Fritz Wunderlich sings Sacred Music
£37.00
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Label: SWR Classic
Cat No: SWR19095CD
Format: CD
Number of Discs: 7
Genre: Vocal/Choral
Release Date: 19th March 2021
Contents
Works
Christmas Oratorio (Weihnachts-Oratorium), BWV248 (excerpts)St John Passion, BWV245
Messiah, HWV56
In terra pax
Mass in C minor, K427 'Great'
Requiem in D minor, K626
Requiem (Messa da Requiem) (highlights)
Artists
Fritz Wunderlich (tenor)Freiburger Bachchor
Philhamonischer Chor Stuttgart
Sudfunk Chor Stuttgart
Sudwestfunk-Orchester
Radio-Sinfonieorchester Stuttgart
Philharmonisches Orchester Freiburg
Conductors
Theodor EgelAugust Langenbeck
Heinz Mende
Hans Muller-Kray
Works
Christmas Oratorio (Weihnachts-Oratorium), BWV248 (excerpts)St John Passion, BWV245
Messiah, HWV56
In terra pax
Mass in C minor, K427 'Great'
Requiem in D minor, K626
Requiem (Messa da Requiem) (highlights)
Artists
Fritz Wunderlich (tenor)Freiburger Bachchor
Philhamonischer Chor Stuttgart
Sudfunk Chor Stuttgart
Sudwestfunk-Orchester
Radio-Sinfonieorchester Stuttgart
Philharmonisches Orchester Freiburg
Conductors
Theodor EgelAugust Langenbeck
Heinz Mende
Hans Muller-Kray
About
Despite his young age Fritz Wunderlich seemed to have effortlessly mastered even the most virtuoso challenges. And the way he used his famous ‘golden voice’ to master the challenging role of the evangelist in the St John Passion is truly remarkable. It's safe to say that he always fully exploited his artistic potential for achieving an interpretation that the listener will never forget.
The recording of Handel’s Messiah presented here was made on 21 March 1959. Wunderlich was the only tenor involved, also singing the arias – and what a melodious voice, what intense devotion! The live recording of Mozart’s Requiem (Ottobeuren, 21 June 1958) features a stellar cast: apart from Fritz Wunderlich, soprano Agnes Giebel, alto Iva Malaniuk and bass Otto von Rohr also took part in the performance. Mozart didn’t finish his C minor Mass, K427. This live recording from 22 June 1957, however, includes the missing parts supplied by court music director Georg Alois Schmitt (1827–1902) from Schwerin. He mostly used works or parts of works Mozart himself had written. However, there is one exception: for the Credo, Schmitt used the Crucifixus from Johann Ernst Eberlin’s (1702–1762) Mass No.8. Such an edition of the work is rarely heard nowadays.
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