Heinrich Finck

(1444-1527)

Spiritual and secular vokal works a capella

Stimmwerck:

Franz Vitzthum, countertenor

Klaus Wenk, tenor

Gerhard Hölzle, tenor

Marcus Schmidl, bass

sound samples
reviews
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order no:
CCD 325
EAN 4028183003256

Heinrich Finck (born 1444/5 in Bamberg, death 1527 in Wien) belonged to the first generation of German composers to have emerged from the darkness of anonymity. His lifetime coincided with important music-historical developments that were above all disseminated by Franco-Flemish musicians in Italy. Thus, four-part texture now became the norm, the voices increasingly took on a vocal character and became alike through the use of musical imitation.

Missa Dominicalis; Hymnus: Veni redemptor dominum; Introitus: Rorate cæli, Tractus: Audi filia; Communio: Ecce virgo; Natalis Domini cantica: Deo dicamus regi potenti;

six Lieder: Von hin scheid ich, Auf gut Gelück, O schönes Weib, Habs je getan, Mein herzigs G, Ach herzigs Herz

Missa Dominicalis: 1 Kyrie, 2 Gloria, 3 Credo, 4 Sanctus, 5 Agnus Dei, 6 Hymnus, 7 Introitus, 8 Tractus, 9 Communio, 10 Natalis Domini cantica

Lieder: 11 Von hin scheid ich, 12 Auf gut Gelück, 13 O schönes Weib, 14 Habs je getan, 15 Mein herzigs G, 16 Ach herzigs Herz

reviews:
(Fabrice Fitch in Goldberg Magazin, 8/2006, five stars):

Heinrich Finck’s music has received little coverage on disc, this being (as far as I am aware) the first anthology to be devoted to him. Strange indeed that this composer, whose life-span encompasses those of all the major figures of the “Josquin generation” (he died in 1527 at the age of 82) should have been so overlooked, particularly in view of the quality of what this vocal quartet from Munich offer us here.

The Missa Dominicalis is quite unassuming at first hearing, but the impression of fine craftsmanship deepens on repeated listening, and the same is true of the selection of four Mass Propers. The writing is accomplished enough often to give the impression that there are more than four voices involved. This is indicative of Finck’s skill, certainly, but also of Stimmwerk’s admirable qualities of ensemble: balance, vocal blend, secure intonation and sensitivity to the shaping of phrases are all there. 

The individual voices are all very pleasing, the countertenor Franz Vitzthum’s ability to scale the heights of his range deserving special mention. The programme is not exclusively sacred: Deo dicamus regi potenti, though a Latin canticum for Christmastide, has a decidedly secular lilt to it, and the selection of German love-songs presented as a miniature cycle shows off a vein of lyrical inspiration that rounds off a remarkably well rounded portrait of an unjustly neglected musician.