 Voici l’occasion d’entendre à nouveau et in loco une partie des fameuses copies à l’identique des instruments Renaissance (1592-1594) de la collégiale de Freiberg, ici sous les doigts experts de Chordae Freybergensis associé à l’ensemble vocal de la collégiale. Le programme propose des raretés de la fin du 16ème siècle, extraites de la bibliothèque de l’Ecole de Latin de la ville qui développait alors une intense activité de copie de partitions de provenances diverses. Placé au centre du disque, un beau « Te Deum laudamus » de Rogier Michael nous donne à entendre l’influence grandissante de la Réforme : il est bilingue, chaque phrase étant proclamée en allemand avant d’être chantée en latin par le chœur. Il est encadré par les éléments d’une « Missa super mon cœur se recomande » de Philippe De Monte, entrecoupés de courts motets. Belle prise de son respectueuse des équilibres de l’époque : prima le parole, les instruments sont encore subordonnés mais commencent à s’affirmer. Au total : œuvres rares quoique mineures, intérêt musicologique, notice éclairante, chanteurs et instrumentistes en leur jardin…un plaisir. (Olivier Eterradossi) Sacred Music from the Freiberg Latin School Library When Freiberg was experiencing its “second silver rush,” an atmosphere promoting intellectual development emerged in this region, and its middle-class residents did not miss the opportunity to found a local school, thus responding to the initiative taken by Mayor Ulrich Rülein of Calw. Born of the humanistic spirit in 1515, the Freiberg School numbers among Saxony’s oldest and most important educational institutions – together with the Kreuzschule in Dresden, Thomasschule in Leipzig, and Ratsschule in Zwickau. At the suggestion of Freiberg’s cathedral music director Albrecht Koch, we are now releasing sacred music from the Freiberg Latin School Library on Freiberg instruments from the time of this repertoire’s composition and thus rendering audible a practically unknown and forgotten sound world. As Koch himself has stated, “The desire to perform music from the library of Freiberg’s secondary school does not so much mean the elaboration of local color and the presentation of forgotten masters to the public. Rather, it is astonishing how cosmopolitan Freiberg music was during the fifteenth and sixteenth centuries. The cathedral music, which maintained close ties to the then Latin school, of course played a leading role here. The center of the concert is thus occupied by the Te Deum of Rogier Michael, one of the leading Saxon chapel masters prior to Heinrich Schütz. The program is complemented by music by many masters whose works were collected and preserved in Freiberg, including Athanasius Kirchner, Leonhard Lechner, and Orlando di Lasso. It was only natural to combine this music with the magnificent Freiberg body of Renaissance instruments and to have it performed in its original setting. At the same time, however, the intention was to make this previously so-little-investigated form of authentic musical performance more familiar to the public, also in Central Germany.”
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