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Morten Schuldt-Jensen A graduate of the Royal Danish Academy of Music, Morten Schuldt- SCHUBERT Jensen holds a Master’s degree in musicology from the University of Copenhagen. Post-graduate courses include study with, among others, Sergiù Celibidache and Eric Ericson. He forged an early career in successful performances with internationally acclaimed Danish choirs and orchestras, culminating in his appointment as Representative Mass in C major • Mass in G major Conductor for Denmark (Nordic-Baltic Choral Festival). He is also a regular guest conductor for various distinguished German orchestras and choirs including the RIAS-Kammerchor, Berlin; the MDR Deutsche Messe Rundfunk-Chor, Leipzig; the NDR-Chor, Hamburg; the Akademie für Alte Musik, Berlin; the Gewandhausorchester, Leipzig and the Helsingborgs Symfoniorkester. He has also worked frequently with the Immortal Bach Ensemble • Leipziger Kammerorchester Danish National Radio Choir and the Philharmonic Orchestra of Copenhagen. As a chorus master he has worked with conductors Morten Schuldt-Jensen including Sir Simon Rattle, Herbert Blomstedt, Philippe Herreweghe, Vladimir Ashkenazy, Lothar Zagrosek and many others. From 1999 to 2006 he was director of choirs at the Gewandhaus in Leipzig, where he founded the Gewandhaus Chamber Choir in 2001, an ensemble known now as the Immortal Bach Ensemble. In 2000 he was appointed principal conductor and artistic director of the Leipzig Chamber Orchestra. Wide ranging and unusual repertoire, accurate sense of style and a broad variety of interpretation characterise his work with both ensembles, documented in a number or recordings and broadcasts. In his home country of Denmark he founded and conducts the chamber choir Sokkelund Sangkor, with which he has won several international awards. He also founded the Tivoli Concert Choir. Teaching remains an important part of Morten Schuldt-Jensen’s work and in 1992 he was appointed associate professor at the Royal Danish Academy of Music in Copenhagen. From 2001 to 2006 he lectured at the Felix Mendelssohn-Bartholdy Hochschule für Musik und Theater in Leipzig and in 2006 he was appointed to the professorship of choral and orchestral conducting at the Staatliche Musikhochschule in Freiburg/Breisgau. Morten Schuldt-Jensen has conducted at some of the best known European music venues and festivals, including the Gewandhaus and Thomaskirche in Leipzig, Philharmonie Berlin, the Reingau Musik Festival, Schleswig-Holstein-Festival, the Festspiele Mecklenburg-Vorpommernand, MDR-Musiksommer, and the Mendelssohn-Festtage in Leipzig. His work also takes him abroad with performances at the Seoul International Music Festival, Korea; the Kioi Hall, Tokyo and extensive touring throughout Germany, France, Italy, Spain, Japan and Scandinavia.

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Franz Schubert (1797–1828) Immortal Bach Ensemble Masses in C and G major • Deutsche Messe The Immortal Bach Ensemble has its roots in the Gewandhaus in Leipzig. In 2001 Morten Schuldt-Jensen, MASS NO. 4 IN C MAJOR, D. 452, Op. 48 18:50 Credo the former director of the Gewandhaus choirs, formed the $ Credo in unum Deum (Chorus) 3:20 GewandhausKammerchor, its members having been Kyrie recruited from the top professional concert and choral 1 Kyrie eleison (Soloists and Chorus) 2:17 Sanctus singers of Germany, The Netherlands, Southern % Sanctus, sanctus, sanctus (Chorus) 0:40 Scandinavia and Switzerland. With this handpicked Gloria ^ Osanna in excelsis (Chorus) 0:35 ensemble Schuldt-Jensen works on projects with a very 2 Gloria in excelsis Deo (Soloists and Chorus) 3:49 wide-ranging repertoire, from oratorios to twentieth- Benedictus century a cappella music, for which the choir has been Credo & Benedictus qui venit 3:22 acclaimed by audiences and the press alike. In addition to 3 Credo in unum Deum (Soloists and Chorus) 1:24 (Soprano, Tenor and Bass) frequent performances in Leipzig and figuring in high 4 Et incarnatus est (Soloists and Chorus) 1:24 * Osanna in excelsis (Chorus) 0:38 profile venues such as Schleswig-Holstein and Rheingau, 5 Et resurrexit (Chorus) 1:51 the choir has produced several highly praised recordings, Agnus Dei with an acclaimed version of Mozart’s Requiem for Naxos (8.557728). Since May 2006 the Sanctus ( Agnus Dei (Soprano, Bass and Chorus) 4:16 GewandhausKammerchor has been renamed the Immortal Bach Ensemble. The title ‘Immortal Bach’ is taken from 6 Sanctus, sanctus, sanctus (Chorus) 0:38 a work of the Norwegian composer Knut Nystedt, who arranged a Bach chorale in different tempi and sequences, 7 Osanna in excelsis (Soloists and Chorus) 0:44 Claudia Reinhard, Soprano and with it demonstrates the artistic credo of the choir. The Immortal Bach Ensemble aims to combine old and new Rüdiger Ballhorn, Tenor and with top quality performances seeks to explore new ideas and perspectives captivating for both singers and Benedictus Markus Flaig, Bass audience. 8 Benedictus qui venit (Soprano and Chorus) 3:00

Agnus Dei Leipzig Chamber Orchestra 9 Agnus Dei (Soloists and Chorus) 1:46 DEUTSCHE MESSE, D. 872 24:01 The Leipzig Chamber Orchestra was founded in 1971 by 0 Dona nobis pacem (Soloists and Chorus) 1:57 members of the Leipzig Gewandhaus Orchestra who were, ) 1. Zum Eingang: Mäßig 3:34 in addition to playing larger-scale symphonic and operatic Claudia Reinard, Soprano ¡ 2. Zum Gloria: Mit Majestät 2:23 repertory, striving for the experience of performance Christine Wehler, Alto ™ 3. Zum Evangelium und Credo: 3:48 practice on a more individual level. Morten Schuldt-Jensen, Raimund Mlnarschik, Tenor Nicht zu langsam artistic director since 2000, has formed a very flexible Tobias Berndt, Bass £ 4. Zum Offertorium: Sehr langsam 2:10 ensemble with a very personal style that suits the present ¢ 5. Zum Sanctus: Sehr langsam 2:46 time. With him the orchestra has toured Denmark, Spain, ∞ 6. Nach der Wandlung: Sehr langsam 2:22 Korea, and Japan, appeared at the Rheingau and Schleswig- § 7. Zum Agnus Dei: Mäßig 3:06 Holstein Music Festivals, and made a number of recordings. MASS NO. 2 IN G MAJOR, D. 167 18:44 ¶ 8. Schlußgesang: Nicht zu langsam 1:48 Orchestra and conductor seek to perform compositions on • 9. Das Gebet des Herrn: Mäßig 2:04 modern instruments with extra care to articulation, phrasing, Kyrie and tone-colours, combining the technical possibilities of ! Kyrie eleison (Soprano and Chorus) 3:08 modern instruments with the latest insights into performance practice from baroque music to the present. Gloria @ Gloria in excelsis Deo (Chorus) 1:12 # Domine Deus (Chorus) 1:33

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Rüdiger Ballhorn Franz Schubert (1797–1828) The tenor Rüdiger Ballhorn was born in 1973 in Homberg/Efze and had his early musical training in the Windsbach Masses in C and G major • Deutsche Messe Boys’ Choir from 1981 to 1985. His training as a soloist began in 1993 under Horst R. Laubenthal, with whom he studied at the Würzburg Musikhochschule, followed by master-courses with James Wagner in Lübeck. His first Franz Schubert was born in Vienna in 1797, the son of a continued until near the end of 1820, after which opera engagement was in 1999 when he sang Monostatos at the Theater Würzburg. In 2002 he sang in Don Giovanni schoolmaster, and spent the greater part of his short life Schubert spent some months living alone, now able to at the Aix-en-Provence Festival under Daniel Harding in Peter Brook’s production, and in Verdi’s Falstaff at the in the city. His parents had settled in Vienna, his father afford the necessary rent. Paris Théâtre des Champs-Elysées. His career has brought appearances as the Evangelist in Bach’s Passions and in moving there from Moravia in 1783 to join his By this period of his life it seemed that Schubert was oratorios by Handel and Haydn, and works by Mozart, music which holds a central position in his career. Since 2002 schoolmaster brother at a school in the suburb of on the verge of solid success as a composer and he has sung first tenor in the Ensemble Six and in 2003 was the tenor soloist in Charpentier’s Te Deum at the Leipzig Leopoldstadt and marrying in 1785 a woman who had musician. He lodged once again with the Schobers in Bach Festival. her origins in Silesia and was to bear him fourteen 1822 and 1823 and it was at this time that his health children. Franz Schubert was the twelfth of these and the began to deteriorate, through a venereal infection that Tobias Berndt fourth to survive infancy. He began to learn the piano at was then incurable. This illness overshadowed the The baritone Tobias Berndt, a native of Berlin, received his initial training in music during the ten years that he was the age of five, with the help of his brother Ignaz, twelve remaining years of his life and was the cause of his early a member of the Kreuzchor in Dresden. As a treble he sang the rôle of the first boy in Mozart’s The Magic Flute at years his senior, and three years later started to learn the death. The following years brought intermittent returns the Semperoper in Dresden and at the Comic Opera in Berlin. He studied voice under Hermann Christian Polster at violin, while serving as a chorister at Liechtental church. to his father’s house, since 1818 in the suburb of Rossau, the Felix Mendelssohn-Bartholdy Hochschule für Musik und Theater in Leipzig. He also attended master-classes led From there he applied, on the recommendation of and the continuation of social life that often centred on by Rudolf Piernay, Theo Adam, Wolfram Rieger, Júlia Várady, and Dietrich Fischer-Dieskau. A recipient of a Antonio Salieri, to join the Imperial Chapel, into which his own musical accomplishments and of his intense Mauersberger Fellowship, the Artland Music Prize, and a fellowship from the Hans and Eugenia Jütting Foundation, he was accepted in October 1808, as a chorister now activity as a composer. In February 1828 the first public he competed with success in various competitions; in 2004, for example, winning the third prize at the German Song allowed to study at the Akademisches Gymnasium, concert of his music was given in Vienna, an enterprise Competition in Berlin. Tobias Berndt has a busy career as a concert singer. He has appeared at renowned festivals, boarding at the Stadtkonvikt, his future education that proved financially successful, and he was able to including the Leipzig Bach Festival, Schumann Days in Zwickau, Prague Spring Festival, and European Music guaranteed. spend the summer with friends, including Schober, Festival in Stuttgart. Concert engagements have also taken him to other countries in Europe and to the United States During his schooldays Schubert formed friendships before moving, in September, to the suburb of Wieden and Chile. Radio and commercial recordings testify to his acievement as a performing artist. that he was to maintain for the rest of his life. After his to stay with his brother Ferdinand, in the hope that his voice broke in 1812, he was offered, as expected, a health might improve. At the end of October, however, Markus Flaig scholarship to enable him to continue his general he was taken ill at dinner and in the following days his Born in Horb am Neckar, Markus Flaig studied school and church music at the Freiburg im Breisgau education, but he chose, instead, to train as a primary condition became worse. He died on 19th November. Musikhochschule, going on to study singing with Beata Heuer-Christen and in the opera class of Gerd Heinz. He school teacher, while devoting more time to music and, From childhood Schubert had had a particularly went on to further study with Berthold Possemeyer in Frankfurt am Main, until 2004, followed in 2006 with study in particular, to composition, the art to which he was close association with church music. He had started at under Carol Meyer-Bruetting in Frankfurt. In 2004 he was a prize-winner in the International Johann Sebastian Bach already making a prolific contribution. In 1815 he was the age of eight as a choirboy at the parish church in Competition in Leipzig. Early appearances included rôles in Britten’s The Burning Fiery Furnace and Noyes Fludde able to join his father as an assistant teacher, but showed Liechtental, where he was taught by the choirmaster and Purcell’s The Fairy Queen, and in Rameau’s Les fêtes d’Hébé at the Margrave’s Opera House in Bayreuth. no great aptitude or liking for the work. Instead he was Michael Holzer, a pupil of Albrechtsberger. From 1808 Markus Flaig has since developed a wide repertoire ranging from the Renaissance to the contemporary and gave the able to continue the earlier friendships he had formed at he was a chorister in the Imperial and Royal Chapel and first performance of a song-cycle on poems by Thomas Bernhard written for him by Franz F. Kaern. His first solo school and make new acquaintances. His meeting in remained in the choir until his voice broke in 1812, recording was devoted to cantatas by Bach, Telemann and Graupner. He has toured extensively throughout Europe, 1816 with Franz von Schober allowed him to accept an bringing an end to seven years of regular practical in Central and South America and the Far East, and since 1997 has collaborated in Lieder repertoire with the pianist invitation to live in the latter’s apartment, an participation in the music of the church. His many Jörg Schweinbenz. arrangement that relieved him of the necessity of liturgical compositions seem to have started in 1812, earning his keep in the schoolroom. In August 1817 he with his first Mass in F major, D. 105, written in 1814 returned home again and resumed his place, for the for Liechtental and first performed there under moment, in the classroom. The following summer he Schubert’s direction. He continued to write music for the spent in part at Zseliz in Hungary as music tutor to the church until the final weeks of his life. two daughters of Count Johann Karl Esterházy von The second of Schubert’s six completed Masses, the Galánta, before returning to Vienna to lodge with a new Mass in G major, D. 167, was written in early March friend, the poet Johann Mayrhofer, an arrangement that 1815 and was originally scored for soprano, tenor and 8.570764 6 3 8.570764 570764bk Schubert US 18/9/09 11:02 Page 4

bass soloists, mixed choir, strings and organ. It was once part chorus. The D major Sanctus, marked Adagio Schubert wrote his Deutsche Messe, D. 872, in 1827 in The work was scored for a mixed choir with an thought that parts for oboes or clarinets, bassoons, maestoso, bursts in, in full grandeur, with the first response to a commission from the physicist and writer accompaniment of wind instruments and organ. It later trumpets and timpani had been added by Schubert’s contrapuntal element introduced in the Osanna in Johann Philipp Neumann, who had written the libretto appeared in a number of varied arrangements, some elder brother Ferdinand, but recovery of the original excelsis. The Benedictus, in a lilting 6/8, is scored for for Schubert’s projected but unfinished opera Sakuntala. seemingly the work of Ferdinand Schubert, testimony to parts in Schubert’s hand makes it clear that the revised soprano, tenor and bass soloists and leads to the return Neumann, who paid Schubert 100 gulden for the work, its popular continuing congregational use. orchestration was his own work. The Mass was probably of the contrapuntal Osanna in excelsis. The Agnus Dei required a set of simple hymns for congregational use at first heard at Liechtental and the soprano solos suggest starts in E minor with the first petition allotted to the Mass, a commission that Schubert faithfully fulfilled. Keith Anderson that the work had been written partly with the talents of soprano soloist, with the chorus echoing the final words. Therese Grob in mind. The young soprano, daughter of The second petition is given to the bass soloist, with the neighbours of the Schuberts, had sung the soprano solos chorus repeating again the final phrase. The soprano in Schubert’s Mass in F, and Franz Schubert seems to returns with the final Agnus Dei, with the plea for peace Claudia Reinhard have set his heart on her, although nothing came of the bringing the work to an end in the home key of G major. Claudia Reinhard first completed a teacher’s training degree in music and English at Hamburg University and supposed attachment. As elsewhere, Schubert treated the The Mass in C major, D. 452, was written in June College of Music. Afterwards she studied voice with Ulf Bästlein at the College of Music in Lübeck and the liturgical text with a certain freedom and omitted from and July 1816 and scored for soprano, alto, tenor and University of Arts in Graz, Austria, where she was also a member of the opera department. In addition she took part the Credo the phrase Et in unam sanctam catholicam et bass soloists, four-part chorus, strings and organ, later in master-classes with Julia Jamari, Klesie Kelly and Charles Spencer. Claudia Reinhard has appeared as a soloist apostolicam ecclesiam (And in one holy Catholic and rescored by Schubert with two oboes or clarinets, two in song recitals and oratorio performances and has also worked as a vocal teacher. She has sung in choirs including Apostolic Church), an omission taken by some to trumpets and timpani. It was performed at the church of the Munich Radio Choir, the GewandhausKammerchor Leipzig, the BBC Symphony Chorus in London and the indicate an element of alienation from the Church. It has St Ulrich in Vienna in September 1825, presumably Kammerchor Stuttgart. Since 2003 she has been a member of the renowned vocal ensemble Singer Pur, with which recently been suggested, however, that Schubert here under Ferdinand Schubert, and was among the small she has appeared in numerous concerts and taken part in productions for television and radio. Two of their numerous was conforming to the standard contemporary practice group of liturgical works published by Diabelli in the recordings were awarded the important ECHO Klassik prize in 2005 and 2007. Claudia Reinhard has also appeared of the Catholic Enlightenment (qv. Manuel Jahrmärker: same year, with a further posthumous edition in 1829 as a guest artist with the Hilliard Ensemble. Schubert – ein Anhänger der katholischen Aufklärung? that included an alternative and simpler choral setting of …, Schubert-Jahrbuch 1997). It must be added that some the Benedictus. The publication of the work presumably of the textual omissions do not always make very good came about as Schubert sought to support his hopes of Christine Wehler sense. succeeding to the position of Court Vice-Kapellmeister. Christine Wehler has worked as a free-lance concert singer since 1995, appearing as a soloist in various oratorio and In the Mass in G the homophonic G major Kyrie has The Kyrie, as elsewhere, makes full use of four solo Passion performances. Her repertoire extends from the Renaissance to the contemporary. She studied singing and an A minor soprano solo to introduce the Christe voices in alternation with the choir and the second guitar at the Münster and Wuppertal Musikhochschule, followed by further vocal study with Mechtild Georg in eleison, after which the music of the opening Kyrie tripartite Kyrie eleison returns to the music of the Cologne and of musicology, German studies and philosophy at Cologne University. She has taken part in various eleison returns. As in some of Mozart’s Missae breves opening, suitably varied. The Gloria, with its opening master-classes and her teachers have included Christoph Prégardien, Julia Hamari, Kurt Widmer and Ingeborg Danz. with which Schubert must have been familiar as a ascending scale, dotted rhythms and harmonic structure, Her career has brought collaboration in Germany and abroad with distinguished conductors and participation in well chorister, the Gloria and Credo are set as single follows contemporary convention, with a return to its known festivals, as well as broadcasts and recordings. movements, with an occasional telescoping of the texts opening at Quoniam tu solus sanctus. The Credo has the (in this recording, however, the Gloria is cued as two necessary contrast at the D minor opening of the Et separate tracks, Gloria in excelsis Deo and Domine incarnatus est, set for solo voices and marked Adagio Raimund Mlnarschik Deus). The homophonic Gloria is in D major and omits molto, and at the jubilant C major of Et resurrexit. The The tenor Raimund Mlnarschik was born in Munich and graduated from the Hochschule für Musik there with a the petition Qui sedes ad dexteram Patris, miserere tranquillity of the Sanctus is interrupted by the soprano teaching diploma, principally as a pianist. He received his vocal training with Peter Ulrich and Markus Goritzki, nobis. The Credo offers an opening passage that has the solo that opens the Osanna in excelsis. The same followed by study of song accompaniment at the Hochschule, and further training in singing with Heinz simplicity of a hymn, set against a moving bass line. Osanna follows the original F major soprano solo of the Schmidtpeter and Jutta Bethsold as well as in orchestral and choral conducting. Apart from his work as a music Changes of key add a touch of drama to Crucifixus etiam Benedictus, heard here but replaced in 1828 by a simpler teacher in a secondary school, he enjoys a busy concert career as a pianist, a tenor soloist and as an ensemble singer pro nobis, followed by a suitably jubilant Et resurrexit. A minor setting. The Agnus Dei continues the contrast of in the concert choir of Bavarian Radio, in the Leipziger GewandhausKammerchor, in the Immortal Bach Ensemble The music of the opening returns for the final statements solo voices and full choir and leads to a final Dona nobis and in the Collegium Vocale Gent. His repertoire ranges from the Renaissance to the modern, with a special of belief, Credo in Spiritum Sanctum, with brief pacem in a brisk triple metre, providing a musically preference for baroque oratorio. antiphonal use of the upper and lower voices of the four- satisfying conclusion. 8.570764 4 5 8.570764 570764bk Schubert US 18/9/09 11:02 Page 4

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CMYK NAXOS NAXOS A chorister from the age of eight until his voice broke seven years later, Franz Schubert was well placed to compose sacred music, including several splendid settings of the Mass. His second, completed in 1815, and fourth, written during the following year, follow Mozart’s examples but with strikingly Schubertian touches such as his dramatic use of key relationships and contrasting vocal textures to express the prayerful, meditative and glorious DDD SCHUBERT nature of the liturgical text. For the so-called German Mass, Schubert wrote unassuming yet SCHUBERT heartfelt settings of congregational hymns for performance during the service. 8.570764

Franz Playing Time SCHUBERT 61:38

: (1797–1828) : Masses in C and G major Masses in C and G major

1-0 Mass No. 4 in C major, D. 452, Op. 48 18:50

!-( Mass No. 2 in G major, D. 167 18:44 www.naxos.com Disc Made in Canada • Printed & Assembled in USA www.naxos.com/libretti/570764.htm Sung texts are available at: Booklet notes in English ) • - Deutsche Messe, D. 872 24:01 & 2009 Naxos Rights International Ltd.

Immortal Bach Ensemble Leipziger Kammerorchester Morten Schuldt-Jensen 8.570764 Recorded in Paul-Gerhardtkirche, Leipzig, Germany from 10th to 12th September, 2007 8.570764 Producer and Engineer: Thomas Wieber • Assistant Engineer: Rüdiger Bergmann Booklet Notes: Keith Anderson • Sung texts are available at: www.naxos.com/libretti/570764.htm Please see the booklet for a detailed track and artist list Cover Picture: Strandgeschichten by Milena Rehborn (www.milena-rehborn.de)