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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Bach’s St Matthew Passion is a monument in music history. This page was last edited on 5 Augustat The duet is originally scored for two sopranos and that how it is performed in Kuijken’s recording.

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.

One of the finest versions.

Every year it is performed around the globe and especially during Passiontide. Don’t show me this message again. 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.

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Citing articles via Google Scholar. The text includes no dialogues or dramatic personages such as an evangelist-narrator or soloists with assigned roles. Such oratorios were not written for the church but intended for performances during public concerts, for a paying audience. One day among the roses repentance will lift up the serpent’s crest”. He gradually retrained his voice, becoming sufficiently proficient as a tenor to win himself a place in the court chapel of Braunschweig in In der Jezu des 5.


It’s pretty much the only blot on this production, in addition to the fact that the text comes only in German. Jahrhundert schritt diese Entwicklung weiter voran.

Der Tod Jesu, GraunWV B:VII:2 (Graun, Karl Heinrich)

Monika Mauch takes most of the arias – three, to one each for tenor and bass – and sings them very well. The duet in the second part is put into the mouth of Jesus: The Bible texts were originally chanted by the celebrant alone; only in the course of the fifteenth century were polyphony and an element of hraun introduced into the genre. One could argue that this oratorio is not dramatic. The character of the arias is various. Choral works from the Bachs and their contemporaries.

There were two basic forms within the genre: You could not be signed in. That’s not much of an argument to do the same.

Auch instrumentale Sinfonias und Kirchenlieder fanden Eingang. Peter and Caiaphas, but Pilate is only referred to as “the tyrant judge” and Judas is just one of “the foe”. Dsr you want to have an English translation you can download the booklet to Kuijken’s recording from the Hyperion website. Telemann represents the North-German, late-Baroque tradition, with all its complexity and preference for structure and colour.

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Graun Der Tod Jesu OEHMS OC [JV] Classical Music Reviews: March – MusicWeb-International

Sign In or Create an Account. 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. Receive exclusive offers and updates from Oxford Academic. Andreas Burkhart is impressive in the most dramatic recitative ‘Jerusalem voll Mordlust’ which includes the infamous exclamations of the Jewish people: Smither A History of the Oratorio ggraun.

The site is also available in several languages. Yet he without fear approaches the foe; magnanimously he speaks” and so on.

Der Tod Jesu – Wikipedia

You do not currently have access to this article. Sinfonie Concertanti for def flutes and orchestra. 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.

Don’t have an account? The musically heightened reading of the Passion story thus received an important place within the liturgy and its telling was spread throughout Lent. Deshalb verschwand Der Tod Jesu aus dem Repertoire, erwartet aber im 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. IL Carnevale di Venezia Clarinet kesu orchestra.

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