Per-Sonat sings songs from Luther's time: surprisingly fresh and current

Bis an der Welt ihr Ende is the poetic title of a CD by Per-Sonat featuring German songs from the time of the Reformation. This ensemble by mezzo-soprano Sabine Lutzenberger focuses on music from Middle Ages and renaissance. This CD traces the development of German song from church reformer Martin Luther to composer Johann Hermann Schein. This produced an appealing collection of songs, some of which prove surprisingly topical.

Money versus God

Martin Luther (1483-1546) initiated the Reformation in 1517 with 95 theses in which he denounced abuses in the Catholic Church. In particular, he denounced the trade in so-called 'indulgences', documents that allowed sinners to buy off their penance.

The clergy made a lot of money doing this, a practice Luther abhorred. After all, whether or not sins were forgiven was a matter for God. Moreover, he thought it unjust that rich people could buy off their debt while poor people were punished.

Although Luther wrote his denunciation in Latin, he introduced the vernacular into the church. He composed German-language psalm settings himself, such as the famous Ein feste Burg and Aus tiefer Not schrei ich zu Dir. These open the CD and nicely illustrate how Luther wanted to bring the church closer to people.

The songs are understandable not only in terms of text but also music for the common people. Against the usual polyphonic church hymns, he sets a tuneful melody accompanied by simple chords of a lute and some strings.

The greed for money that Luther so opposed is sung about in Was wird es doch by his contemporary Ludwig Senfl (c 1490-1543). In this gem, a bass and a mezzo-soprano gracefully weave together meandering melody lines. They sing lyrics like: 'One does not leave/ To the grave/ Money, money is only their life/ Money is their God.' - The song could have been written now.

From psalm to love song

The 20 songs are divided into four themes, starting with Martin Luther and Ludwig Senfl, after which the music takes a new turn with the 'Newe Teutsche Lied' by Orlando di Lasso (1532-1594). That sprinkles lusty Italian influences through his songs, with dashing vocal lines and dancing instrumental accompaniment.

Moreover, what was new was that he drew inspiration from spiritual texts for instrumental compositions, one of which has been recorded. In this Motet without text 23 a lilting melody from the violin is accompanied by lively plucking on a lute. It is beautifully performed by Baptiste Romain and Marc Lewon.

The following theme - 'Lobpreis Gottes: Lieder von Hassler und Lechner' - has a somewhat misleading title. For it includes love songs, such as the poignant Mein Gmueth ist mir verwirret By Hans Leo Hassler (1564-1612). A man 'sighs and weeps' because he is rejected by the woman whose sight leads him to 'paradise'. It is a 16^e-century equivalent of Schubert's Gretchen am Spinnrade, albeit without the typically romantic, high-dramatic expression of feeling.

With the concluding theme 'Ausblick in die Neue Zeit', we step into the Baroque era. In the songs of Johann Hermann Schein (1586-1630), the vocal lines are already sparsely embellished with trills and colouratures. Yet in the end, the similarities stand out more than the differences. The mostly delicate melodies and slow tempi exude a benevolent calm, but also create a certain fragility.

Longing for redemption

This ties in nicely with the CD's title, which is taken from a verse from the gloomy song Ach Gott und Herr by Schein. In it, an elderly believer laments the heavy burden of his many sins. No one can deliver him from this, even if he travelled 'bis an der Welt ihr Ende'. This evocative image refers to man's need to find redemption at the end of his life.

Lutzenberger brings the songs to life with her pure mezzo-soprano and lived-in interpretation. Thanks to her careful diction, all the texts can be understood word for word. In duets, American-German Joel Frederiksen proves to be her ideal partner with his dark bass.

The stylish and flawless instrumental accompaniment makes the songs sound wonderfully fresh, as if they were composed only yesterday The quality of the recording is equally excellent: close yet spacious, a true delight for the ear. - Buy, that CD!