Zwölff madrigalische Trost=Gesänge
Wolfgang Carl Briegel
Wer Gott vertraut; Ach! Herr lehre doch mich; Valet will ich dir geben; Ach wie gar nichts; Du aber Daniel; Ich habe dich ein klein Augenblick verlassen; Si bona suscepimus; Der Gerechte; Wir sind getrost; Ach lieben Christen seid getrost; Es ist ein Elend; Wahrlich ich sage euch
+ Fugen durch die 8 Kirchentöne
— Tobias Michael
In 2015, the debut disc “MUSICALISCHE SEELENLUST” was released. The collection of sacred madrigals by Thomaskantor Tobias Michael (1592-1657) was released on the Raumklang Records label and was enthusiastically received by international critics.
Requiem — Francesco Cavalli
Motets — Alessandro Grandi
“This is truly a masterpiece, every part of which is a jewel, forming a long row of pearls. The music is imbued with unfathomable spiritual depth.”
Robert Chase: Dies Irae – A Guide to Requiem Music, 2003
“The level of inspiration in Francesco Cavalli’s Missa pro defunctis is in no way inferior to that to be felt in the Mozart Requiem”
A.W. Ambros, 1816-1876, musicologist
Chor-Music auff Madrigal-Manier
— Andreas Hammerschmidt
“This third disc by Ensemble Polyharmonique is an impassioned plea to devote even more attention than before to the diversity of epochs.”
With a selection from the 31-number Chor-Music auff Madrigal-Manier (1652/53), combined with duets and tercets from Andreas Hammerschmidt’s Opus primum Musicalischer Andacht Erster Theil (1638), this first recording shows the formal diversity of the composer, who was mainly active in Zittau, and clarifies his ambition for creative handling of genre patterns.
Geistliche Chor-Music 1648
— Heinrich Schütz
When in 1648 the great Heinrich Schütz published his “Sacred Choral Music,” German-language sacred music was strongly influenced by the modern and innovative madrigal style from Italy. One spoke of a “strangely charming Italian madrigal manner,” or of a “a strangely delightful kind of madrigal.” Heinrich Schütz, on the other hand, shows how one could write lively polyphony in a pure contrapuntal style without violating the sacrosanct compositional rules of the sixteenth century.
On its new recording of the “Sacred Choral Music 1648” by Heinrich Schütz, Ensemble Polyharmonique combines ideas of the German and Franco-Flemish singing cultures into lively poetic interpretations. As a listener, one must perhaps have the courage to let oneself succumb to the “pervasiveness” of this music, a music that does not become boring and time and again opens up to him who engages with it. But in the end, one will be richly rewarded by the greatest enjoyment of art and valuable musical experiences that touch both the heart and spirit.