Leonhard LECHNER: Sprüche von Leben und Tod - Sacred and Secular Songs -- Cantus Cölln - Konrad Junghänel (1990)

Posted By : wdilbert | Date : 14 Dec 2011 19:13:08 | Comments : 5 |

“

While the music of that most prolific and versatile of all Renaissance composers Orlando de Lassus is becoming increasingly better appreciated, that of his pupil Leonhard Lechner has, until now, remained something of an unknown quantity. From the carefully-chosen selection on this record it is clear that in terms of range and style, as well as in some details of musical language, Lassus remained a potent influence on Lechner throughout his career long after the younger man had left the Bavarian court chapel (where Lassus was maestro) to work in Nuremberg. Here we have villanelle to German texts (including an arrangement of Isaac's nostalgic Innsbruck-Lied), canzone, madrigalian pieces, song motets and satirical songs. These pieces provide a well-balanced record of music that is easy on the ear and is at the same time interestingly reflective of the extent to which Italian music fascinated German composers in the late sixteenth and early seventeenth centuries. This may not be great music, but it is well-wrought, varied and enjoyable.

The Cantus Cölln, a group of solo singers plus continuo players, approach this selection with sensitivity and expertise. Its sound is evidently modelled on English groups, and marks a distinct shift away from the German traditions of choral singing. Right at the start of this record the full sensitivity of approach is displayed to good effect in Lechner's Deutsche Sprüche von Leben und Tod, a sequence of 15 separate quatrains dealing with the transitoriness of life and the dangers of arrogance and despair. The severe sectionalization of this piece makes for interpretational difficulties, but despite the restricting nature of the style the group produce a sharp sense of drama. Inevitably it is the more substantial pieces that provide the greatest opportunities for Cantus Cölln to show its paces, nowhere more so than in Lechner's setting of an anonymous Italian text in the Petrarchan style, Come nave ch'in mezzo all'onde sia; here the characteristic madrigalian images provide plenty of opportunity for dramatic contrast.

All in all this disc is to be welcomed; the group perform thoughtfully, their technical standards are high, the sense of ensemble is good, and the result, recorded in a suitably warm acoustic, has been decently engineered.

I.F. Gramophone 11/90

Daß es auch eine deutsche Lied-Kunst um 1600 gibt und diese über dieselbe Flexibilität, Expressivität und verbale Nuancierung wie ein Monteverdi oder Dowland verfügt, machen auf geradezu betörende Weise die fünf Sängerinnen und Sänger des Cantus Cölln deutlich.

Phonomagazin, 1/91

Lechner schlägt die Brücke von Lasso zu Schütz. Die Brücke von Lechner zum Rezipienten des digitalen Zeitalters schlägt Konrad Junghänel mit seinem Ensemble; ein Höchstmaß an Transparenz und Flexibilität verhilft den Kompositionen zu eindringlicher Wirkung.

Fono Forum, 4/91

Une véritable jouissance auditive, que l'on ne trouve que chez les meilleurs... Après ce nouveau joyau, on se demande quelle pierre précieuse Cantus Cölln et Konrad Junghänel vont encore découvrir dans ce trésor que constitue löe XVIIème siècle allemand.

Diapason, 12/90

”

EAC Log

_TRACKS_

1. Deutsche Sprüche von Leben und Tod
2. Come nave ch'in mezzo all'onde sia
3. Ach herzigs Herz
4. Wie war mir nur in jungen Tagen
5. Nackend bin ich aus meiner Mutter Leib kommen
6. Das erst und ander Kapitel des Hohenliedes Salomonis
7. Gott bhüte dich, desgleichen mich
8. Freu dich heut und allezeit
9. Zart edles Gmüt
10. Hört, was sich hat zutragen
11. Ein Musicus wollt fröhlich sein
12. Ach, wer wird mir mein' Geist mit Frieden stillen
13. Aus tiefer Not schrei ich zu dir
14. Nach meiner Lieb viel hundert Knaben trachten
15. Wohl dem, der den Herren fürchtet
16. Ich ging einmal spazieren
17. Frau, ich bin euch von Herzen hold
18. O Tod, du bist ein bittre Gallen
19. Ach Lieb, ich muß dich lassen
20. Ganz sehr betrübt
21. Der Mai viel schöner Blümlein bringt

Cantus Cölln:
Johanna Koslowsky, sopran
David Cordier, countertenor
Wilfried Jochens, tenor
Gerd Türk, tenor
Stephan Schreckenberger, bass
Franz-Josef Selig, bass
Christoph Anselm Noll, cembalo
Konrad Junghänel, artistic direction & lute

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Posted By: d'Avignon Date: 14 Dec 2011 20:18:34

Thanks for Lechner and Schein, wdilbert. And what pleasure, rs links...doesn't happen too often anymore to see my downloads go at lightning speed.

Posted By: sarcastico Date: 15 Dec 2011 02:16:45

Thanks for sharing!

Posted By: Borgia Date: 15 Dec 2011 02:34:30

Thank you very much!!!

Posted By: will parker Date: 10 Jan 2012 06:00:00

Thanks for posting.

Posted By: alekdov Date: 04 Feb 2012 13:30:35

Great share wdilbert, many thanks!

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