Menu
FHR145
Release Date: April 2024
David de Winter tenor
The Brook Street Band
Rachel Harris, Kathryn Parry violin
Tatty Theo cello
Carolyn Gibley harpsichord, organ
Lynda Sayce theorbo, lute
Lisete da Silva Bull, Emily Bannister recorder
One of the key German composers before Bach with more than 500 surviving individual pieces, Heinrich Schütz wrote mainly church music, and is credited with bringing the Italian style to Germany and continuing its evolution from the Renaissance into the early Baroque. Although he lived most of his long life in Germany, in his twenties Schütz made two visits to Venice. The first was between 1609 and 1613 when he was taught by Giovanni Gabrieli; and the second in the late 1620s to meet and possibly study under Monteverdi. The two trips greatly influenced Schütz’s music as he absorbed and began to combine the ornate and theatrical Venetian style with the more understated Lutheran tradition in which he grew up.
This album explores his solo cantatas alongside examples of the brilliant and virtuosic Venetian style instrumental music.
Tracks:
| 1 | Heinrich SCHÜTZ (1585–1672) 1. Lobet den Herrn, SWV 350 (from Symphoniae sacrae II, Op. 10, pub. 1647) |
| 2 | Claudio MONTEVERDI (1567–1643) Messa a quattro voci et salmi concertati (pub. 1650) 2. No. 4, Confitebor tibi Domine, SV 193 |
| 3 | Heinrich SCHÜTZ 3. O süßer, O freundlicher, SWV 285 (from Erster Theil kleiner geistlichen Concerten, Op. 8, pub. 1636) |
| 4 | Salamone ROSSI Il terzo libro de varie sonate, sinfonie, gagliarde, brandi e corrente, Op. 12 (pub. 1623): 4. Sonata sopra l’aria di Ruggiero |
| 5 | Heinrich SCHÜTZ 5. Exultavit cor meum, SWV 258 (from Symphoniae sacrae I, Op. 6, pub. 1629) |
| 6 | Giovanni Felice SANCES (1600–1679) 6. Stabat Mater (pub. 1638) |
| 7 | Heinrich SCHÜTZ 7. Paratum cor meum, SWV 257 (from Symphoniae sacrae I, Op. 6, pub. 1629) |
| 8 | Alessandro GRANDI (1586–1630) 8. Lauda Sion Salvatorem (pub. 1621) |
| 9 | Heinrich SCHÜTZ 9. Ich werde nicht sterben, SWV 346 (from Symphoniae sacrae II, Op. 10, pub. 1647) |
| 10 | Salamone ROSSI (1570–1630) Il terzo libro de varie sonate, sinfonie, gagliarde, brandi e corrente, Op. 12 (pub. 1623): 10. Sonata ottava sopra l’aria È tanto tempo hormai |
| 11 | Heinrich SCHÜTZ 11. Cantabo Domino in vita mea, WAB 260 (from Symphoniae sacrae I, Op. 6, pub. 1629) |
| 12 | Francesco CAVALLI (1602-1676) 12. O quam suavis est (pub. 1625) |
| 13 | Heinrich SCHÜTZ 13. Herr, unser Herrscher (Psalm 8), SWV 343 (from Symphoniae sacrae II, Op. 10, pub. 1647) |
| 14 | Alessandro GRANDI 14. Decantabat populus Israel (pub. 1641) |
| 15 | Heinrich SCHÜTZ 15. Ich danke dir Herr, SWV 347 (from Symphoniae sacrae II, Op. 10, pub. 1647) |
“… intriguing programme… This album should now offer him (de Winter) the wider recognition he deserves… one is immediately struck by the clarity and confidence of both voice and ensemble… … The two instrumental sonatas by Salomone Rossi are also particularly enjoyable and The Brook Street Band are on superb form… This is a very fine disc indeed.” Gramophone
“… a well-thought-out programme… The clearly defined and lively articulation of the Brook Street Band Band inform the music with irresistible allure… David de Winter sings with careful attention to text… In addition to his accomplished singing, de Winter has contributed an elegantly written essay” **** / ***** BBC Music Magazine
“Throughout the performances are excellent with David de Winter bringing great style to the music…and he is finely partnered by the Brook Street Band, creating a sense of vocal chamber music rather than a grand accompanied motet. We don’t hear anything like enough Schütz and this wonderfully engaging disc makes you want to explore more.”
Planet Hugill
“David de Winter well captures and projects the innate character of each [piece], and the members of The Brook Street Band not only provide solid yet flexible support throughout, but are, on their own, a prime example of how a baroque music ensemble should sound. Elegance and dynamic balance throughout, a lightsome sound and gentle cadence. The recording itself…offers the perfect level of acoustical space and depth to the soundstage.”
Classical Music Sentinel
“It’s a programme that puts its artists through their multi-faceted paces, and it’s beautifully done, from the Germanic-end, pared-down textures and quietly radiant reverence of Schűtz’s O süsser, O freundlicher – whose highlights include de Winter’s crisply rendered vocal embellishments and the closely attentive continuo support – to the more floridly-supported lilt of Schűtz’s Symphoniae Sacrae I…Here, Rachel Harris’ and Kathryn Parry’s violins dance gorgeously in and out of each other, underpinned with neat spring by cellist Tatty Theo.
One further pleasure, which can be felt throughout, is the underlying sense of joy. This may be sacred music, but there’s a thoroughly non-sober, life-affirming conviviality between these players at every turn.”
Charlotte Gardner, dCS Only the Music, April 2024
