Es ist vollbracht!

Friedrich Schneider was a prolific composer, of whom I, and probably many of the rest of us, knew very little. With some 15 Oratorios on his credit, he fills the gap between Haydn’s Creation and Mendelssohn’s Paulus. Of these, Schneider wrote three oratorios about Christ: Das Kind, der Meister, and this one: Christus der Erlöser, the final instalment of the trilogy. (There is more to it, for which I may refer to my previous reviews and respective well-written liner notes). They are all World Premiere Recordings. Commenting on the first two, I was pleasantly and positively surprised, and for various reasons, this one, too, stands out from the crowd.

For a successful formula, some might suggest bringing together one of Germany’s top orchestras, a stellar cast of soloists, and a choir of renown. But that is not how things work, certainly not for this kind of music. Perfection is not always the best path to satisfaction. Respect and love for the music, paired with honesty in its performance, demand more than that. The skill of these renditions lies in how singers and musicians communicate with the audience and share their personal emotions with them.

Except for the soprano, Dorothea Brandt, all soloists differ in each part of the trilogy. However, in a song-addicted country like Germany, there is more quality around than a handful of suspects. They may not all be the same, but all participants, singers, choristers and musicians alike, represent the heart of a country's musical potential, in which listeners can recognise themselves. That, to my mind, is the real power of this performance. A deeply moving experience.

The driving force behind all this is Alexander Lüken, the inspiring choir master of the Kantorei Barmen-Gemarke, generally known for his successful collaborations with, among others, Kent Nagano, Àdàm and Iván Fischer. He leads the orchestral assistance provided by the members of the Sinfonieorchester Wuppertal to an exemplary, collective body, creating the musical framework for the singers to shine. He revives what must, in those days, have been a common feeling of fulfilling religious awareness.

The chosen venue for this recording is the Immanuel Cultural Centre (the former Immanuel’s church), in Wuppertal, where most of the choir’s concerts take place. A full house with the choir ‘on stage’ and the orchestra in the hall where the flock used to sit. This cultural centre is famous for its acoustics, as regular buyers of ARS productions will know. For listeners in surround, the roominess of the recording is remarkable, albeit that it is difficult to place oneself in space. Understandably, there is no place left in the hall for an audience, having to enjoy, therefore, the concert from an imaginary position. It makes one all the more aware of what is going on with a gratifying feeling of being part of the performance.

All those who have financially supported the making of this masterpiece can be proud of the result. This is, in my opinion, the best way forward to continued interest in classical music at the highest possible level.

Blangy-le-Château, Normandy, France.

Copyright © 2026 Adrian Quanjer and HRAudio.net

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