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Gregor Meyer – The Kreutzbach Organs (2024)
FLAC (tracks) 24 bit/48 kHz | Time – 01:06:56 minutes | 639 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Genuin
Gregor Meyer, director of the GewandhausChor, fulfills a dream by returning to “his” instrument, the organ, and recording an album at Genuin that gathers sounds from Saxon organs of an organ-building dynasty: the Kreutzbach family from Borna. Meyer plays organs from three eras, taking us through Saxony from Johanngeorgenstadt to Wiederau and Zwickau-Marienthal. Meyer’s organ playing utilizes the full range of the highly characteristic and historically valuable organs to faithfully and differentially portray music by Johann Sebastian Bach, Georg Böhm, and Max Reger. A must for lovers of historical, regionally anchored organ craftsmanship!
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GewandhausChor, Camerata Lipsiensis, Gregor Meyer – Joachim Raff: Welt-Ende · Gericht · Neue Welt (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 01:46:51 minutes | 1,86 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © CPO
The GewandhausChor is a semi-professional mixed-voice choir which, as the philharmonic choir of the Gewandhausorchester, is maintained by the Leipzig Gewandhaus and is one of the leading choirs of its kind. He takes part in vocal symphonic concerts with the Gewandhaus Orchestra, appears with his own a cappella programs and performs with other renowned ensembles. The Gewandhauschor is a member of the Association of German Concert Choirs.
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GewandhausChor, Gregor Meyer, Tobias Berndt, Heidi Steger and Uwe Steger – Schubert: Winterreise (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 01:12:24 minutes | 1,35 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Genuin
From the first notes, the snowy steps of “Fremd bin ich eingezogen” (As a stranger I arrived), the new recording of Schubert’s “Winterreise” by the GewandhausChor makes one sit up and take notice: Choirmaster Gregor Meyer has arranged one of the most paramount lieder cycles for his “instrument”, the choir, and makes virtuosic use of the possibilities offered by the ensemble’s polyphony and sonority. Meyer has split the original piano part between two accordions, played here by Heidi and Uwe Steger. Their instruments are astonishingly close to the human voice, breathing, shouting, whispering, and singing. Tobias Berndt, an accomplished lied singer, takes on the baritone solo part in this recording with the choir of one of the most renowned concert halls.
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Opella Musica, Gregor Meyer – Dietrich Buxtehude: Membra Jesu Nostri (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 01:03:46 minutes | 1,13 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © CPO
This time, the exciting and highly acclaimed early music ensemble Opella Musica, under the direction of Gregor Meyer, tackles a masterpiece of 17th century Lenten devotion. Dieterich Buxtehude’s Passion cycle “Membra Jesu Nostri” is meditation music. The contemplation of the body of Jesus of Nazareth hanging on the cross unfolds in the strict uniformity of a formal framework that is largely the same seven times – instrumental sonata, an ensemble called “Concerto,” multi-strophic aria, and repetition of the Concerto. The strongest meditative effect, however, comes from Buxtehude’s tonal language. The composer avoids great leaps and writes an intimately moving melody that seems to envelop the listener in a gesture of consolation. In addition, the harmony is simple, but astonishingly dissonant due to the numerous foretones.
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Opella Musica, Tillmann Steinhöfel, Gregor Meyer – Schein: Israelis Brünnlein (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 01:41:29 minutes | 1,89 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © CPO
Im frühen 17. Jahrhundert war Italien das Wunderland der Musik, alle neuen Ideen und Anregungen kamen von hier, und wer im Norden – also auch in Deutschland – Komponist war, kam an diesen Neuerungen, so z. B. der „madrigalischen Manier“, nicht vorbei. Auch Johann Hermann Schein hat die südlichen Anregungen, wie sie das Ohr der deutschen Musiker in Madrigalen und geistlichen Konzerten seit Beginn des Jahrhunderts erreichten, mit großer Begeisterung aufgenommen, dabei aber nie seine in deutscher Kapell- und Kantorei-Tradition wurzelnde musikalische Erziehung und Bildung verleugnen können. Das gilt besonders für seinen Zyklus 26 geistlicher Madrigale für 5 Stimmen und B. c., das Israels Brünnlein – Fontana d´Israel, erschienen 1623, als Schein schon Leipziger Thomaskantor war. Dieser Zyklus ist geradezu eine Verbindung aus deutsch-niederländischer Motettentradition und neuitalienischer Ausdruckskunst, ganz souverän verfügt Schein über die verschiedenen Stilphänomene, nur den Affekten und dem Ausdruck verpflichtet. Die Sammlung ist ein Schritt auf dem Weg zu einer subjektiveren, emotionaleren Glaubenspraxis, wie sie sich dann im Pietismus Bahn bricht.
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