Biography Thomaskantor Gotthold Schwarz As of March 2018

Total Page:16

File Type:pdf, Size:1020Kb

Biography Thomaskantor Gotthold Schwarz As of March 2018 Thomaskantor Gotthold Schwarz Gotthold Schwarz is the 17 th Thomaskantor after Johann Sebastian Bach. On 9 June 2016 he has been appointed as Thomaskantor and has been officially inaugurated on 20 August 2016. Born in Zwickau as a son of a cantor he gained his musical education at the “Hochschule für Kirchenmusik Dresden” (University for Church Music Dresden) and also at the “Hochschule für Musik und Theater „Felix Mendelssohn Bartholdy“ Leipzig” (University of Music and Theatre „Felix Mendelssohn Bartholdy“ Leipzig) after having been a member of Thomanerchor Leipzig for s short time in his childhood. He studied singing with Gerda Schriever, playing the organ with former St. Thomas Organist Hannes Kästner and Wolfgang Schetelich, as well as conducting with Max Pommer and Hans-Joachim Rotzsch. Furthermore he has worked with, amongst others, Hermann Christian Polster, Peter Schreier and Helmuth Rilling in masterclasses and academies. Gotthold Schwarz, who began to work as vocal trainer for the Thomanerchor Leipzig in 1979, stood in for the Thomaskantor for several times since the 1990's. On this position he led the motets, performances of cantatas and oratorios with the Thomanerchor Leipzig; moreover he was entrusted with other duties as an interim officiating cantor. Together with the world-famous boys’ choir he has been on numerous tours in Germany, Europe and overseas (Japan, China, USA, Canada), several together with the Gewandhausorchester Leipzig. Furthermore Gotthold Schwarz is initiator and leader of “Concerto vocale”, “Saxon Baroque Orchestra”, “Leipziger Cantorey” and “Bach Consort Leipzig”. In recognition of his special merits the versatiled singer and conductor was awarded with the Cross of Merit of the Federal Republic of Germany (1 st class) on 4 October 2017. In the explanation was emphasized amongst others: "Gotthold Schwarz is one of the outstanding singers of Early Music in Germany. In 1990 he founded the “Leipziger Musikgesellschaft e. V.” (Leipzig Music Society), which dedicates itself to works of Early Music history and whose artistic director he is." In March 2018 he also received the Georg-Philipp- Telemann-Prize of the City of Magdeburg. .
Recommended publications
  • 'Dream Job: Next Exit?'
    Understanding Bach, 9, 9–24 © Bach Network UK 2014 ‘Dream Job: Next Exit?’: A Comparative Examination of Selected Career Choices by J. S. Bach and J. F. Fasch BARBARA M. REUL Much has been written about J. S. Bach’s climb up the career ladder from church musician and Kapellmeister in Thuringia to securing the prestigious Thomaskantorat in Leipzig.1 Why was the latter position so attractive to Bach and ‘with him the highest-ranking German Kapellmeister of his generation (Telemann and Graupner)’? After all, had their application been successful ‘these directors of famous court orchestras [would have been required to] end their working relationships with professional musicians [take up employment] at a civic school for boys and [wear] “a dusty Cantor frock”’, as Michael Maul noted recently.2 There was another important German-born contemporary of J. S. Bach, who had made the town’s shortlist in July 1722—Johann Friedrich Fasch (1688–1758). Like Georg Philipp Telemann (1681–1767), civic music director of Hamburg, and Christoph Graupner (1683–1760), Kapellmeister at the court of Hessen-Darmstadt, Fasch eventually withdrew his application, in favour of continuing as the newly- appointed Kapellmeister of Anhalt-Zerbst. In contrast, Bach, who was based in nearby Anhalt-Köthen, had apparently shown no interest in this particular vacancy across the river Elbe. In this article I will assess the two composers’ positions at three points in their professional careers: in 1710, when Fasch left Leipzig and went in search of a career, while Bach settled down in Weimar; in 1722, when the position of Thomaskantor became vacant, and both Fasch and Bach were potential candidates to replace Johann Kuhnau; and in 1730, when they were forced to re-evaluate their respective long-term career choices.
    [Show full text]
  • DIE MUSIKWELT SCHAUT AUF UNS Er Steht an Einer Der Bedeutendsten Positionen Nicht Allein Des Leipziger Musiklebens: Gotthold Schwarz Ist Seit Drei Jahren Thomaskantor
    DIE MUSIKWELT SCHAUT AUF UNS Er steht an einer der bedeutendsten Positionen nicht allein des Leipziger Musiklebens: Gotthold Schwarz ist seit drei Jahren Thomaskantor. Wir sprachen mit ihm in seinem Amtssitz, dem Alumnat des Thomanerchors. 32 Interview © Gewandhaus−Magazin© Gewandhaus−Magazin Herr Professor Schwarz, was machen Sie Schwarz: Manchmal denke ich schon in Sonnabend der Fall ist, singen wir in der in den Sommerferien? den Ferien: Wie soll das gehen, wenn Stimmung von 443 Hertz. Es wäre aller- Gotthold Schwarz: Meine Ferien sind we- jetzt die Abiturienten und damit die er- dings für die Reputation Leipzigs als gen des alljährlichen Konzerts zu Johann fahrensten Sänger weg sind? Aber oft Bach-Stadt gut, hätten wir innerhalb des Sebastian Bachs Todestag am 28. Juli ein entwickeln diejenigen, die vorher in der Gewandhausorchesters auch Instrumen- wenig geteilt. Aber das stört mich nicht. zweiten Reihe gestanden haben, plötz- te, mit denen man in der Stimmung von Nach Möglichkeit fahre ich mit der Fami- lich große Energien und übernehmen 415 Hertz musizieren könnte. lie zum Wandern. In diesem Jahr geht es die Rolle der Ausgeschiedenen. Wir nut- nach Südtirol. Danach gibt es auch schon zen ja das letzte Ferienwochenende be- Ist das Wechseln von einer Stimmung in viel für das neue Schuljahr vorzuberei- reits für ein zweieinhalbtägiges Chorla- die andere nicht schwierig, wenn ein Ge- ten. ger auf Schloss Colditz, wo auch schon wandhausmusiker beispielsweise nach- die Neuaufgenommenen dabei sind. Dort mittags in der Thomaskirche und abends Sind Sie im Sommer verstärkt als Sänger wird jeder Thomaner kurz überprüft, in der Oper zu spielen hat? aktiv? damit ich weiß, wo er stimmlich steht.
    [Show full text]
  • Introduction
    Copyright © Thomas Braatz, 20071 Introduction This paper proposes to trace the origin and rather quick demise of the Andreas Stübel Theory, a theory which purportedly attempted to designate a librettist who supplied Johann Sebastian Bach with texts and worked with him when the latter composed the greater portion of the 2nd ‘chorale-cantata’ cycle in Leipzig from 1724 to early 1725. It was Hans- Joachim Schulze who first proposed this theory in 1998 after which it encountered a mixed reception with Christoph Wolff lending it some support in his Bach biography2 and in his notes for the Koopman Bach-Cantata recording series3, but with Martin Geck4 viewing it rather less enthusiastically as a theory that resembled a ball thrown onto the roulette wheel and having the same chance of winning a jackpot. 1 This document may be freely copied and distributed providing that distribution is made in full and the author’s copyright notice is retained. 2 Christoph Wolff, Johann Sebastian Bach: The Learned Musician (Norton, 2000), (first published as a paperback in 2001), p. 278. 3 Christoph Wolff, ‘The Leipzig church cantatas: the chorale cantata cycle (II:1724-1725)’ in The Complete Cantatas volumes 10 and 11 as recorded by Ton Koopman and published by Erato Disques (Paris, France, 2001). 4 Martin Geck, Bach: Leben und Werk, (Hamburg, 2000), p. 400. 1 Andreas Stübel Andreas Stübel (also known as Stiefel = ‘boot’) was born as the son of an innkeeper in Dresden on December 15, 1653. In Dresden he first attended the Latin School located there. Then, in 1668, he attended the Prince’s School (“Fürstenschule”) in Meißen.
    [Show full text]
  • T H O M a N E R C H
    Thomanerchor LeIPZIG DerThomaner chor Der Thomaner chor ts n te on C F o able T Ta b l e o f c o n T e n T s Greeting from “Thomaskantor” Biller (Cantor of the St Thomas Boys Choir) ......................... 04 The “Thomanerchor Leipzig” St Thomas Boys Choir Now Performing: The Thomanerchor Leipzig ............................................................................. 06 Musical Presence in Historical Places ........................................................................................ 07 The Thomaner: Choir and School, a Tradition of Unity for 800 Years .......................................... 08 The Alumnat – a World of Its Own .............................................................................................. 09 “Keyboard Polisher”, or Responsibility in Detail ........................................................................ 10 “Once a Thomaner, always a Thomaner” ................................................................................... 11 Soli Deo Gloria .......................................................................................................................... 12 Everyday Life in the Choir: Singing Is “Only” a Part ................................................................... 13 A Brief History of the St Thomas Boys Choir ............................................................................... 14 Leisure Time Always on the Move .................................................................................................................. 16 ... By the Way
    [Show full text]
  • Bach and Money: Sources of Salary and Supplemental Income in Leipzig from 1723 to 1750*
    Understanding Bach, 12, 111–125 © Bach Network UK 2017 Young Scholars’ Forum Bach and Money: Sources of Salary and Supplemental Income in Leipzig * from 1723 to 1750 NOELLE HEBER It was his post as Music Director and Cantor at the Thomasschule that primarily marked Johann Sebastian Bach’s twenty-seven years in Leipzig. The tension around the unstable income of this occupation drove Bach to write his famous letter to Georg Erdmann in 1730, in which he expressed a desire to seek employment elsewhere.1 The difference between his base salary of 100 Thaler and his estimated total income of 700 Thaler was derived from legacies and foundations, funerals, weddings, and instrumental maintenance in the churches, although many payment amounts fluctuated, depending on certain factors such as the number of funerals that occurred each year. Despite his ongoing frustration at this financial instability, it seems that Bach never attempted to leave Leipzig. There are many speculations concerning his motivation to stay, but one could also ask if there was a financial draw to settling in Leipzig, considering his active pursuit of independent work, which included organ inspections, guest performances, private music lessons, publication of his compositions, instrumental rentals and sales, and, from 1729 to 1741, direction of the collegium musicum. This article provides a new and detailed survey of these sources of revenue, beginning with the supplemental income that augmented his salary and continuing with his freelance work. This exploration will further show that Leipzig seems to have been a strategic location for Bach to pursue and expand his independent work.
    [Show full text]
  • The Sources of the Christmas Interpolations in J. S. Bach's Magnificat in E-Flat Major (BWV 243A)*
    The Sources of the Christmas Interpolations in J. S. Bach's Magnificat in E-flat Major (BWV 243a)* By Robert M. Cammarota Apart from changes in tonality and instrumentation, the two versions of J. S. Bach's Magnificat differ from each other mainly in the presence offour Christmas interpolations in the earlier E-flat major setting (BWV 243a).' These include newly composed settings of the first strophe of Luther's lied "Vom Himmel hoch, da komm ich her" (1539); the last four verses of "Freut euch und jubiliert," a celebrated lied whose origin is unknown; "Gloria in excelsis Deo" (Luke 2:14); and the last four verses and Alleluia of "Virga Jesse floruit," attributed to Paul Eber (1570).2 The custom of troping the Magnificat at vespers on major feasts, particu­ larly Christmas, Easter, and Pentecost, was cultivated in German-speaking lands of central and eastern Europe from the 14th through the 17th centu­ ries; it continued to be observed in Leipzig during the first quarter of the 18th century. The procedure involved the interpolation of hymns and popu­ lar songs (lieder) appropriate to the feast into a polyphonic or, later, a con­ certed setting of the Magnificat. The texts of these interpolations were in Latin, German, or macaronic Latin-German. Although the origin oftroping the Magnificat is unknown, the practice has been traced back to the mid-14th century. The earliest examples of Magnifi­ cat tropes occur in the Seckauer Cantional of 1345.' These include "Magnifi­ cat Pater ingenitus a quo sunt omnia" and "Magnificat Stella nova radiat. "4 Both are designated for the Feast of the Nativity.' The tropes to the Magnificat were known by different names during the 16th, 17th, and early 18th centuries.
    [Show full text]
  • Johann Sebastian Bach Christmas Oratorio
    JOHANN Thomanerchor Leipzig SEBASTIAN Gewandhausorchester BACH Gotthold Schwarz CHRISTMAS ORATORIO WEIHNACHTS ORATORIUM JOHANNJOHANN SEBASTIANSEBASTIAN BACHBACH (1685(1685 – – 1750) 1750) CHRISTMASCHRISTMAS ORATORIOORATORIO WEIHNACHTSWEIHNACHTS ORATORIUMORATORIUM BWVBWV 248 248 THOMANERCHORTHOMANERCHOR LEIPZIG LEIPZIG GEWANDHAUSORCHESTERGEWANDHAUSORCHESTER LEIPZIG LEIPZIG GOTTHOLDGOTTHOLD SCHWARZ SCHWARZ (Thomaskantor) (Thomaskantor) 4 DOROTHEEDOROTHEE MIELDS MIELDS soprano soprano ELVIRAELVIRA BILL BILL alto alto PATRICKPATRICK GRAHL GRAHL tenor tenor (Evangelist) (Evangelist) MARKUSMARKUS SCHÄFER SCHÄFER tenor tenor (arias) (arias) KLAUSKLAUS HÄGER HÄGER bass bass CLEMENSCLEMENS SOMMERFELD SOMMERFELD echo echo JANNESJANNES ARNDT ARNDT angel angel ANDREASANDREAS BUSCHATZ BUSCHATZ solo solo violin violin KATALINKATALIN STEFULA STEFULA flute flute HANNAHANNA RZEPKA RZEPKA flute flute PHILIPPEPHILIPPE TONDRE TONDRE oboe oboe d∆amore d∆amore THOMASTHOMAS HIPPER HIPPER oboe oboe d∆amore d∆amore GUNDELGUNDEL JANNEMANN_FISCHER JANNEMANN_FISCHER cor cor anglais anglais MARIE_CHRISTINEMARIE_CHRISTINE GITMANN GITMANN cor cor anglais anglais RALFRALF GÖTZ GÖTZ horn horn JULIANJULIAN SCHACK SCHACK horn horn JONATHANJONATHAN MÜLLER MÜLLER trumpet trumpet MICHAELMICHAEL SCHLABES SCHLABES trumpet trumpet GUNTERGUNTER NAVRATIL NAVRATIL trumpet trumpet MAREKMAREK STEFULA STEFULA timpani timpani DANIELDANIEL PFISTER PFISTER cello cello MICHAILMICHAIL PAVLOS PAVLOS SEMSIS SEMSIS double double bass bass RICCARDORICCARDO TERZO TERZO bassoon bassoon ULLRICHULLRICH
    [Show full text]
  • A World-Class City of Music Experience the Fascinating Power of Music
    www.leipzig.travel Experience music Leipzig A World-Class City of Music Experience the fascinating power of music Gewandhaus concert hall Leipzig – where music calls the tune 3 Gewandhausorchester – a world-renowned ensemble 4 Leipzig Opera – a superlative artistic experience 5 Johann Sebastian Bach – his heirs, his followers 6 Mahler, Bach, Mendelssohn, Wagner. Music Festivals in 2021/22. 8 Experience authentic historic places 12 Leipzig Music Trail 14 Organ building and BurgenLandKlänge I Leipzig Region 16 Event highlights 18 Travel offer 20 Richard Wagner’s “The Ban on Love, or The Novice of Palermo” at the Leipzig Opera 2 Leipzig – where music calls the tune In Leipzig you can feel the fascinating power of music everywhere – in the streets and squares, in churches, concert halls and in the many authentic places where famous composers and musicians lived and worked. A long-standing tradition: over 500 composers have lived here over the centuries including the greatest names in music history – Johann Sebastian Bach, Felix Mendelssohn Bartholdy and the married couple Clara and Robert Schumann, as well as Richard Wagner, Edvard Grieg, Albert Lortzing, Gustav Mahler and Hanns Eisler. Music comes to life The city’s rich musical heritage also includes the Gewandhaus- orchester and the world-renowned St. Thomas Boys Choir, which can look back on over 800 years of history. Leipzig Opera, which has always sought to preserve Wagner’s heritage, is the third oldest civic venue for musical theatre in Europe. In the capital of music, outstanding ensembles and soloists delight audiences at concerts, ballets, the Summer Organ Festival and the world- famous Leipzig Bachfest.
    [Show full text]
  • Arnold Schering on “Who Sang the Soprano and Alto Parts in Bach's
    Arnold Schering on “Who sang the soprano and alto parts in Bach’s cantatas?” Translation by Thomas Braatz © 2009 [The following is a translation of pages 43 to 48 from Arnold Schering’s book, Johann Sebastian Bachs Leipziger Kirchenmusik, published in 1936 in Leipzig and presented in facsimile after the translation. To distinguish between Schering’s original footnotes and mine, his are highlighted in red while mine are left in black.] The paragraph leading into this passage describes Georg PhilippTelemann’s (1681- 1767) sacred music activities in the Neukirche (New Church) in Leipzig. These cantata performances were accomplished by Telemann with the help of university students only and without any assistance from the Thomaner1 choir(s) which were under Johann Kuhnau’s (1660-1722 - Bach’s immediate predecessor) direction. Jealous of the success that Telemann was having with his performances, Kuhnau commented that the young people there [Neukirche] had no real idea about what the proper style of singing in a church was all about and that their goal was “directed toward a so- called cantata-like manner of singing”. By this he evidently meant the elegant, modern way that male falsettists2 sang their solos [compared to the soprano and alto voices of young boys before their mutation]. What was Bach’s way of treating this matter in his sacred music? A cantor’s constant concern, as we have seen, is the ability to obtain and train good sopranos and basses. Kuhnau’s experience, that among his young scholars strong bass singers were a rarity,3 was an experience that his cantor predecessors in Leipzig had already had.
    [Show full text]
  • Prof. Michael Maul an Den Thomanerchor
    Brief von Prof. Dr. Michael Maul an den Thomanerchor vom 23. März 2021: Lieber, verehrter Thomanerchor, erlaubt mir, dass ich euch in der von euch initiierten öffentlichen Debatte Besetzung Thomaskantorat ein paar Zeilen schreibe. Und erlaubt mir ebenfalls, dass ich dies in der kollegialen Du/ihr-Form tue. Ich bin zwar nie einer von euch gewesen (dafür singe ich viel zu schlecht), aber ich hatte das Vergnügen, euch vor zwei Jahren mal an einem Abend Einblicke in das Thomaner-Sein der Bach-Zeit zu geben. Und als ein Bach- Forscher, der viel über die ältere Geschichte eurer Institution gearbeitet hat und – wie ihr – das Privileg hat, sein Berufsleben als Bach-Forscher und Bachfest-Intendant ganz dem unglaublichen Erbe Johann Sebastian Bachs zu widmen, betrachte ich mich sozusagen als euer Bruder in der gleichen Sache. Auch bin ich nicht Teil der Berufungskommission für den neuen Thomaskantor gewesen und habe deshalb nur bedingt Einblick in den Ablauf des Verfahrens gehabt. Immerhin kenne ich aber eine Handvoll der Kandidaten gut, nicht zuletzt, weil manche auch zu mir den Kontakt gesucht und mir ihre Ideen für ihr anvisiertes Thomaskantorat vorgestellt haben. Zudem will ich auch ehrlich bekennen, dass ich mich noch vor Beginn des Berufungsprozesses stark für eine Verlängerung von Gotthold Schwarz‘ Vertrag ausgesprochen habe – namentlich, weil ich in den letzten Jahren von euch unter seiner Leitung Bach-Aufführungen gehört habe, die mich sehr bewegt und mit dem transparenten, frischen Chorklang und der nach den Prinzipien der historisch informierten Aufführungspraxis gestalteten Artikulation in Chor und Orchester sehr überzeugt haben. Es wurde dann aber von den Verantwortlichen die Entscheidung getroffen, einen Neubesetzungsprozess zu starten, und ich kann mir gut vorstellen, dass alle Beteiligten – namentlich der frisch ins Amt gelangte neue Geschäftsführer Emanuel Scobel – dabei versuchten, verantwortungsvoll die Parameter so zu gestalten, dass das Ganze nicht wieder so ausgeht, wie die Ausspielung der Nachfolge G.C.
    [Show full text]
  • B Ach C Antatas G Ardiner
    Johann Sebastian Bach 1685-1750 Cantatas Vol 5: Rendsburg/Braunschweig SDG147 COVER SDG147 CD 1 53:10 For the Eighth Sunday after Trinity Wo Gott der Herr nicht bei uns hält BWV 178 Erforsche mich, Gott, und erfahre mein Herz BWV 136 Es ist dir gesagt, Mensch, was gut ist BWV 45 Robin Tyson alto, Christoph Genz tenor Brindley Sherratt bass CD 2 65:36 For the Tenth Sunday after Trinity Schauet doch und sehet, ob irgendein Schmerz sei BWV 46 C Nimm von uns, Herr, du treuer Gott BWV 101 M Herr, deine Augen sehen nach dem Glauben! BWV 102 Y Joanne Lunn soprano, Daniel Taylor alto K Christoph Genz tenor, Gotthold Schwarz bass The Monteverdi Choir The English Baroque Soloists John Eliot Gardiner Live recordings from the Bach Cantata Pilgrimage Christkirche, Rendsburg, 13 August 2000 Dom, Braunschweig, 27 August 2000 Soli Deo Gloria Volume 5 SDG 147 P 2008 Monteverdi Productions Ltd C 2008 Monteverdi Productions Ltd www.solideogloria.co.uk Edition by Reinhold Kubik, Breitkopf & Härtel Manufactured in Italy LC13772 8 43183 01472 9 SDG 147 Bach Cantatas Gardiner 5 Bach Cantatas Gardiner CD 1 53:10 For the Eighth Sunday after Trinity The Monteverdi Choir The English Flutes 1-7 19:26 Wo Gott der Herr nicht bei uns hält BWV 178 Baroque Soloists Rachel Beckett Sopranos Christine Garrett 8-13 15:45 Erforsche mich, Gott, und erfahre mein Herz BWV 136 Lucinda Houghton First Violins 14-20 17:46 Es ist dir gesagt, Mensch, was gut ist BWV 45 Angela Kazimierczuk Kati Debretzeni Oboes Gillian Keith Penelope Spencer Susanne Regel Gill Ross Rebecca Livermore
    [Show full text]
  • Barocktrio Gotthold Schwarz
    DAS BAROCKTRIO GOTTHOLD SCHWARZ Am Sonntag, 5. Februar, 16 Uhr musiziert das „Barocktrio Gotthold Schwarz“ in der Kirche zu Panitzsch . Der Leipziger Thomaskantor singt Kantaten von Johann Sebastian Bach und Georg Philipp Telemann sowie ausgewählte Barocklieder von Georg Böhm, Georg Christoph Strattner, Johann Hasse, Johann Sebastian Bach und seinen Söhnen. Instrumentalwerke von Johann Pachelbel, Dietrich Buxtehude, J.S. Bach und Wilhelm Friedemann Bach ergänzen das Programm. Gotthold Schwarz gilt weltweit als einer der besten Barock-Sänger unserer Tage. Er wird begleitet von dem international bekannten Gambisten Prof. Siegfried Pank (Leipzig) und dem Organisten Prof. Hans Christoph Becker-Foss (Hameln/Hannover). Das Ensemble gastiert seit über 15 Jahren im In- und Ausland. Der Eintritt ist frei – großzügige Spenden werden erbeten. Gotthold Schwarz ist einer der besten Barock-Sänger der Gegenwart. Weltweite Konzerttätigkeit, darunter auch seine Zusammenarbeit mit J. E. Gardiner und anderen Größen der Alten Musik, und unzählige CD-Aufnahmen belegen dies. Seit über einem Jahr ist er Thomaskantor in Leipzig und ein weltweit bewunderter Musiker. Bei aller Vielseitigkeit: Seine Spezialität ist der Liedgesang, und insbesondere den barocken Kostbarkeiten dieser Spezies weiß er in einzigartiger Weise Farben und eine Ausdrucksvielfalt zu geben, die die Hörer zutiefst berühren. Ihm zur Seite steht eine Continuo- Gruppe mit dem gleichfalls weltbekannten Leipziger Gambisten Prof. Siegfried Pank und dem Hamelner Organisten und hannoverschen Musikhochschullehrer Prof. Hans Christoph Becker-Foss (Orgel). Auf dem Programm des Abends stehen Kantaten von Johann Sebastian Bach und Georg Philipp Telemann sowie ausgewählte Barocklieder von Georg Böhm, Georg Christoph Strattner, Johann Hasse, Johann Sebastian Bach und seinen Söhnen. Immer wieder verblüffend sind Formenvielfalt, Innigkeit des Ausdrucks und raffinierte Harmonisierung dieser kaum jemals musizierten Barocklieder, die belegen, dass auch vor Schubert Lieder auf höchstem Niveau geschaffen wurden.
    [Show full text]