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CHAN 0646
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CHAN 0646
Sacred Concerti and Harpsichord Music</nbr>

Weckmann: Sacred Concerti & Harpsichord Music

The Classical Shop
release date: October 1999

Originally recorded in 1999

Artists:

Stephen Varcoe

baritone*‡§

Paul Agnew

high tenor‡§

Robert Woolley

organ/harpsichord*‡§/†

Susan Gritton

soprano*

Julian Podger

tenor‡§

Purcell Quartet



Venue:

St Bartholemews Church, Orford, Suffolk



Producer:

Martin Compton



Engineer:

Anthony Howell


Julian Millard

(Assistant)

Record Label
Chaconne

Genre:

Harpsichord


Early Music

Total Time - 65:18
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Sacred Concerti and Harpsichord Music

 

MATTHIAS WECKMANN

Select Complete Single Disc for
   
1 

Wie liegt die Stadt so wüste*

16:08
  How doth the city sit solitary  
2 

Toccata IV†

4:37
  in A minor - a-Moll - la mineur  
 

Partita III†

8:41  
  in B minor - h-Moll - si mineur  
3 I Praeludium 0:50
4 II Allemanda 2:44
5 III [Courante] 1:24
6 IV Saraband 1:35
7 V Gigue 2:01
   
8 

Zion spricht, der Herr hat mich verlassen‡

8:59
  Zion said, the Lord hath forsaken me  
9 

Toccata dal 12 tuono V†

5:12
  in C major - C-Dur - ut majeur  
 

Partita II†

8:16  
  in C minor - c-Moll - ut mineur  
10 I Allemanda 2:44
11 II Gigue 1:33
12 III Courant 1:21
13 IV Sarab[and] & Le Double 2:38
   
14 

Weine nicht, es hat überwunden§

13:32
  Weep not, the lion of the tribe of Juda  
The Purcell Quartet are joined by a quartet of leading vocal soloists for this long-awaited disc of Weckmann’s Sacred concerti and harpsichord music.

Following the enormous success of their Lutheran Mass disc, The Purcell Quartet here perform a fascinating selection of Weckmann’s works including the premiere recording of the two Partitas.

A Thuringian by birth, Wekmann became a pupil of Schütz in 1630 and then of Sweelinck’s pupil Jacob Praetorius in 1633. After serving in various capacities in Dresden and Denmark, he was appointed organist at the Jacobskirche in Hamburg, where he remained until the end of his life.



The relatively small number of Weckmann’s works that survive are of very high quality and show exceptional stylistic versatility, no doubt in part due to the lifelong contact he maintained with major composers, such as Froberger and Schütz, from all parts of Germany

In 1663 an epidemic of the plague broke out in Hamburg, killing many of its inhabitants. (Weckmann went as far as writing a motet for his own funeral.) The calamity of 1663 inspired Weckmann to compose four masterly sacred concertos, which survive in a largely autograph volume in Lüneberg. Three are recorded here – the fourth ‘Herr, wenn ich nur dich habe’ is crossed out in the manuscript.

For his texts Weckmann makes no use at all of hymns or free verse, turning directly to the bible itself. The settings are neither through-composed like motets nor divided into separate movements like the eighteenth-century cantata. They are rather sectional but continuous, the formal design being in each case sui generis and entirely determined by the text. Freely declaimed monodies contrast with triple-time arias and with concertato or imitative passages in which the whole vocal and instrumental ensemble comes together



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