Roland Wilson

The sonatas of Johann Rosenmüller, recorded here by Musica Fiata, underscore his importance as a major composer in the time between Schütz and Bach. This towering German figure of the European Baroque not only found remarkably broad acceptance (and thus widespread dissemination) for his exuberant music, he was also surprisingly cherished and performed long after his death in 1684. His 1682 sonatas, heard on this new cpo recording, clearly show the influence of the years he spent in Venice. To quote the scholar Wollny, “Thanks to his great fame and good connections to German courts, Rosenmueller’s music had a truly formative stylistic impact on German music.”

The new CD by Musica Fiata and La Capella Ducale directed by Roland Wilson is devoted to sacred works by Antonio Vivaldi. Although Vivaldi was himself a priest, his name is more often connected with instrumental music and opera. However, he wrote a great many sacred works including some hitherto unknown works which are presented on this recording, having been recently discovered in the Saxon Regional Library in Dresden. They are Nisi Dominus RV 803 and Dixit Dominus RV 807, and their discovery has contributed to more attention being focused on his sacred compositions. Also included on this recording, which once again reveals the exceptional quality of Roland Wilson's ensembles, are the Magnificat RV 610, Lauda Jerusalem RV 803, Laetatus sum RV 607 and Domine ad adjuvandum RV 593.

This new SACD by the Hymnus Choirboys of Stuttgart and Musica Fiata demonstrates how Schütz worked with opulent Italian impressions while serving as court chapel master in Dresden and employs the finest 2+2+2 technique to transport lavish sound and Venetian grandezza straight to you in your living room.

Four five-part choirs situated in different places in the performance space and varying in membership present this CD’s repertoire discovery: the “Song of the Three Youths in the Fiery Furnace,” a mighty song of praise based on the prophet Daniel. There are shifts between favorite choir and chapel choir and between instruments and singers and along with them an ostinato bass part, so that the praise of God is celebrated in many colors and with magnificent splendor while being repeated many times.

In 1619 Valentini’s Musiche concertate were published as his third book of madrigals, and already by 1626, when he was appointed court music director in Vienna (a post held by him until his death), he had achieved more than just a personal career goal. Just as Lully defined the French national style, Valentini’s manner was identified with the imperial court style.

After decades of experience with the music of Monteverdi, as well as his contemporaries and predecessors, Roland Wilson views the work in the context of its own time when polychorality and proportion played a decisive role in the music. An intelligent analysis of the printed parts reveals that Monteverdi’s symmetrical structures are mirrored here in the ensemble which reflects that which he had available; 12 singers divided into two 6-part groups, perfectly balanced by the two instrumental-choirs (3 cornetti, 3 trombones, 6 strings) The whole work is performed using this 4-choir basis supported by a large continuo-group of 2 organs, 3 chitarroni, harp and lirone.

Like the recent Signum recording, this performance is a semitone higher than modern pitch - and the extra split semitone keys of the Mantuan organs allow transpositions other than the now commonly adopted fourth lower. This contributes to an exciting recording by the crème of Germany‘s early music scene, made at a live concert in October 2010, which makes this now well-known work sound as fresh as at it was in 1610.

The years between 1600 and 1800 marked the golden age of church music in Hamburg and CPO’s successful Musica Sacra Hamburgensis series is devoted to this period. The rediscovery of Johann Philipp Förtsch shows how close the ties were between sacred music and Hamburg opera. His opera experience clearly motivated him to reshape the Bible texts for his sacred compositions - thus lending them the character of opera libretti and bringing the opera to the church.

Roland Wilson is the director of both Musica Fiata and La Capella Ducale and concentrates on researching performance practice. His interpretations as a conductor are noted for combining historical accuracy with artistic inspiration.