Barockorchester And Kammerchor Stuttgart

Frieder Bernius and his Stuttgart forces weigh in with one of the finer Mozart Requiems in a very crowded field–and to ensure this performance’s relative exclusivity, it’s one of only a handful of recordings that use the edition by Franz Beyer, an intelligent and persuasive 1971 effort to correct “obvious textural errors” and some decidedly un-Mozartian features in the orchestration attributable to Franz Süssmayr, Mozart’s pupil/assistant who completed the work after the master’s death. This live concert performance from 1999 offers well-set tempos (including a vigorous Kyrie fugue), infectious rhythmic energy from both chorus and orchestra, robust, precise, musically compelling choral singing, a first rate quartet of soloists–and, especially considering its concert-performance setting, impressively detailed and vibrant sonics. The CD also features informative notes by Beyer himself.

Bach's Mass in B minor is one of his greatest and most ambitious works of all. She has occupied the composer for more than two decades, from the Sanctus (1724) to the Missa from 1733 to the supplementary Ordinarium theorems of the last years of life. Thus, the work in its rich variety of arias, duets and concertante and fugal choirs forms an essence of his profound skills and personal style. The "greatest musical work of all time and people" (as enthusiastic as the first editor Hans Georg Nägeli 1818) and one of the most demanding choral-symphonic works of all lies in a high-profile, based on principles of historical performance practice recording with Frieder Bernius, the Stuttgart Chamber Choir and the Baroque orchestra Stuttgart before.

Bohemian composer Jan Zelenka (1679-1745) spent the last 35 years of his life in Dresden, first as a double bass player and then as composer for the court, writing primarily for the church. This monumental Mass (“in honor of God the Father”) is one of several he composed in the last years of his life, and its structure–the main parts of the mass are subdivided into smaller sections–allows for a wide variety of scoring, including different configurations of soloists, solo arias, chorus alone, and chorus with solo singers.

A member of the Mannheim school, Ignaz Holzbauer (1711–1783) was a composer of symphonies, concertos, operas and chamber music who wrote in the style of the Sturm and Drang movement. In his penultimate opera "Tod der Dido" [The Death of Dido] (1779), Ignaz Holzbauer presented himself not only as a master of fine musical word interpretation, but also as an imaginative music dramatist. While the original Italian version underlined his position as one of the leading opera composers of the time, the German version which he wrote a year later additionally emphasizes his position as a pioneer of the German National Opera. Frieder Bernius therefore chose this version for a production performed at the Schwetzingen Festival in 1997, which is now being released here for the first time.

The Easter Oratorio of J.S. Bach has been paired here with one of the most vibrant compositions by his son Carl Philipp Emanuel: This recording includes the first, sacred part of C.P. E. Bach’s Dankhymne der Freundschaft (1785), a work which was forgotten for more than two hundred years. Once again Frieder Bernius gives these two works a stellar performance.

Since it's founding in Freiburg in 1958, Deutsche Harmonia Mundi has been one of the most important and ambitious labels for period performances. Over decades, globally-acclaimed recordings were created with outstanding musicians. The limited edition "Deutsche Harmonia Mundi: 100 Great Recordings" contains 100 outstanding DHM recordings with some of the most important and best artists in their field: Nuria Rial, Dorothee Mields, Al Ayre Espanol, Hille Perl, Concentus Musicus Wien, Nikolaus Harnoncourt, the Freiburger Barockorchester, Skip Sempé, Capriccio Stravagante, La Petite Bande, Gustav Leonhardt, Andrew Lawrence-King, Frieder Bernius, the Balthasar-Neumann-Chor, Thomas Hengelbrock and many others.

This is an excellent and varied selection of composers from the very well known like Palestrina, Monteverdi, Bach and Vivaldi, through the less famous but familiar like Frescobaldi, Sainte-Colombe and Zelenka, to the downright obscure. It is all delightful: the musicians are uniformly excellent, and include such great names as Gustav Leonhardt, Cantus Colln, Christopher Hogwood and so on. They give fine performances both of the familiar works and of the less familiar ones. Obviously there will be discs you like more than others and you may already have favourite versions of some works, but these discs are never less than very good and are often outstanding.

A beautifully-packaged 50-disc box set, released to celebrate the 50th anniversary of Deutsche Harmonia Mundi, one of the most important and adventurous early music labels. The set contains 50 classic recordings of baroque and ancient music, chosen to represent the breadth of this huge and varied catalogue and each disc is slip-cased with artwork replicating the original CD or LP artwork.