Hathor Consort / Dorothee Mields / Romina Lischka

• Classical Music

What traces do wars leave on the music of the time? The Hathor Consort, a viol ensemble of to which harp, organ and cornett are added, joins forces with soprano Dorothee Mields to look for echoes of the Thirty Years’ War in the works of composers who witnessed this catastrophic period in European history.

With his »Trostgedichten in Widerwertigkeit deß Kriegs«, the poet Martin Opitz wrote an influential treatise of edification in the midst of this fierce conflict that claimed the lives of around a third of the population. The composers of the age attempted to process the deep trauma of violence, hunger and utter defencelessness through their music. This programme brings together four musical witnesses of the time:Heinrich Schütz, Samuel Scheidt, Andreas Hammerschmidt and Heinrich Albert.

The acclaimed Hathor Consort focuses mainly on Renaissance and Baroque music, but it regularly combines this with music from other cultures as well as with contemporary works. Dorothee Mields likewise focuses entirely on Early Music, and her clear and intimate soprano is regarded as one of today's top voices in the field of historic performing practice.

PERFORMERS

Hathor Consort ensemble

Dorothee Mields soprano

Romina Lischka viola da gamba and director

PROGRAM

Music against the »repulsiveness of war«

Composers in the Thirty Years’ War: Heinrich Schütz, Samuel Scheidt, Andreas Hammerschmidt and Heinrich Albert

Heinrich Schütz
Es steh Gott auf SWV 356

Johann Hildebrand
Ach Gott! Wir habens nicht gewusst

Johann Bach
Unser Leben ist ein Schatten

Heinrich Schütz
Der 133. Psalm: Siehe, wie fein und lieblich ist’s SWV 48

Andreas Hammerschmidt
Suite a 5 in d

Heinrich Schütz
Verleih uns Frieden SWV 354

Johann Hermann Schein
Lehre uns bedenken

Samuel Scheidt
Galliarden, Paduan und Canzonen / aus: Ludi musici

Heinrich Albert
Musicalische Kürbs-Hütte, welche uns erinnert menschlicher Hinfälligkeit