RIAS Kammerchor

When Wolfgang Rihm composed the 'Fragmenta Passionis', in 1968, this 16-year old artist was already a ‘compositional force’ that seemed beyond any doubt in terms of critical consciousness. Two further compositions, the 'Sieben Passions-texte' of 2001-06 and the major half-hour-long work 'Astralis' of 2001, feature on the present recording alongside the early choral work. If one looks for a common compositional language, then these three works are linked above all by their expressive and diverse treatment of the possibilities of the human voice and at the same time by their reflection on traditional forms and genres of musical history. The 'Fragmenta Passionis' are, in fact, motets such as have been written ever since Machaut in the 14th century, by Guillaume Dufay and Johannes Ockeghem in the 15th and perhaps an anachronism by 1968!

Rihm's early work, combining contemporary techniques with the emotional volatility of Mahler and of Schoenberg's early expressionist period, was regarded by many as a revolt against the avant-garde generation of Boulez, Stockhausen (with whom he studied in 1972–73), and others, and led to a large number of commissions in the following years. In the late 1970s and early 1980s his name was associated with the movement called New Simplicity. His work still continues to plough expressionist furrows, though the influence of Luigi Nono, Helmut Lachenmann and Morton Feldman, amongst others, has affected his style significantly.

Frank Martin and Olivier Messiaen have few musical features in common, but their faith overrides the fundamental differences between them and makes them two of the most important Christian composers of the 20th century. Martin's Mass for unaccompanied double choir is the profoundly ecumenical profession of faith of a fervent Christian. As to the 'Cinq Rechants' Messiaen's last a cappella work, its composer rightly thought it ‘one of [his] best works'. This title was released for the first time in 2004.

Both Berg’s and Gurlitt’s versions of Wozzeck were written roughly at the same time, but the early popularity of Berg’s work contributed to the speedy disappearance of Gurlitt’s composition. This recording gives us the opportunity to hear this lesser known setting.

Unusually, the voice parts are positioned in the orchestra.

After an acclaimed disc of Johann Ludwig Bach, Hans-Christoph Rademann continues his fascinating exploration of the most famous musical dynasty. Born in 1735, the ‘London Bach’ was the youngest of Johann Sebastian’s sons. He seems to have remained in his father’s shadow until the age of 19, when he had the chance to travel to Italy, very likely to receive guidance from the celebrated Padre Martini, as his (future) friend Mozart was to do some years later. It was in Milan that he wrote the two works recorded here, including an incredible Requiem with a completely unexpected formal design; in matters of style, however, the 22-year-old composer had already laid the foundations of all his later output.

All tracks sung in German

Here is the most ambitious composition left by Johann Ludwig Bach, known as ‘the Meiningen Bach’, who belonged to a branch of the family separated from Johann Sebastian’s since the 16th century. Its genesis was rather unusual: Johann Ludwig composed his cantatas to texts by his patron, Duke Ernst Ludwig, and was therefore commissioned to set the poem which the duke had written for his own funeral, in November 1724. Five years before St Matthew Passion, this score already requires two choirs and a large array of instruments, and must have utilised every musician in the court Kapelle. Since the 2007-08 season Hans-Christoph Rademann has been chief conductor of the RIAS Kammerchor. He grew up in a family of Kantors, and during his training as a choral and orchestral conductor at the Musikhochschule in Dresden he already founded the Dresdner Kammerchor, with which he made a reputation both in Germany and abroad, and which he still directs today.