The clutch of recordings reviewed here ranges across the sacred repertories of a variety of cities and courts— both Lutheran and Catholic—in the German lands and Austria: from north to south, Hamburg, Saxony (Leipzig and Dresden) and imperial Vienna. Chronologically they take us from the late 16th century to the mid 18th, and generically they encompass Latin motets and antiphon settings; a parody Mass; two Magnificat settings (one with German Christmas interpolations); liturgical organ music designed for alternatim performance; German motets, sacred concertos and cantatas; a Christmas historia in German and a Holy Week oratorio (or sepolcro) in Italian; and sonatas for liturgical use. Inevitably, between them the recordings raise or reflect a good number of the performance practice issues which have occupied scholars and performers engaged with such music, including the ‘chorus’ (concertists/ripienists) debates. And they open numerous windows on both the multifarious infusions of Italian influence into the German and Imperial territories and continuities of practices and repertories within those areas.

中文翻译：

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汉堡到维也纳：德国和奥地利的巴洛克风格

此处审查的大量录音涵盖了德国土地和奥地利的各种城市和法院（包括路德教和天主教）的神圣曲目：从北到南，汉堡、萨克森（莱比锡和德累斯顿）和帝国维也纳。按时间顺序，它们将我们从 16 世纪后期带到 18 世纪中期，一般来说，它们包括拉丁语经文和对唱背景；模仿弥撒；两个 Magnificat 设置（一个带有德国圣诞节插值）；为交替演奏而设计的礼拜式管风琴音乐；德国颂歌、神圣协奏曲和康塔塔；德语圣诞节历史和圣周清唱剧（或sepolcro） 用意大利语; 和用于礼拜的奏鸣曲。不可避免地，他们之间的录音提出或反映了大量的表演实践问题，这些问题困扰着从事此类音乐的学者和表演者，包括“合唱”（音乐会/演奏者）辩论。他们为意大利对德意志和帝国领土的各种影响以及这些地区的实践和剧目的连续性打开了无数的窗口。