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Presto's David Smith talks to Pablo Heras-Casado about the three Praetoriuses here.
Relaxing and heavenly music from the early 17th century for choir and small ensemble by Jacob, Hieronymus and Michael Praetorius. The Balthasar-Neumann-Ensemble and Balthasar-Neumann-Chor (founded by Thomas Hengelbrock) is one of the most prestigious and famous early music ensembles. It can definitely be considered as one of the best groups in the world of early music.
Michael Praetorius can be considered as one of the leading German composers of the early 17th century (The familiar harmonization of “Es ist ein Ros entsprungen“ (Lo, How a Rose E'er Blooming) was written by him in 1609).
Pablo Heras-Casado is among the hottest young conductors of our time and leads the world’s best orchestras. He was named Musical America's 2014 Conductor of the Year and since 2010 alone, he has made a first appearance with nearly 40 orchestras, opera companies, and festivals, from the Berlin Philharmonic to the Boston Symphony Orchestra to the Salzburg Festival and more.
Hieronymous Praetorius: Magnificat quarti toni
Magnificat quarti toni
Hieronymous Praetorius: Quam pulchra es
Quam pulchra es
Jacob Praetorius: Indica mihi
Hieronymous Praetorius: Surge propera amica mea
Surge propera amica mea
Michael Praetorius: Magnificat per omnes versus super ut re mi fa sol la
Magnificat per omnes versus super ut re mi fa sol la
Jacob Praetorius: Quam pulchra es
Quam pulchra es
Hieronymous Praetorius: Vulnerasti cor meum
Vulnerasti cor meum
Michael Praetorius: Nigra sum et formosa
Nigra sum et formosa
Hieronymous Praetorius: Tota pulchra es
Tota pulchra es
Jacob Praetorius: Veni in hortum meum
Veni in hortum meum
Hieronymous Praetorius: O quam pulchra es
O quam pulchra es
11th June 2015
“Recorded in a spacious studio rather than an echoey church, the precisely tuned voices resonate, but the harmonies are clean enough for each unexpected twist and crunch to register beautifully, and the choir revels in the echoey spatial effects of Hieronymus’s Tota Pulchra Es. A full complement of accompanying instruments is used...but their contributions are mostly subtle, enhancing the texture without upstaging the voices.”
“Like a black-and-white film with colour artificially added later, this repertoire achieves a certain new intensity here.”
“[The Magnificat] gets a sprightly performance, and [Vulnerasti cor meum] is rendered with sensitivity and poise.”