SCHOLA CANTORUM NÜRNBERG
EGIDIENCHOR NÜRNBERG
OLTREMONTANO
RENAISSANCE-INSTRUMENTALISTEN
PIA PRAETORIUS, CONDUCTOR
Pia Praetorius has delved into the rich collection of the Egidien Choir Books and now, together with the Edidienchor, the schola cantorum Nuremberg and numerous instrumentalists, she breathes new life into an exquisite selection of choral Christmas music from the Renaissance. Hodie Christus natus est!
AMMON
01 RORATE COELI DE SUPER
HASSLER
02 HODIE CHRISTUS NATUS EST
LASSO
03 IN PRINCIPIO ERAT VERBUM
AMMON
04 PARVULUS FILIUS (INSTRUMENTAL)
LASSO
05 RESONET IN LAUDIBUS
ISNARDI MISSA ANGELUS DOMINI
06 KYRIE
07 GLORIA
ALEOTTA
08 ANGELUS AD PASTORES
09 FACTA EST CUM ANGELO
HASSLER
10 VERBUM CARO FACTUM EST
ISNARDI MISSA ANGELUS DOMINI
11 CREDO
12 SANCTUS
PALESTRINA
13 O MAGNUM MYSTERIUM
AMMON
14 MAGI VIDENTES STELLAM (INSTRUMENTAL)
15 ECCE ADVENIT DOMINATOR DOMINUS
ISNARDI
16 MISSA ANGELUS DOMINI: AGNUS DEI
HASSLER
17 O ADMIRABILE COMMERCIUM
MERULO
18 TRIBUS MIRACULIS
PALESTRINA
19 SURGE ILLUMINARE
HASSLER
20 NUNC DIMITTIS
Recording / Aufnahme: 10/2013 – Egidienkirche Nürnberg
Producer / Produzent: Andreas MeixnerRecording Producer / Tonmeisterin: Marie-Josefin Melchior
Titelmotiv: Albrecht Dürer: Madonna mit dem Kinde mit der Birnenschnitte (Kunsthistorisches Museum Wien)
Layout / Satz: Felix Dreher
®+© 2013 Spektral 15543
Ord. No. / Best.-Nr.: SRL4 – 13122
GTIN (EAN): 4260130381226
All rights reserved. / Alle Rechte vorbehalten
Pia Praetorius established schola cantorum nürnberg — an ensemble of solovoices — for the performance of 16th century music. In its numerous concerts the ensemble has performed music from the Egidien Choir Books, as well as other German and Italian compositions from the 16th century, and works from the same period composed in Latin America.
Soprano: Dorothea Wagner, Doron Schleifer
Contralto: Gudula Kinzler
Tenor: Thomas Baumeister, Stefan Heidweiler, Rüdiger Ballhorn
Bass: Andreas Meixner, Markus Kühnlein
The Egidienchor Nürnberg comprises about 30 singers, and specialises in works from the Renaissance and Baroque periods. Historical performance practices at a high artistic level, enhanced by elements of visual art, dance, and space and light installations, ensure that each concert is a unique multi-sensory artistic experience. The Egidienchor Nürnberg was the first German choir to be invited to the Moscow Easter Festival, and the three concerts they gave there attracted a lot of attention. Further concert tours brought the choir to Nottingham, Glasgow, and Graz.
Wim Becu is the inspirational driving force behind the ensemble Oltremontano which was founded by him in 1993 after years of cooperation with the leading ensembles specialising in historical performance practices. The name “Oltremontano” refers to the Flemish composers who dominated and defined European music in the 15th and 16th centuries. In Italy, these musicians were known as “oltremontani”, i.e. from “beyond the mountains”. The core elements of Oltremontano consist of small-bore trombones, woodwind instruments and cornets, closely related to the “alta cappella” of the town waits. The group’s numerous recordings are characterised by unusual programming and the inclusion of musical rarities. Their CDs have attracted extensive critical acclaim. Oltremontano is a regular guest at the major European early music festivals, and in March 2009, the group made its debutin the USA. 1st Cornet: Doron David Sherwin, 2nd Cornet: Anna Schall, Alto & tenor trombone: Robert Schlegl, Tenor trombone: Adam Bregman, Tenor & bass trombone: Wim Becu Dulcian, tenor cornet, rackett:Krzysztof Lewandowski
Pia Praetorius was born in Nordhausen/Harz. She studied at the Hochschule für Kirchenmusik (College of Sacred Music) in Halle/Saale, and since 1999 has been cantor at St Egidien’s Church in Nuremberg. She specialises in both early and contemporary music, presenting works from these genres in imaginatively devised programmes, often in collaboration with visual artists. Honoured with the City of Nuremberg’s Award for the Promotion of Culture, Pia has made a name for herself far beyond the region through her meticulous research into the musical history of 16th century Nuremberg, and the Choir Books of the Church of St Egidien in particular. She has provided access to works which can now be heard for the first time in 400 years, and which bear lively testimony to the high quality of music making in Nuremberg around that time.
