Andreas Scholl – Deutsche Barocklieder (1995)

1 Jetzund kömpt die Nacht herbey  Johann Nauwach 4'02  
2 Ach Liebste, laß uns eilen  Johann Nauwach 3'05  
3 Turpe senex miles, turpe senilis amor  Heinrich Albert 4'33  
4 Veneris miseras resonare querelas  Heinrich Albert 4'10  
5 Praeludium & Chaconne VIII  Johann Caspar Ferdinand Fischer 5'35  
6 Die Liebesgluth verkehrt den Muth  Adam Krieger 2'40  
7 Ihr bleibet nicht Bestand verpflicht  Adam Krieger 4'02  
8 Der Liebe Macht herrscht Tag und Nacht  Adam Krieger 3'58  
9 Der Rheinsche Wein  Adam Krieger 2'00  
10 Sonata a doi, Violine e Viola da Gamba  Johann Philipp Krieger 5'49  
11 Schmilz, hartes Herz  Johann Philipp Krieger 3'39  
12 Verliebtes Weinen und Lachen  Johann Philipp Krieger 2'09  
13 Die Heißverliebte  Johann Philipp Krieger 1'53  
14 An die Einsamkeit  Johann Philipp Krieger 3'31  
15 Die holde Nacht  Johann Philipp Krieger 1'50  
16 Kunst des Küssens  Andreas Hammerschmidt 2'04  
17 Menuetto con variazioni di Locatelli  Bernhard Joachim Hagen 6'33  
18 Die Nacht  Johann Valentin Görner 5'22  
19 An den Schlaf  Johann Valentin Görner 3'23

Andreas Scholl - countertenor
Friederike Heumann - viola da gamba
Juan Manuel Quintana - viola da gamba
Markus Märlk - harpsichord
Stephanie Pfister - violin
Pablo Valetti - violin
Alix Verzier - cello

Recorded in 1995 and reissued in the budget HM Gold series in 2010 (with the sumptuous packaging commendably intact), this album has never been one of the "hits" by German countertenor Andreas Scholl. It covers a repertoire that was (and remains) virtually unknown, and it doesn't really play to the sentimental side of Scholl's personality. Nevertheless, this is one of his very best releases, and even casual Scholl fans who missed it the first time around are advised to pick it up. In 1995 he was in absolutely prime voice, and even though he here has few of the pure melodies in which he excels, he finds plenty of subtle ways to deploy it in text expression and in delineating unusual harmonic moves. The obscurity of the music should actually be cause for recognition of Scholl's ability to pick a program buried mostly in archives and bring it to life; there's hardly a dull moment here, and many of these German Baroque solo songs (some from operas) are delightful. Some are humorous, with topics ranging from the art of kissing (track 16) to Rhine wine; these are balanced by several melancholy pieces that might be compared to Dowland but really resemble nothing else in the repertoire. Sample Johann Philipp Krieger's An die Einsamkeit (track 17), which is one of the all-time most ravishing Scholl numbers on disc, hard drive, or what have you. The pieces by this Krieger are strophic songs from operas, but those by the older Adam Krieger are true lieder, with texts by the composer himself, and they highlight Scholl's way with simple, heartfelt material. Other composers on the album set more complex texts by the likes of poet Martin Opitz, and there's plenty to chew on here for those seriously interested in German music and literature of the 17th century. On the other hand, this is the rare example of a program of unknown music that anyone who loves beautiful singing will enjoy. With glorious engineering to boot, this is simply hard to top. ---James Manheim

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