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Track(s) taken from CDA67260

Christus, der ist mein Leben

composer
1688/9; probably for the Feast of the Purification, 2 February
author of text
before 1608

Carolyn Sampson (soprano), Rebecca Outram (soprano), Robin Blaze (countertenor), James Gilchrist (tenor), Peter Harvey (bass), The King's Consort, Robert King (conductor)
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: 9 minutes 28 seconds

Cover artwork: The Leipzig Thomaspforte (c1790). an unknown artist
AKG London
 

Reviews

‘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 contemporaries’ (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)
The cantata Christus, der ist mein Leben (‘Christ is my life’) was probably composed for the feast of Mary’s Purification (2 February). With four violins and four violas as well as five voices the work is scored extraordinarily festively. All eight stanzas of the Hymn on which the cantata is based appear in two versions, first as changing combinations of the solo parts without reference to a cantus firmus, then with the melody accompanied by free figuration in the four violins. This creates a rondo-like structure, which repeatedly moves the simple Hymn into the centre.

from notes by Peter Wollny © 2001
English: Viola Scheffel

La cantate Christus, der ist mein Leben («Christ est ma vie») fut probablement composée pour la fête de la Purification de Marie, le 2 février. Avec quatre violons et quatre altos en plus des cinq voix, cette partition dévoile une certaine profusion festive. Les huit strophes de l’hymne sur lesquelles est élaborée la cantate sont énoncées selon deux versions différentes, la première avec des combinaisons changeantes des parties solos sans référence au cantus firmus, puis avec la mélodie accompagnée par des figurations libres aux quatre violons. Ceci crée une structure proche du rondo qui inscrit le simple énoncé de l’hymne en son centre.

extrait des notes rédigées par Peter Wollny © 2001
Français: Isabelle Battioni

Die Kantate Christus, der ist mein Leben wurde vermutlich zum Fest Mariä Reinigung (2. Februar) komponiert. Das Werk ist mit vier Violinen und vier Violen sowie fünf Singstimmen außergewöhnlich festlich besetzt. Alle acht Strophen des zugrundeliegenden Liedes erscheinen in der Kantate doppelt vertont, jeweils zunächst in wechselnden Kombinationen der Solostimmen und ohne cantus-firmus-Bezug, sodann als stets gleichbleibender Kantionalsatz mit freier Figuration in den vier Violinen. Hierdurch entsteht eine rondoartige Struktur, die immer wieder das schlicht-eingängige Lied in den Mittelpunkt stellt.

aus dem Begleittext von Peter Wollny © 2001

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