The works by Schütz which Werner Breig most admires include the sacred concerto “Sei gegrüßet, Maria”. Schütz undoubtedly entered the Scuola Grande di San Rocco in Venice countless times, and anyone who entered it immediately saw Jacopo Tintoretto’s painting of the Annunciation. Did this image have a lasting impression on Schütz and his composition?
For Hans-Christoph Rademann the motet “Ich bin ein rechter Weinstock” from Geistliche Chor-Music 1648 is one of the most beautiful compositions by Heinrich Schütz. This motet teaches you how to see with your ears and listen with your eyes in a way that hardly any other musical piece can…
Under the overall musical direction of Hans-Christoph Rademann, the Dresdner Kammerchor and Carus have concluded the first Heinrich Schütz Complete Recording. This month sees the release of the last CD in the Complete Recording.
One of the best-known motets by Schütz has accompanied Calmus for several years and has become a real favorite. The ensemble loves singing the motet right at the beginning of a concert. And incidentally, with 140,000 hits, the live recording of Also hat Gott die Welt geliebt uploaded on Youtube in 2008 is Calmus’s most frequently played video.
Every month a member of the Carus team introduces his/her favorite work, whether it be a choral piece, a CD, a songbook or an instrumental work. The recommendation for April 2019 was contributed by Uwe Wolf.
One of her favorite times in every CD production is the moment when Anna Bockisch receives the final CD master on her desk – what a privilege to be able to listen to the end result of a long project as the first person after the sound engineer and performers. And sometimes there are recordings which captivate you so completely that all other work priorities have to give way to a pure, euphoric listening experience.
Heinrich Schütz probably regarded his last opus as an artistic statement of particular importance: he called it his “Schwanengesang” or swansong. But the work then fell into oblivion for several centuries. The edition in the Stuttgart Schütz Edition offers a unique interpretation of the “Schwanengesang” based on the surviving sources.
For the first time, Uwe Wolf got to know Heinrich Schütz’s Saul in his youth when he was just joining the choir as bass. The piece made such a deep impression on the boy, it continues to this day …
Read, how Nikolai Ott developed a kind of friendship with Heinrich Schütz’s Musikalische Exequien …
