This sixth volume of the RIAS Amadeus Quartet Recordings completes the 27-CD edition. This extended version complements the 6-CD box set, providing once again a detailed survey of broadcasting history in the 1950s - to which end the entire series of the audite Amadeus Quartet recordings is ultimately directed. Joseph Haydn's string quartets, often rated as the basis for playing quartets, represented far more than an obligation to the Amadeus Quartet.
Although often overshadowed by his better-known Italian contemporary Claudio Monteverdi, as well as his successor in Lutheran music J.S. Bach, Heinrich Schutz's contributions to 17th-century sacred music were nevertheless significant. With a career that spanned an era of great musical developments, his sacred compositions reveal a rich array of influences and were to prove inspirational to future generations of composers. This 19-disc box set is the result of four volumes of recordings made by Cappella Augustana and Matteo Messori for Brilliant Classics between 2003 and 2010, collected together for the first time.
This box set presents the complete narrative works (Historiae) of Heinrich Schütz (1585-1672) in the acclaimed new recordings by Ars Nova Copenhagen conducted by Paul Hillier. The engaging account of the six stories of Christmas, Passion and Resurrection in Schütz’ sublime Baroque settings is presented along with authoritative notes and the conductor’s own commentary on the works, which rank among the finest pieces of the 17th Century.
Haydn’s Seven Last Words – a cycle of sacred adagios – has been lucky on record. There are excellent recordings no matter how you like the piece: in oratorio form (Jordi Savall, dramatic), the original orchestral (Riccardo Muti, dark-hued) or – most abundant – wide-ranging string quartet interpretations, from the poetic and period-instrument (Quatuor Mosaïques) to the intensely inward (Rosamunde Quartett). Cuarteto Casals has a quirkily formal sense of phrasing that can take some getting used to. Yet this group – from Spain, where the piece was premiered in 1787 – offers an alluring rendition in terms of timbre and texture, with the quartet’s period bows drawing out a sound that’s complex and vulnerable.