Since its first performance in Berlin in , Carl Heinrich Graun’s “empfindsame” (sensible) Passion Cantata “Der Tod Jesu”, with a libretto by Karl Wilhelm. Der Tod Jesu: Carl Heinrich Graun: especially for his Passion oratorio Der Tod Jesu. Der Tod Jesu Mauch; Poplutz, Burkhart; Arcis-Vocalisten München, Barockorchester L’Arpa Festante, Gropper. German text only. Oehms OC GRAUN E.
|Published (Last):||9 January 2004|
|PDF File Size:||3.43 Mb|
|ePub File Size:||3.55 Mb|
|Price:||Free* [*Free Regsitration Required]|
For Luther, the suffering of Christ was to be experienced to the full by all believers, and not only in words alone. After his voice broke he studied keyboard and composition, but he also developed his singing voice, which allowed him to sing as a tenor in the court chapel of Braunschweig from on.
The final stage of this evolution began around in Italy, in the development of the genre of Passion Music.
Der Tod Jesu – Wikipedia
In der Mitte des 5. I was not completely satisfied with either of them. We are left only to wonder why Der Tod Jesu disappeared from the repertoire at the end of the nineteenth century. Oxford University Press is grun department of the University of Oxford.
This development towards greater variation and freedom, found initially in the Catholic liturgy, was continued further after the Reformation, although it met with some degree of resistance. Jahrhunderts fand in Norddeutschland ein entscheidender Umbruch in dieser Tradition statt: He would go on to compose some thirty Italian operas, grqun Montezumaon a text by the king, as well as a great deal of instrumental music.
Rather, the soloists alternate also exceptionally joining for duets to present a free version of an episode from the Passion story in a recitative, followed by a poetic reflection on these events in an aria.
Some items to consider Brahms Symphony 4 Dvorak Symphony 9. Georg Poplutz’s voice has some sharp edges and he uses them well in the recitative ‘Nun klingen Waffen’ and the ensuing aria ‘Ihr weichgeschaffnen Seelen’ in which the contrast between the two sections comes across effectively.
Graun Der Tod Jesu OEHMS OC [JV] Classical Music Reviews: March – MusicWeb-International
Ramler revised his text in She does not have the most dramatic of voices and that is just as well. Andreas Burkhart is impressive in the most dramatic recitative ‘Jerusalem voll Mordlust’ which includes the infamous exclamations of the Jewish people: If you don’t have this work in your collection this is the best version to go for.
Choral works from the Bachs and their contemporaries.
Don’t have an account? Instead, it presents emotively various aspects of the Passion. The libretto was from the pen of the poet Carl Wilhelm Ramler, an important representative of the German Enlightenment.
Retrieved from grakn https: The introverted passages are replaced by a cheerful and festive mood. Don’t show me this message again. Peter and Caiaphas, but Pilate is only referred to as “the tyrant judge” and Judas is just one of “the foe”. Instead, it gives prominence to melody and voice. It’s pretty much the only blot on this production, in addition to the fact that the text comes only jewu German. It fits into the tenor of the oratorio that Jesus is called “friend of man”.
Der Tod Jesu, GraunWV B:VII:2 (Graun, Karl Heinrich)
The character of the arias is various. Das hatte zur Folge, dass sich in Deutschland die Passion zu einer wichtigen musikalischen Formgattung entwickelte.
Mauch finds exactly the right approach. You could not be signed in. Ce genre se divise en deux formes fondamentales: Those were written for liturgical use and based on one of the gospels. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.
Das Werk atmet die lyrische Stimmung einer italienischen Oper. Musikalisch gesehen gab es eine Tendenz, an der einfachen responsorialen Passion festzuhalten, in der nur die Turbae-Abschnitte einer einfachen Form der Mehrstimmigkeit unterzogen wurden.