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Carl Philipp Emmanuel Bach war noch einige Jahre Kantor in Hamburg. Obwohl die Hamburger sicher nicht die Passions-Musik des Johann Sebastian kannten, war es damals gar nicht üblich, Musik der Vergangenheit zu spielen. Also schrieb der Sohn eine eigene Johannes-Passion.

Carl Philipp Emanuel Bach, as part of his regular duties as kapellmeister in Hamburg, composed 19 passion settings, alternating the four Gospel texts so that a new setting of a given text appeared once every four years, as his predecessor Georg Philipp Telemann had done.

The present recording of the St. Matthew Passion was made over 22 sessions between June and August 1958. It was recorded in stereo. Karl Richter engaged several outstanding soloists for this recording Ernst Haefliger sang the Evangelist and the tenor arias, Kieth Engen was Jesus, and the solo arias were entrusted to Irmgard Seefried, Hertha Topper, and Dietrich Fischer-Dieskau.

This 10 CD-box contains Johann Sebastian Bach´s Brandenburg Concertos 1-6, Ouvertures, Cantaten, Motetten, Organ works, Chamber Music with a.o. Musical Offering, the Bach Trumpet featuring Ludwig Guttler.

Wunderbar das Solistenensemble Popp, Lipovsek, Büchner, Holl: Besser kann man Bach nicht singen

Wien; Christoph Pregardien, Matthias Goerne, Christine Schafer, a.o.

Harnoncourt waited over 30 years to return to the 'Great Passion'. His revisitation presents a unique statement, one that can't fail to make an impression. Recorded in the sumtpuous acoustic of the Jesuitenkirche in Vienna, there's a detectable flavour of southern European oratorio, ebulliently theatrical, immediate and free-breathing, and without the austerity of North German rhetoric.

The German Requiem, in the form in which we know it, was first heard in Leipzig in 1869. It was not intended for liturgical use, the name of Christ is never invoked. Brahms chose the text with care from the Lutheran Bible, its purport was not to plead for divine mercy for the dead but to offer consolation and hope for the living. The appeal of this masterpiece by Brahms lies in its sincere, tender beauty and lyrical compassion, the powerful contrapuntal writing, harmonic resource, structural strength.

Bruckner's early Requiem is an under-rated and under performed work. Whilst it lacks the impact of his later mass settings, it does contain some exquisite music. This is, without much doubt, the finest version available.

Die Lebensdaten von Christoph Demantius (1567-1643) entsprechen genau denen von Claudio Monteverdi, doch waren ihm die neuen geringstimmig oder gar solistisch besetzten Formen der Kirchenmusik, wie sie aus Italien nach Deutschland kamen, ein Dorn im Auge. Für ihn hatte eine Motette 'volstimmig' und 'mit sonderlichen künstlichen fugen gezieret' zu sein. Kompositionstechnisch wurzeln seine Werke daher eher in der Nachfolge Lassos. Dass Demantius bei allem Konservatismus dennoch ein hochinteressanter Komponist ist, beweisen Georg Grün und der KammerChor Saarbrücken mit ihrer Aufnahme.

CD  € 12,95

Faure worked on his Requiem for an usually long time. The first version of 1887-88 was accompanied only by strings, harp, kettledrums and organ. He revised the work several times. The final revision for large orchestra contained added woodwinds and violins, which is the form the Requiem is heard on the present recording. The work is dominated by a contemplative mood that is broken at only a few points.