Wach auf mein Geist

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Album Name Length Format Sample Rate Price
Wach auf mein Geist 55:09 $17.98
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# Track Title Length Format Sample Rate Price
1 Applause 0:38 96/24 Album only
2 Wach auf, mein Geist, erhebe dich 2:27 96/24 Album only
3 Gott, der du mit grosser Macht 2:50 $2.49 Buy
4 Merk auf, o sundig's Menschenkind 3:14 96/24 Album only
5 O Traurigkeit, o Herzeleid 2:48 96/24 Album only
6 Suite in G minor 4:57 96/24 Album only
7 Da du wolltest von mir ziehn 2:58 96/24 Album only
8 Die sterbenden Lilien 2:42 $2.49 Buy
9 Prelude - Allemande - Courante 3:55 96/24 Album only
10 Gleich wie ein junger Hirsch 2:52 96/24 Album only
11 Allein nach dir 3:31 96/24 Album only
12 Gute Nacht! Du eitles Lebe 2:53 $2.49 Buy
13 Sonata No. 10 in G minor, "Herr Jesu Christ, du hochstes Gut" 7:04 96/24 Album only
14 Leb ich oder leb ich nicht 1:50 96/24 Album only
15 Ach, wie entgeistert sich mein Geist 2:10 96/24 Album only
16 Ballett 2:27 $2.49 Buy
17 Der Tag ist hin 3:29 96/24 Album only
18 Alles vergehet, Musik bestehet 2:24 96/24 Album only

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© ℗ 2007 by K&K Verlagsanstalt

Klaus Mertens, bass baritone
Simone Eckert, descant and bass viola da gamba
Ulrich Wedemeier, theorbo

The Hundert ahnmutig und sonderbar Geistliche Arien (One hundred charming and especially religious airs), printed in Dresden in 1694, tell of the breath of God as symbolized by the winds Africus and Caurus and of “the silken soft West that leaves its kisses on the roses.” This collection is an appendix to the Dresden Gesangbuch and appeared 18 years after the latter; its editor, the composer Christoph Bernhard, did not live to see it in print.

The songs were not meant to be sung by the parish congregation – a delicate subject anyway during the tense times of Augustus the Strong’s conversion to Catholicism. They were for the private Protestant religious services of the other members of the Royal Family. The melodies are more elaborate than those usual in other ecclesiastical music of the time, the bass parts are highly imaginative and the individual ritornellos are remarkable.

There is another collection of 17th century songs that is dedicated to the same theme – Johann Rist’s Himlische Lieder printed in Luneburg in 1641 or 1642 and set to music by Johann Schop, the Hamburg City Rath (or Council) musician. Both men were friends of Christoph Bernhard, who used his connections as a favourite pupil of Heinrich Schutzen to arrange for them to meet the famous Kapellmeister on his journey up to Copenhagen.