 during the year that Schütz spent in the world
of Monteverdi. The carefully specified instruments for each piece (not
indicated in his other books) reflect that influence, just as his op. 1 was
linked to Giovanni Gabrieli, his teacher during his first stay in the city.
The vocal parts are given to one, two, or three soloists, although Rademann
distributes the assignments among six singers. There is not a weak link in
the chain. As on all the other recordings, the works are alternated for the
benefit of contrast rather than following the published order of solos, then
duets, then trios. The solos are impressive; in Fili mi, Absalon, Felix
Schwandtke surpasses Polster, who once seemed so fine in the Hans Grüss set,
and Josef Greindl, who introduced the piece to records in 1954; in Cantabo
Domino, tenor Tobias Mäthger is especially impressive in a selection that
Peter Schreier sang for Grüss and Helmut Krebs first recorded in 1958; in
Paratum cor meum, soprano Dorothee Mields is lovely. The players form a
superb ensemble. Rademann’s series is establishing itself as the definitive
Schütz-Werke on records. | |
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