Edzard Burchards - Love & Devotion: German Baroque Motets from Leipzig - Import CD

Credits:

Edzard Burchards

Description:

[Tracing the History of the Motet in Leipzig, the City of Music] Since the 17th century, Leipzig has been one of Europe’s leading cities of music. The ensemble “Collegium Musicum,” which held public concerts in coffeehouses, enriched the musical life of the city, while church music incorporating elements of Italian music resounded during services at St. Thomas Church and St. Nicholas Church. This CD features a collection of German-language motets selected from the church music composed by German composers and performed in Leipzig during the 17th and 18th centuries. Leipzig’s church music cannot be discussed without mentioning Johann Sebastian Bach, who was appointed Thomaskantor there in 1723, and this CD features a selection of his rare works. The opening track, “Rejoice, O Earth, in the Lord,” is an eight-part motet considered a pastiche of works by Bach and Telemann. It begins with a brilliant opening chorus attributed to Telemann, followed by a middle section that incorporates a passage from Bach’s Cantata BWV 28, and concludes with an “Amen” attributed to Telemann. It is not known exactly who completed this work, but it is possible that Bach himself was responsible. This piece is followed by works by the Thomas Cantors who preceded Bach: Michael Schütz, a disciple of Schütz who carried on his teacher’s style; Knüpfer, who succeeded him; and Schelle, who took office in 1677. Fabricius, who was considered a candidate for the position of Thomaskantor at the same time as Knüpfer, had earned a high reputation as the organist at St. Nicholas Church. Through their motets, we can gain insight into the diverse church music of 17th-century Leipzig, which incorporated the latest Italian musical styles while achieving its own unique development. The second half of the CD features motets by Dores and Hiller, who succeeded each other as Thomaskantor after Bach’s death. Dörres, who served as Thomas Cantor for over 30 years beginning in 1756, was a late pupil of Bach; however, his works show no influence of his teacher’s complex counterpoint and are dominated by a simple, serene atmosphere. Hiller, who became conductor of the Leipzig Gewandhaus Orchestra and wielded considerable influence in the Leipzig music scene during the latter half of the 18th century, composed motets that can be said to have opened the door to the Classical style in church music. Included between these two works are pieces by Kreps, a pupil whose talent was recognized by Bach in his very final years and who made a name for himself as a keyboardist; these works show a strong influence from his teacher. The Rheinische Kantorei (Rhenish Choir), founded by Hermann Max in 1977, has made numerous recordings since its inception, primarily for CAPRICCIO and CPO, and has produced particularly acclaimed recordings of German Baroque church music. Etzard Bürchals, who succeeded Hermann Max as music director in 2011, has been highly acclaimed for his release of Rossini’s “Little Solemn Mass” (CPO 555232). In this recording, the ensemble—comprising a total of 20 singers (6 sopranos, 4 altos, 4 tenors, and 6 basses), with a violone and portative organ added for basso continuo as needed depending on the piece—carefully distinguishes between the stylistic differences across eras and composers. Cover: “Portrait of a Veiled Woman” (1743) by Antonio Colladini (1688–1752) Naxos Japan