Wunderlich, Fritz: Sacred Songs - Historical Recording 1956-1958
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Artikelinfo
1956-1958
2001
Johann Christoph Graupner
August Langenbeck
Dietrich Buxtehude
Georg Philipp Telemann
Heinrich Schütz
Johann Philipp Krieger
Johannes Rosenmüller
Fritz Wunderlich
August Langenbeck
Bernhard Michaelis
Hermann Werdermann
Bertha Grimm
Rolf Oscher
Hermann Klaiss
Max Schulze
Tr. 1 Heinrich Schütz: Es steh' Gott auf, dass seine Feind' zerstreuet werden SWV 356 for 2 tenors, 2 Violins and basso continuo (German Concerto)
Tr. 2 Heinrich Schütz: Was betrübst du dich, meine Seele SWV 353 for 2 tenors, 2 Violins and basso continuo (German Concerto)
Tr. 3 Johann Rosenmüller: Second Lamentation for the Wednesday of the Passion Week 1,6-9 (from: Lamentationes Jeremiae Prophetae)
Tr. 4 Johann Rosenmüller: Third Lamentation for the Thursday of the Passion Week (from: Lamentationes Jeremiae Prophetae)
Tr. 5 Johann Rosenmüller: Third Lamentation for Good Friday 5,1-11 (from: Lamentationes Jeremiae Prophetae)
Tr. 6 Christoph Graupner: Wie bald hast du gelitten (Passion Cantata)
Tr. 7 Georg Philipp Telemann: Warum verstellst du die Gebärden TWV 1:1502 for Tenor, Oboe and basso continuo (Cantata)
Tr. 8 Dietrich Buxtehude: O wie selig sind, die zu dem Abendmahl des Lammes berufen sind for Tenor, Bass, 2 Violins and Generalbass
Tr. 9 Johann Philipp Krieger: Wo willst du hin, weil's Abend ist for 2 tenors and basso continuo (Sacred concerto)
These days, historical recordings have become an integral part of the record market. It is only natural that not all releases deserve to be described as ‘valuable’.
Fritz Wunderlich, however, is certainly a guarantee of the very finest vocal artistry. The songs on this CD, recorded under the direction of August Langenbeck (who had been building up the ‘Sacred
Music’ programme for Südfunk since 1950), offer an insight into Wunderlich’s time in Stuttgart. At that time, Wunderlich could be heard in smaller roles at the Stuttgart State Opera. Langenbeck engaged him
for the first time for a solo part in the Christmas Oratorio – the perfect opportunity for him to present his rich tenor voice to the discerning Stuttgart audience. The radio station subsequently
called upon him more and more frequently for productions of Baroque chamber music. This resulted in numerous remarkable recordings of motets, sacred songs and cantatas from the 17th and 18th
centuries.
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