Petitiones Cordis Petitiones Cordis

The manuscript Stralsund MS 229, which dates from 1585, is a collection of sacred motets held in the Stadtarchiv of Stralsund, a German Hanseatic town on the Baltic. There were probably six part-books originally, but only four have survived. The manuscript contains 105 works, composed mainly for five or six voices. It spans several generations of composers, from the late fifteenth to the end of the sixteenth century; it therefore includes works composed before and after the Reformation. The variety of styles is impressive, ranging from early Franco-Flemish polyphony to Italian madrigals and works from central Germany. In order to bring back to life the many famous or less well-known gems of the manuscript, the founder of Schola Stralsundensis, Antonie Schlegel, and its musical director, Ma urice van Lieshout, have tirele ssly researched and compared sixteenth-century manuscript and printed scores all over Europe. The programme recorded here contains a wide se lection of works from the manuscript. The title Petitiones Cordis comes from Eucharius Hoffmann’s motet setting of Psalm 37: In Domino spera et fac bonum, delectare in Domino, et dabit tibi petitiones cordis tui (Put thou thy trust in the Lord, and be doing good. Delight thou in the Lord: and he shall give thee thy heart’s desire). The repertoire has been recorded at its historical place, the church of Saint-Nicolas in Stralsund, where Hoffmann was Kantor .

   Since its founding in 2007, under the artistic direction of Maurice van Lieshout, SCHOLA STRALSUNDENSIS has been devoted to historical interpretation and performance of 16th-century repertoire, music almost invariably sung a capella these days. However, many chapels consisting of both singers and instrumentalists – such as that of Emperor Maximilian I – were in existence during the period, and by reviving this tradition of blending voices and instruments, Schola Stralsundensis hopes to rediscover the characteristic sounds and colours of the Renaissance. Depending on the programme, the ensemble's size varies between 16 and 20 specialist singers and instrumentalists, performing in a historical choirbook-setting: two large books, each containing all fi ve or six voices, are placed on both sides of a music stand positioned amidst the musicians. Schola Stralsundensis regularly performs in Germany and abroad, and has been invited, among others, to the Weimar Bach-Biennale, the Munich Residenz- woche, Maastricht's Musica Sacra festival, Amsterdam's Noorderkerk concert series, the Gmundener Festspiele, the Stralsund Organ Days, and the Wittenberg Renaissance Music Festival.

Simon Borutzki, bass
Christoph Dittmar, altus
Martin Erhardt, recorder and portative organ
Elizabeth Farrell, flute
Ute Faust, viola da gamba
Holger Faust-Peters, viola da gamba
Dietrich Haböck, viola da gamba
Daja Leevke Hinrichs, flute
Katharina Holzhey, viola da gamba
Miyoko Ito, viola da gamba
Anna Kellnhofer, soprano
Maurice van Lieshout, recorder and direction
Stefanie Lüdecke, recorder
Milo Machover, tenor and flute
Silvia Müller, recorder
Hugo Pieri, bariton
Antonie Schlegel, recorder and bass dulcian
Ingo Voelkner, recorder
Dorothea Wagner, soprano

1. Eucharius Hofmann (?-1594) In Domino (à 5)
2. Josquin des Prez (c. 1450/55-1521) O Virgo prudentissima (à 6)  
3. Anonymous
Vulnerasti cor meum (à 5)
4. Jacques Arcadelt (c. 1507-1568) Nuptiae factae sunt (à 6)  
5. Jakob Meiland (1542-1577) O pulcherrima inter mulieres (à 6)  
6. Ludwig Senfl (c. 1486-c. 1542/43)
Alleluia, mane nobiscum Domine (à 6)
7. Antonio Scandello (1517-1580) Christ lag in Todesbanden (à 5)  
8. Gregor Lange (c. 1540-1587) Ich will des Herren Zorn tragen (à 5)  
9. Antonio Scandello
Allein zu dir (à 6)
10. Thomas Stoltzer (c. 1480-1526) Beati omnes (à 5)  
11. Heinrich Isaac (c. 1450-1517) Christus filius Dei (à 6)