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David POHLE (1624-1695)
Wie der Hirsch schreyet
Musica Sacra
Sonata à 6, No. 24 [5:38]
Wie der Hirsch schreyet [8:36]
Diligam te Domine [5:42]
Sonata à 3, No. 29 [3:12]
In te Domine speravi [5:27]
Sonata à 6, No. 23 [3:41]
Benedicam Dominum [4:12]
Sonata à 6, No. 11 [3:46]
Jesu chare [9:29]
Paratum cor meum [5:37]
Sonata à 6, No. 25 [9:11]
Monika Mauch (soprano)
David Erler (alto)
Hans Jörg Mammel (tenor)
L’arpa festante/Rien Voskuilen
rec. Kloster Altenberg, Solms, 6-9 September 2004
CARUS 83.413 [64:31]

 

 


David Pohle was born into a family of miners and town pipers in Marienberg in the Erzgebirge, in that area just south of Leipzig and Dresden near the present Czech border. Little is known about his life, but we do know that he studied with Heinrich Schütz, who was to become the godfather of his son. Throughout his career he was an instrumental musician, Music Director and composer at various princely courts in northern Germany. Despite producing an extensive oeuvre none of his works were published during his lifetime, and this is no doubt an important reason why Pohle’s music is mainly known today by insiders and specialists. Work such as the solo arias of the Geistliche Konzerte represented here by Wie der Hirsch schreyet provides interesting insights into the origins of the Protestant church cantata, and collectors interested in the cantatas of J.S. Bach will find a surprising amount of common ground between the two composers in this field.

Pohle’s style is notable for its personal individuality and the wide variety of instrumental scoring and freedom of form. He also introduces a fair amount of musical rhetoric – interpreting the text through corresponding musical figures. An example of this can be found in In te Domine speravi, where the word ‘inclina’ - the bowing of the head - is expressed by a downward gesture of a third interval, while the ‘accelerare’ is more than clear through the use of sixteenth notes – semi-quavers to U.K. readers.

On this CD, the movements from this Geistliche Konzerte are mixed with a number of well chosen instrumental sonatas. These are characterised by numerous fairly short sections of contrasting tempi and rhythm and some remarkable harmonic progressions. Pohle also demonstrates inclinations towards virtuoso display with written but improvisatory sounding cadenzas. The colour of the ensemble is inevitably string led, but nicely rounded organ and lute backing makes for a rich, full sound.

Together with the immaculately clean sounding baroque orchestra L’Arpa festante, singers Monika Mauch, Hans Jörg Mammel and David Erler perform with conviction and enthusiasm, and the idiom of this music is brought to life in a most elegant and expressive way from beginning to end. The music of this almost forgotten contemporary of Tunder and Buxtehude is of remarkably high quality, and it seems bizarre that these pieces have been neglected for so long. Carus, in their ‘Musik aus Dresden’ series are to be complimented on a well executed and gorgeous sounding programme. 

Dominy Clements 

 

 


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