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Biography
Rheinische Kantorei
Since the 60s "historical performance practice" has become an established part of musical life. Historical performance practice: that means research in libraries and archives, making editions faithful to the original sources, the use of historical intruments (or exact copies) and above all a musical execution, which pays regard to the rules valid for a particular period. Authenticity is not thereby an end in itself but the means by which baroque and early classical music regains the liveliness and direct effect that it had, when it was first created. Success speaks for itself; early music now attracts a wide public. In particular, young people are fascinated by the spontaneity and vigour of these performances.One of the key figures in this development in Germany is Hermann Max. Together with his ensembles the Rheinische Kantorei and the baroque orchestra Das Kleine Konzert he has not only saved countless outstanding works of the German baroque from being forgotten, but also built up a reputation for exemplary interpretations of standard works such as Bach's B Minor Mass and Matthäus Passion both in concert and on CD recordings. Hermann Max studied sacred music at the Musikhochschule in Berlin before going on to study musicology, art history and archaeology at Cologne university.
Without the efforts of Hermann Max we would have a false or incomplete picture of an important period in musical history, the middle German music surrounding Johann Sebastian Bach. The music of Bach, his sons and countless relations, music by the Thomaskantors, who succeeded and preceded him and by his contemporaries, colleagues and pupils make up a whole musical landscape, which has been rediscovered through Max's work. Countless recordings for the WDR (West German Radio) and many prize-winning CDs bear witness to this ambitious project, which he has pursued for many years. In 1998 he was awarded the Telemann-Prize by the city of Magdeburg for his engagement on behalf of Telemann's music.
Apart from his work with his own ensembles and as church music director, Max makes frequent appearances as a guest conductor and gives courses in the interpretation of early music both at home and abroad. In 1992 he founded the festival "Festliche Tage Alter Musik", which now takes place every year in September under his direction in the romanesque monastery church Knechtsteden (near Düsseldorf).
In the year 1977 as early music first began to flourish, Max founded a small professional choir, which since 1985 bears the name Rheinische Kantorei. The exact size of the choir varies from 16 to 32 singers according to the needs of the work being performed. Max has moulded the choir over the years after 17th and 18th century Italian singing-ideals; a bright, radiant sound, carefully worked-out diction, absolutely secure intonation, transparence, facility and agility give the choir an unmistakable character. Due to the professional quality of the choir most solo-parts can be taken by choir mem-bers. At the same time the voices melt together to produce an extremely homogeneous sound.
Max's elaborate representation of the Affekte including operatic dramatic effects requires a close cooperation with the instrumentalists. Since 1980 the Rheinische Kantorei has had its own baroque orchestra, which owes its name Das Kleine Konzert to a historical orchestra in Leipzig - "Das Große Konzert" - which was founded in 1743 and later became the Gewandhaus orchestra.
Since its foundation Das Kleine Konzert has often had opportunity to prove its merit in performing the most demanding parts in both well-known, as well as hitherto unknown oratorios and operas.
It is therefore no surprise that the orchstra, led alternately by Ulla Bundies and Anne Röhrig has also made several ventures into the purely orchetral repertoire. The interplay between the orchestral musicians among themselves and with the choir is the prerequesite for the "rhetorical performance style of great illustrative strength" (Salzburger Nachrichten) which characterises Max' performances..
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