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Luther's wedding day

Capella de la Torre

Luther's wedding day

Price: € 12.95
Format: CD
Label: Challenge Classics
UPC: 0608917259827
Catnr: CC 72598
Release date: 16 November 2013
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Label
Challenge Classics
UPC
0608917259827
Catalogue number
CC 72598
Release date
16 November 2013

"This has to be some of the most tastefully controlled extended playing of shwams and dulcians that I have heared recently."

Early Music Review, 01-6-2014
Album
Artist(s)
Composer(s)
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DE

About the album

As little as we know about the actual musical programme for the celebration of Luther’s wedding, we are on the other hand excellently informed about the reformer’s fundamental relationship to music.

It is therefore no surprise that Luther not only possessed these significant theoretical and practical skills, but also had an intensive empathy for music.

However, he also wrote his own texts and melodies; the best known example is surely “Ein feste Burg ist unser Gott” (A Mighty Fortress is Our God) as paraphrase of the text of Psalm 46. He greatly admired contemporary composers, bove all Josquin de Prez; the quote “Josquin / he says / is the master of notes /everyone must do / what he wants / the other songmasters must do as the notes want” has in the meantime become practically a household word. Further more, he was personally acquainted with several composers. He collaborated very closely with Johann Walter was a close friend and correspondent of Ludwig Senfl.

A historically “exact” reconstruction for the music to Luther’s wedding would need a time machine not only to take us back to the year 1525, but also to make us into people of that time. For that the programme presented here keeps far more to “the probable and necessary” in the sense of a historically informed Aristotelian manner, which ensures a characteristic element that has been freed of fortuities.
Spectaculaire interpretatie van de muziek op Luthers bruiloft
In juni 1525 trouwde Martin Luther met Katharina von Bora. Het huwelijk werd niet alleen in kleine kring gevierd. Er waren namelijk ook hooggeplaatste gasten aanwezig. Er is weinig bekend over de muziek die tijdens de viering gespeeld werd, als die al werd gespeeld.

Er is wel voldoende informatie over Luthers verhouding tot muziek. Hij bezat niet alleen belangrijke theoretische en praktische muzikale vaardigheden, hij had ook empathie voor muziek. Naast componist was Luther een bewonderaar van de componisten van zijn tijd, met name Josquin de Prez. Hij was ook bekend met verschillende componisten.

Dit album is geen exacte muzikale reconstructie van de bruiloft van Luther. Dat is immers niet mogelijk. Ten eerste is er geen informatie over de precieze evenementen tijdens de bruiloft beschikbaar. Ten tweede zouden de luisteraars niet alleen in een tijdmachine moeten stappen, maar ook moeten veranderen in de mensen uit 1525. Nu horen de luisteraars de muziek op een andere manier, omdat de luistergewoonten en oren grondig zijn veranderd.

Met dit album brengt Capella del Torre dus de instrumentale en vocale muziek uit de tijd van Luther naar onze tijd. Het ensemble maakt wel gebruik van historische instrumenten voor de opnames.
Als der Reformator Martin Luther im Juni 1525 Katharina von Bora heiratete, wurde diese Eheschließung nachweislich auch gefeiert. Wenig ist über die Zeremonie oder die Umrahmung der Festlichkeiten mit Musik bekannt, über Luthers enge Beziehung zur Musik gibt es jedoch vielfältige Zeugnisse. Seine theoretischen und praktischen Kenntnisse manifestieren sich in vielerlei Hinsicht. Er bewunderte die Werke von Josquin de Prez, hatte persönlichen und freundschaftlichen Kontakt zu zeitgenössischen Komponisten wie Johann Walter und Ludwig Senfl und komponierte selber, darunter sein sicherlich bekannteste Lied „Ein feste Burg ist unser Gott“.

Das Ensemlbe Capella de la Torre stellte auf Grund dieser Kenntnisse eine Auswahl an Werken zusammen, die zur Hochzeitsfeier des großen Martin Luthers erklungen sein könnten. Eine exakte Rekonstruktion scheint dem Ensemble nicht erstrebenswert – auch die Zuhörer können nicht ins Jahr 1525 zurückversetzt werden. Das Programm eröffnet aber dem Hörer die Möglichkeit zu einer Rückbesinnung auf die Vita und den Einfluss der Musik im Leben Martin Luthers.

Artist(s)

Katharina Bäuml

Katharina Bäuml, born in Munich, studied modern oboe with Klaus Becker, Hanover, Rainer Herweg, Hamburg, and Winfried Liebermann, Mannheim. As part of her specialist studies of early music and historically informed performance, she subsequently took up the Baroque oboe, working with Renate Hildebrand (Hamburg) and Katharina Arfken (Basel). In master classes with Ku Ebbinge, Alfredo Bernardini, Paul Dombrecht, Bruce Haynes et al., she specialised in music of the Middle Ages and the Renaissance. Katharina Bäuml teaches in Berlin and gives master classes at the universities in Geneva, Hanover and Lübeck. She is the leading European interpreter of her generation on her special instrument, the shawm Katharina Bäuml founded her ensemble “Capella de la Torre” in 2005, which guests at renowned festivals such...
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Katharina Bäuml, born in Munich, studied modern oboe with Klaus Becker, Hanover, Rainer Herweg, Hamburg, and Winfried Liebermann, Mannheim. As part of her specialist studies of early music and historically informed performance, she subsequently took up the Baroque oboe, working with Renate Hildebrand (Hamburg) and Katharina Arfken (Basel). In master classes with Ku Ebbinge, Alfredo Bernardini, Paul Dombrecht, Bruce Haynes et al., she specialised in music of the Middle Ages and the Renaissance.
Katharina Bäuml teaches in Berlin and gives master classes at the universities in Geneva, Hanover and Lübeck. She is the leading European interpreter of her generation on her special instrument, the shawm Katharina Bäuml founded her ensemble “Capella de la Torre” in 2005, which guests at renowned festivals such as the “Tagen Alter Musik Regensburg”, the “Innsbrucker Festwochen”, “Laus Polyphoniae”, “Oude Muziek”, “Musique et Memoire”, “La Folia” and “Festival de Musica Antigua de Malaga”.
Katharina Bäuml has also had a special interest since 2010 in contemporary music. A CD released in autumn 2011 on the Genuin label presents seven new compositions for her duo “Mixtura” (founded together with the accordionist Margit Kern). Brice Pauset is at present composing a major work for Capella de la Torre and the ensemble recherche.
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Capella de la Torre

Capella de la Torre is a group of musicians who have made a name for themselves as specialists in historical performance practice. The ensemble's aim is to give listeners an immediate experience of the rich and hitherto neglected repertoire of mediaeval and renaissance music by performing it to a professional standard. The name 'de la Torre' has a double meaning. In the first place, it pays homage to the Spanish composer Francisco de la Torre, who wrote his 'Danza Alta' at the beginning of the 16th century. This is probably the most famous piece for what was then known as 'capella alta', an ensemble of wind instruments such as shawms,  dulcians, sackbuts and cornetti. Capella de la Torre has specialized in...
more
Capella de la Torre is a group of musicians who have made a name for themselves as specialists in historical performance practice. The ensemble's aim is to give listeners an immediate experience of the rich and hitherto neglected repertoire of mediaeval and renaissance music by performing it to a professional standard.
The name "de la Torre" has a double meaning. In the first place, it pays homage to the Spanish composer Francisco de la Torre, who wrote his "Danza Alta" at the beginning of the 16th century. This is probably the most famous piece for what was then known as "capella alta", an ensemble of wind instruments such as shawms, dulcians, sackbuts and cornetti. Capella de la Torre has specialized in music written for the "capella alta". Secondly, the name may be taken in a literal sense: "de la Torre" means "from the tower" and groups of wind players (Spanish: ministriles) often played on towers or balconies at festivals and other official occasions. "Torres de los Ministriles" are still to be found in many Spanish towns today.
Capella de la Torre does not confine itself to Spanish music, however, but also plays music written throughout the rest of Europe for the "hauts instruments" or "loud instruments". In general, it tries to breathe life into the old traditions of "ministriles", "piffari" and "Stadtpfeiffer".
In the music world of today there are very few ensembles centred around historical double-reed instruments. This is particularly so in Germany.

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Composer(s)

Josquin Desprez

The fact that Josquin Desprez would turn out to be one of the most influential composers of the Renaissance, is partly due to the many praises by Martin Luther. Luther saw Josquin's music as the perfect example of how to express text musically while maintaining the intended meaning. If you listen to Josquin's music, you will know what Luther meant. His motets are particularly appealing and engaging.  His popularity led a large number of publishers to publish music with Josquin's name on it, even though it wasn't composed by him at all, as this would undoubtedly generate better sales. Unfortunately, this meant that nowadays it is not always clear which works are written by him, and which are not...  His authentic works,...
more

The fact that Josquin Desprez would turn out to be one of the most influential composers of the Renaissance, is partly due to the many praises by Martin Luther. Luther saw Josquin's music as the perfect example of how to express text musically while maintaining the intended meaning. If you listen to Josquin's music, you will know what Luther meant. His motets are particularly appealing and engaging.

His popularity led a large number of publishers to publish music with Josquin's name on it, even though it wasn't composed by him at all, as this would undoubtedly generate better sales. Unfortunately, this meant that nowadays it is not always clear which works are written by him, and which are not... His authentic works, however, can be distinguished by their remarkable clarity, ingenuity and depth. Some highlights are his motets Miserere mei, Stabat Mater, his famous Ave Maria, Ut Phoebi Radiis, and his lamentation after the death of Johannes Ockeghem (La Déploration).


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Heinrich Isaac

Many know Heinrich Isaac from his twee famous settings of Innsbruck, ich muss dich lassen. Isaac is, however, author of an enormous body of works, with which he quickly grew to fame. Isaac was born in Flanders and received good education, despite the fact that he didn't pursue a career in the Church (which was unusual for a man of his stature). He was married, but probably has remained childless his whole life. Isaac's musical career developed remarkably well, with two of the most important employers of his age: after a position among the legendary House of Medici, he was appointed to be the main composer of the court of king Maximilian I. Heinrich Isaac's influence is especially apparent in his...
more
Many know Heinrich Isaac from his twee famous settings of Innsbruck, ich muss dich lassen. Isaac is, however, author of an enormous body of works, with which he quickly grew to fame. Isaac was born in Flanders and received good education, despite the fact that he didn't pursue a career in the Church (which was unusual for a man of his stature). He was married, but probably has remained childless his whole life. Isaac's musical career developed remarkably well, with two of the most important employers of his age: after a position among the legendary House of Medici, he was appointed to be the main composer of the court of king Maximilian I.
Heinrich Isaac's influence is especially apparent in his masses. He wrote no less than 36 masses, many of which were based on traditional Gregorian chants. Besides that, in his monumental Choralis Constantinu he sought to compose masses for every sunday of the year, but unfortunately this project was never finished. Isaac also composed many motets and songs, which shows his versatility and his extraordinary productivity.
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Press

This has to be some of the most tastefully controlled extended playing of shwams and dulcians that I have heared recently.
Early Music Review, 01-6-2014

Geen quote 
Tijdschrift Oude Muziek, 22-5-2014

lust for life
Concerto, 01-5-2014

Educational and entertaining.
The Independent, 23-2-2014

Heavenly!
Crescendo, 01-1-2014

Play album Play album
01.
Fanfare
01:09
(Anonymous ) Capella de la Torre, Katharina Bäuml
02.
Introitus: Psalm 119 V. 46-47/V1: Loquebar de testimoniis
03:54
(Heinrich Isaac ) Capella de la Torre, Katharina Bäuml
03.
Missa Nisi dominus aedificaverit domum: Kyrie
05:29
(Ludwig Senfl ) Capella de la Torre, Katharina Bäuml
04.
Missa Nisi dominus aedificaverit domum: Gloria
03:44
(Ludwig Senfl) Capella de la Torre, Katharina Bäuml
05.
Zur Epistel: For espistle [sola gratia/sola fide]: In te domine speravi
03:48
(Josquin Desprez ) Capella de la Torre, Katharina Bäuml
06.
Zum Evangelium [Seligpreisungen]: For Gospel [Beatitudes[: Beati immaculati (Psalm 119) 5
04:48
(Johann Walter ) Capella de la Torre, Katharina Bäuml
07.
Deutsches Credo: German Credo: Wir glauben all an einen Gott
04:59
(Johann Walter) Capella de la Torre, Katharina Bäuml
08.
Suesser Vater Herre Gott
06:07
(Heinrich Isaac) Capella de la Torre, Katharina Bäuml
09.
Ein feste Burg ist unser Gott
04:18
(Johann Walter) Capella de la Torre, Katharina Bäuml
10.
Carmen
02:12
(Heinrich Isaac) Capella de la Torre, Katharina Bäuml
11.
Nun freut euch lieben Christen gmein
03:38
(Michael Praetorius) Capella de la Torre, Katharina Bäuml
12.
Tant que vivray
03:47
(Claudin de Sermisy) Capella de la Torre, Katharina Bäuml
13.
Spiel: Play: La morra
03:07
(Heinrich Isaac) Capella de la Torre, Katharina Bäuml
14.
Tanz: Dance: Tanz: Dance
03:27
(Heinrich Isaac) Capella de la Torre, Katharina Bäuml
15.
Pavana Le forze d’Hercole: Le forze d’Hercole
02:30
(Anonymous) Capella de la Torre, Katharina Bäuml
16.
Gagliarda: Gentil Madonna
01:46
(Anonymous) Capella de la Torre, Katharina Bäuml
17.
Gagliarda : La Gambetta
02:20
(Anonymous) Capella de la Torre, Katharina Bäuml
18.
Allégez moy
02:25
(Josquin Desprez) Capella de la Torre, Katharina Bäuml
19.
Pavana/ Galliarda : La Traditora
03:30
(Anonymous) Capella de la Torre, Katharina Bäuml
20.
Saltarello : Torza
01:54
(Anonymous) Capella de la Torre, Katharina Bäuml
show all tracks

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