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.
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In his liner-notes Thomas Gropper states that it “is usually performed today by soprano and tenor”. This became a tradition, which lasted until The first suggestions of such a tradition date from as early as the late-Roman period. This page was last edited on 5 Augustat Ce genre se jesi en deux formes fondamentales: The answer may perhaps be found in the somewhat light tone of the work. The orchestra delivers an important contribution to the impact of this performance. Smither A History of the Oratorio p.
Halfway through the seventeenth century, a fundamental revolution in this tradition took place in northern Germany: In the eighteenth century, this evolution developed further as a new form of Oratorio Passion arose which freed itself completely from the gospel text. Mauch finds exactly the right approach.
Follow us on Twitter. This led to the creation of a new genre: This, in combination with the central role of the chorales that were ideally suited to the Lutheran liturgy, ensured that this work would be one of the first great occasional works to enjoy a performance tradition of more than one hundred years. The introverted passages are replaced by a cheerful and festive mood. Languages Deutsch Edit links. It fits into the tenor of the oratorio that Jesus is called “friend of man”. Graun, influenced by Italian opera, chose the path of lyricism and spontaneous melodies, using the harmonic language that had emerged from Classicism.
Die Antwort liegt vielleicht im etwas leichteren Ton von Grauns Werk. Brockes’ libretto – generally known as the Brockes Passion – soon gained great popularity. Die introvertierten Passagen wurden durch eine freudige und festliche Stimmung ersetzt.
Graun Der Tod Jesu OEHMS OC [JV] Classical Music Reviews: March – MusicWeb-International
The duet is originally scored for two sopranos and that how it is performed in Kuijken’s recording. The final stage of this evolution began around in Italy, in the development of the genre of Passion Music.
Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. Hyperion offers both CDs, and downloads in a number of formats. One could argue that this oratorio is not dramatic.
Der Tod Jesu is thus dwr interesting case study in the continuity of performance practice. The first is addressed to Jesus: Graun and Telemann both set this libretto to music; both settings were jesuu in To purchase short term access, please sign in to your Oxford Academic account above. Der Tod Jesu Peter and Caiaphas, but Pilate is only referred to as “the tyrant judge” and Judas is just one of “the foe”.
The singing is fine and despite the choir’s size the text is clearly audible. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide.
He achieved a reputation as a skilled composer, rising to the position of vice-Kapellmeister in Braunschweig.
Der Tod Jesu
After one or two of these individual interventions, the choir makes its answer, crowned by a chorale td could be sung by the whole congregation. We are left only with the question of why Der Tod Jesu disappeared from the repertoire at the end of the nineteenth century, to be replaced by the rediscovered Bach Passions.
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Im Text findet man keine Dialoge oder Personen eines Dramas, wie zum Beispiel den berichtenden Evangelisten oder einzeln zugewiesene Rollen. You can also use this FreeFind but it is not so comprehensive. The appeal of the rediscovered Bach Passions perhaps proved impossible to counter. Johan van Veen www. The arias are operatic granu character but the interpreter should not exaggerate the operatic traits.
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.
Der Tod Jesu, GraunWV B:VII:2 (Graun, Karl Heinrich)
There he also achieved a reputation as a skilled composer, rising several years later to the position of vice-Kapellmeister. The third includes a moral appeal to unrepentant sinners: Graun became most famous for his religious music, and above all for his Der Tod Jesu.
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. New Historical Anthology of Music by Women. That is to say: In Der Tod Jesu there are fugal passages reminiscent of Bach but the horizontal nature of polyphony generally yields to a strong sense of harmonic progression.
One day among the roses repentance will lift up the serpent’s crest”.