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Hyperion Records

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The Leipzig Thomaspforte (c1790) by an unknown artist
AKG London
Track(s) taken from CDH55373
Recording details: November 2000
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Ben Turner
Engineered by Philip Hobbs
Release date: May 2001
Total duration: 7 minutes 41 seconds

'Charming music from one of Bach’s 17th-century predecessors as Kantor of the Thomaskirche, Leipzig. Strongly recommended' (Gramophone)

'The choral blending is fresh, vital and alert, with particularly alluring contributions from the soprano voices. The big brass arsenal is arresting and provides an effective foil for the more contemplative pieces. Thanks, King and Co' (BBC Music Magazine)

'This important recording is fine proof of Schelle’s imagination and invention … Robert King should be congratulated for an outstanding espousal of another of Bach’s forebears' (Early Music Review)

'I feel unusually evangelical about this new disc. Its riches are thrillingly overt: the music radiates a glowingly optimistic sense of spirituality comparable with the most outgoing of Bach’s later cantatas' (International Record Review)

'The man who is gifting this superlative disc to his friends is doing them the greatest favor imaginable. It contains an absolute treasure trove whose only common denominator is the high quality throughout every one of these nine works … King's fervent espousal of Schelle's marvelous music is apparent in every bar of this flawless disc' (Fanfare, USA)

'The King’s Consort are on top form throughout. Highly recommended' (The Organ)

'Anyone who has yet to investigate King's indispensable 'Bach's Contemporaries' should rectify the omission without a moment's further ado. Start with this treasure of a disc, then investigate the Kuhnau, Knüpfer and Zelenka. By that time you'll be ready to get down onto your knees and pray for further additions to the series' (Goldberg)

Wohl dem, der den Herren fürchtet
composer
author of text
Psalm 112

Introduction  EnglishFrançaisDeutsch
The work, which is scored for one voice and five-part instrumental ensemble, stands in the tradition of solo Psalm arrangements which had been established by Schelle’s teacher Heinrich Schütz and cultivated in Leipzig amongst others by Rosenmüller and Johann Theile. This work appears to be a very early composition of Schelle’s, also borne out by the many sections of the piece and the entry of—which later are far less drastic—‘madrigalistic’ text interpretations, for example at the word ‘Finsternis’ (‘darkness’), ‘barmherzig’ (‘merciful’) and ‘den Armen’ (‘the poor’).

from notes by Peter Wollny © 2001
English: Viola Scheffel

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