Nun freut euch, lieben Christen g'mein
1. Choralmelodie (Sopran)
2. Choralvorspiel HoWV X.26
(Trompete, Orgel)
Vater unser im Himmelreich
3. Choralmelodie (Tenor)
4. Choralvorspiel HoWV X.21
(Oboe, Orgel)
Komm, Heiliger Geist
5. Choralmelodie (Alt)
6. Choralvorspiel HoWV X.1
(Corno da cacda, Orgel)
Herr Christ, der einig Gottes Sohn
7. Choralmelodie (Alt)
8. Choralvorspiel HoWV X.3
(Oboe, Orgel)
Kantate: Fahre hin, du Lust der Welt HoWV II.172
Solo Sopran, 2 VI, Bc
9. Allegro-Fahre hin, du Lust der Welt
10. Recit.: Wohl dem, der seine Lebenszeit
11. Allegretto-Liebster Zion
O Heilger Geist, kehr bei uns ein
12. Choralmelodie (Sopran)
13. Choralvorspiel HoVVV X.2
(Corno da caccia, Orgel)
Nun freut euch, lieben Christen g'mein
14. Choralmelodie (Sopran)
15. Choralvorspiel HoWVX.17
(Trompete, Orgel)
O Gott, du frommer Gott
16. Choralmelodie (Sopran)
17. Choralvorspiel HoWVX.19
(Corno da cacda, Orgel)
Für deinen Thron tret ich hiermit
18. Choralmelodie (Tenor)
19. Choralvorspiel HoWV X.8
(Trompete, Orgel)
Sonate für Oboe und Basso continuo HoWV XI.1
20. Adagio
21. Allegro assai
22. Amoroso
23. Vivace
Was mein Gott will, das g'scheh allzeit
24. Choralmelodie (Bass)
25. Choralvorspiel HoWV X.18
(Corno da caccia, Orgel)
Allein zu dir, Herr Jesu Christ
26. Choralmelodie (Sopran)
27. Choralvorspiel HoWV X.Anh.10
(Oboe, Orgel)
O Gott, du frommer Gott
28. Choralmelodie (Tenor)
29. Choralvorspiel HoWV X.20
(Corno da caccia, Orgel)
Es ist das Heil uns kommen her
30. Choralmelodie (Tenor)
31. Choralvorspiel HoWV X.22
(Corno da caccia, Orgel)
Kantate: Erwachet, ihr Christen HoWV II.57
Solo STB, Coro SATB/SATB, 2 Ob, 2 VI, Va, Bc
32. Coro: Erwachet, ihr Christen
Choral: Gott, der Vater, wohn uns bei
33. Recit. (Tenor): Herr Zebaoth
34. Choral: Jesus Christus wohn uns bei
35. Recit. (Sopran): Du starker Held
36. Choral: Heilger Geist, ach wohn uns bei
37. Recit. (Bass): O Geist der Wahrheit
38. Coro: So stürmet, ihr Feinde

Friedrich Kircheis, Orgel & Cembalo 
Ludwig Güttler, Trompete & Corno da caccia
Barbara Christina Steude, Sopran 
Andreas Lorenz, Oboe
Sächsisches Vocalensemble, Einstudierung: Matthias Jung 
Virtuosi Saxoniae

So sparse has been Homilius’s representation on disc before Carus’s pioneering recording initiative that it’s a fair bet that many of the pieces will be making their first ever appearance on disc. This is the case with this latest release from the company which delves into the Dresden composer’s chorale settings for organ and obbligato trumpet, Corno da Caccia or oboe. It appears that we will not know for certain when they were written. There are some early 1741 examples of the genre but in the main his best known examples, from which these recorded examples derive, were contained in a collective manuscript book dating from the 1770s or 1780s.

The structure of these chorales is quite simple. Almost universally the melody instrument merely plays the chorale, whilst the organ is thus given the freedom to roam beneath the melodic statement. Thus a curious tension is set up between a stark statement, often by trumpet, and the more quasi-improvisatory ruminations of the organ which has been allowed to relinquish its job of melody statement in favour of a more expansive role. Each chorale is prefixed by a Choralmelodie sung by a solo alto, soprano, tenor or bass.

It’s also unusual in Homilius’s case to hear a short, virtuosic cantata Fahre hin, du Lust der Welt. It’s written for modest forces – two sopranos, two violins and continuo. The melody lines are distinguished and the writing is finely calibrated to meet the compact ensemble. Conjecturally this work dates from the period when Homilius was organist at the Frauenkirche in which, of course, the recording takes place. Historical frisson may be an overworked concept but one can’t help indulging it for a moment in this case.

Erwachet, ihr Christen is the other cantata and it functions as a dialogue for double choir. It too is a brief work but written for very slightly larger instrumental forces than the other cantata, and of course the choral forces grant it a wholly different sound, and function. It’s not especially reminiscent of Bach’s works but does have a finely expressive opening Coro and a culminatory one that is both cumulatively effective and rightly affirmative.

Unique in his output is the Oboe and basso continuo sonata. It’s speculated in the notes, though Uwe Wolf puts it no more than that, that it could have been a vespers work. Nimble and athletic it certainly calls for a good player.

The recorded sound is good; the long delay in the Frauenkirche is especially noticeable in the choralmelodies.

There are full texts and translations and as I’ve hinted the booklet notes don’t attempt to gloss over the difficulties of attribution, dating, purpose or design. This is a necessarily more specialised undertaking than earlier Homilius releases from Carus. Get to know him elsewhere first and then sample the grave nobility and organ freedoms implicit in his Chorales. ---Jonathan Woolf, musicweb-international.com

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	Teil 1
1-1 	1. Choral "So Gehst Du Nun, Mein Jesu" 	7:29
1-2 	2a. Recitativo "Und Nach Zween Tagen" 	0:23
1-3 	2b. Coro "Ja Nicht Auf Das Fest" 	0:54
1-4 	2c. Recitativo "Und Da Er Zu Bethanien 	0:32
1-5 	2d. Coro "Was Soll Doch Dieser Unrat" 	0:52
1-6 	2e. Recitativo "Und Murreten Über Sie" 	1:19
1-7 	3. Aria "Mensch Empfinde Doch Erbarmen" 	8:01
1-8 	4a. Recitativo "Und Judas Ischarioth" 	0:45
1-9 	4b. Coro "Wo Willt Du" 	0:24
1-10 	4c. Recitativo "Und Er Sandte" 	1:50
1-11 	5. Choral "Wo Soll Ich, Der Du Alles Weißt" 	0:35
1-12 	6. Recitativo "Und Sie Wurden Traurig" 	1:11
1-13 	7. Choral "O Weh Demselben" 	0:59
1-14 	8. Recitativo "Und Indem Sie Aßen" 	1:36
1-15 	9a. Aria "Wenn Euch Eure Sünden Drücken" 	4:04
1-16 	9b. Coro Dir Heiland, Die Weihn Wir" 	1:11
1-17 	10. Recitativo "Und Da Sie Den Lobgesang" 	1:3
1-18 	11. Choral "Hilf, Dass Ich Stehts" 	0:58
1-19 	12. Recitativo "Desselbengleichen" 	1:42
1-20 	13. Chral "Wache, Dass Dich Satans List" 	0:49
1-21 	14. Recitativo "Und Ging Ein Wenig" 	3:00
1-22 	15. Aria "Ich Geh, Von Leiden Ganz" 	11:20
1-23 	16. Recitativo "Und Alsbald" 	1:01
1-24 	17. Choral "Sei Getreu In Deinem Herzen" 	1:03
1-25 	18. Recitativo "Die Aber Legten" 	1:53
1-26 	19. Choral "Mir Nach, Spricht Christus" 	0:49
1-27 	20a. Recitativo "Und Er War Da" 	0:44
1-28 	20b. Arioso "Wir Haben Gehöret" 	0:36
1-29 	20c. Recitativo "Aber Ihr Zeignis" 	1:05
1-30 	21. Choral "O Jesu, Hilf Zur Selben Zeit" 	1:01
1-31 	22. Recitativo "Da Zuriss Der Hohepriester" 	0:26
1-32 	23. Aria "Verdammt Ihn Nur" 	5:19
1-33 	24a. Recitativo "Da Fingen An Etliche" 	0:12
1-34 	24b. Coro "Weissage Uns" 	0:06
1-35 	24c. Recitativo "Und Die Knechte" 	1:08
1-36 	24d. Coro "Wahrlich, Du Bist Der Einer" 	0:44
1-37 	24e. Recitativo "Und Er Fing An" 	0:13
1-38 	25. Aria "Verkennt Ihn Nicht" 	7:15
1-39 	26. Recitativo "Und Der Hahn Krähete" 	1:01
1-40 	27. Chroal "O Vater Der Barmherzikeit 	1:25

	Teil 2
2-1 	28. Choral "Weint, Izt Wird" 	1:11
2-2 	29. Recitativo "Und Bald Am Morgen" 	0:42
2-3 	30. Aria "Mit Preis Und Ruhm Gekrönt 	6:54
2-4 	31a. Recitativo "Und Die Hohenpriester" 	2:00
2-5 	31b. Coro "Kreuzigt Ihn" 	0:27
2-6 	31c. Recitativo "Pilatus Aber Sprach" 	0:13
2-7 	31d. Coro "Kreuzigt Ihn" 	0:27
2-8 	32. Choral "Herzliebster Jesu" 	0:51
2-9 	33.a. Coro "Pilatus Aber Gedachte" 	0:42
2-10 	33b. Coro "Gegrüßet Seist Du" 	0:39
2-11 	33c. Recitativo "Und Schlugen Ihm" 	0:55
2-12 	34a. Accompagnato "Jerusalem" 	1:46
2-13 	34b. Aria "Er Hat Dich Erretten Wollen" 	2:36
2-14 	34c. Accompagnato "Nein, Du Hast Nicht" 	0:36
2-15 	34d. Aria "Er Will Leiden" 	1:51
2-16 	35. Recitativo "Und Sie Brachten Ihn" 	0:25
2-17 	36. Choral "Dein Durst Und Gallentrank" 	0:36
2-18 	37a. Recitativo "Und Da Sie Ihn" 	1:23
2-19 	37b. Coro "Pfui Dich" 	0:41
2-20 	37c. Recitativo "Desselbigengleichen" 	0:09
2-21 	37d. Coro "Er Hat Anderen Geholfen" 	0:38
2-22 	37e. Recitativo "Und Die Mit Ihm" 	0:11
2-23 	38. Choral "Ich Werde Dir Zu Ehren 	0:45
2-24 	39. Recitativo "Und Nach Der Sechsten" 	1:45
2-25 	40. Aria "Verstummet Der Himmel" 	6:44
2-26 	41a. Recitativo "Und Etliche" 	0:08
2-27 	41b. Coro "Siehe, Er Rufet" 	0:07
2-28 	41c. Recitativo "Da Lief Einer" 	0:47
2-29 	42. Aria "Ihr Tränen Fließt!" 	7:15
2-30 	43. Recitativo "Und Der Vorhang" 	0:13
2-31 	44. Choral "Ihr Gräber Brecht" 	0:46
2-32 	45. Recitativo "Der Hauptmann Aber" 	2:10
2-33 	46. Choral "Der Hirt Ist Tot" 	0:51
2-34 	47. Recitativo "Und Er Kaufte" 	0:52
2-35 	48. Coro "Gott Ist Versöhnt" 	2:57

Monika Mauch (soprano) 
Ruth Sandhoff (alto)
Hans Jörg Mammel (tenor) 
Thomas Laske (bass)

Хор Basler Madrigalisten 
L' Arpa festante (Ensemble) 
Fritz Näf – conductor

Virtually every music lover has experienced a few moments of indecision when, hearing a piece of music, there are feelings of both familiarity and ignorance; that sense of musical déjà vu inspired by an instinct for recognizing a specific piece or its style and an inability to precisely identify the score or its composer. The music of Gottfried August Homilius, a crossroads at which styles past and future intersect, might well account for some of these moments of musical confusion. Indeed, there are moments in his Markuspassion when Homilius—an almost exact contemporary of Gluck—has one foot firmly in the Baroque traditions of Bach and Händel and the other stretching into the mature Classicism of Haydn and Mozart. Markuspassion is far more than a curiosity or stylistic hybrid, however: in a score of roughly the same duration as Bach’s Johannes-Passion, Homilius makes his own unique compositional voice apparent.

A native Saxon like both Bach and Händel, Homilius may have been a pupil of the former at Leipzig: it is known that the younger composer moved in circles populated by Bach’s students, but evidence supporting the suggestion that Homilius personally studied with Bach is largely anecdotal, based upon the recollections of the composer Johann Adam Hiller, who became Cantor of Thomaskirche in 1789, nearly forty years after Bach’s death. Active for virtually his entire professional life as first an organist and later Cantor in Dresden, Homilius enjoyed access to a rich Lutheran liturgical tradition that drew upon the work of Buxtehude, Pachelbel, Telemann, and Bach, as well as proximity to one of the most musically progressive Courts in 18th-Century Europe. In fact, the Markuspassion was dedicated by Homilius to Princess Anna Amalia, the influential sister of the music-loving Frederick the Great, perhaps in recognition of her patronage of an early performance of the work. Historical details of personal, professional, and educational associations notwithstanding, Homilius’s skill and integrity as a composer are obvious in Markuspassion.

The Stuttgart-based Carus label has devoted a number of releases in its ‘Music from Dresden’ line to music by Homilius, and this confidence in the quality of the music of a composer little known to many listeners is opulently rewarded in this recording of Markuspassion. Twenty voices strong for this performance, the choristers—and occasional soloists—of Basler Madrigalisten impress in every choral episode. Blending beautifully in the chorales, they also prove thrilling in their full-throated singing of the turba-like choruses that are so reminiscent of the Passions of Bach. The opening chorale, ‘So gehst du nun, mein Jesu,’ is cut from the same fabric as the opening movements of both Bach’s Johannes-Passion and his Matthäus-Passion, and the choristers sing it with appropriate anguish but beautiful tone. Equally impressive are instances in which tenors from the choir combine in a smaller ensemble to portray Christ’s Apostles, a lovely effect. The choristers and soloists receive expert support from the twenty-seven players of L’arpa festante. As in Bach’s Passions, Homilius’s music requires several of the instrumentalists to contribute solo obbligati, all of which are played with finesse and attention to detail derived from the relevant texts. Fritz Näf, founder of Basler Madrigalisten, conducts sensitively, taking cues on tempi from the dramatic situations. Perhaps most importantly, Maestro Näf gives the performance space in which to develop naturally, allowing Homilius’s music to work its magic without conductorial interference or forced climaxes.--- voix-des-arts.com

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