Heinrich Schuetz & Bach Family & BWV 227
09 June 2024/ Italy / ALBUGNANO
ENSEMBLE POLYHARMONIQUE
Joowon Chung, Anna Nesyba | Sopran
Alexander Schneider | Alt & primus inter pares
Johannes Gaubitz, Christopher Renz | Tenor
Matthias Lutze | Bass
Joowon Chung, Anna Nesyba | Sopran
Alexander Schneider | Alt & primus inter pares
Johannes Gaubitz, Christopher Renz | Tenor
Matthias Lutze | Bass
Juliane Laake – Violone
Flóra Fábri – Orgel
In early Baroque vocal music, we know polyphonic sacred motets and secular madrigals.
However, both styles are combined in the works of Heinrich Schütz, Heinrich Bach, Johann Christoph Bach, Johann Michael Bach and Johann Ludwig Bach. In his Geistliche Chor-Music 1648, the old master Heinrich Schütz shows how it was still possible to write lively polyphonic music in a pure counterpoint style around the middle of the century without violating the sacrosanct rules of 16th century composition. The five- to six-part chants, accompanied only by the basso continuo, which were intended for use in church services, are among the treasures of 17th-century Central German vocal music.
The programme invites you to discover the lively polyphonic music of Schütz and its further development by the younger composer colleagues of the Bach family, without whom the oeuvre of Johann Sebastian Bach would hardly have been conceivable.
In the motet ‘Jesu meine Freude’, Bach takes up many stylistic elements of his older colleague and his family, thus bringing the genre of the sacred madrigal to radiant perfection.Together with the Ensemble Polyharmonique, the audience can experience the ornate structures of these works and be swept away by the expressive stylistic devices in the spirit of Monteverdi. If today's audiences are able to surrender to the penetrating nature of this music, they will certainly be rewarded with the highest artistic enjoyment!
Flóra Fábri – Orgel
In early Baroque vocal music, we know polyphonic sacred motets and secular madrigals.
However, both styles are combined in the works of Heinrich Schütz, Heinrich Bach, Johann Christoph Bach, Johann Michael Bach and Johann Ludwig Bach. In his Geistliche Chor-Music 1648, the old master Heinrich Schütz shows how it was still possible to write lively polyphonic music in a pure counterpoint style around the middle of the century without violating the sacrosanct rules of 16th century composition. The five- to six-part chants, accompanied only by the basso continuo, which were intended for use in church services, are among the treasures of 17th-century Central German vocal music.
The programme invites you to discover the lively polyphonic music of Schütz and its further development by the younger composer colleagues of the Bach family, without whom the oeuvre of Johann Sebastian Bach would hardly have been conceivable.
In the motet ‘Jesu meine Freude’, Bach takes up many stylistic elements of his older colleague and his family, thus bringing the genre of the sacred madrigal to radiant perfection.Together with the Ensemble Polyharmonique, the audience can experience the ornate structures of these works and be swept away by the expressive stylistic devices in the spirit of Monteverdi. If today's audiences are able to surrender to the penetrating nature of this music, they will certainly be rewarded with the highest artistic enjoyment!
