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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It’s pretty much the only blot on this production, in addition to the fact that the text comes only in German. Receive exclusive offers and updates from Oxford Academic.

One could argue that this oratorio is not dramatic. The libretto was from the pen of the poet Carl Wilhelm Ramler, an important representative of the German Enlightenment. The duet in the second part is put into the mouth of Jesus: Im Text findet man keine Dialoge oder Personen eines Dramas, wie zum Beispiel den berichtenden Evangelisten oder einzeln zugewiesene Rollen.

Der Tod Jesu

In the same period, some versions deviated from the standard gospel texts, in works known as summae passionis: The work granu the lyrical mood of the Italian opera which long enjoyed great grzun with audiences. One day among the roses repentance will lift up the serpent’s crest”. Smither A History of the Oratorio p. Grauner’s recitative settings are highly expressive, culminating in the moving simplicity of the bass’s recitative no. Oxford University Press is a department of the University of Oxford.

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He achieved a reputation as a skilled composer, rising to the position of vice-Kapellmeister in Braunschweig.

Grzun finds exactly the right approach. Languages Deutsch Edit links. The stylistic differences between the two works are nonetheless striking. In his liner-notes Thomas Gropper states that it “is usually performed today by soprano and tenor”. Several recordings of this oratorio are available. If you originally registered with a username please use that to sign in.

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Here not only the Bible text was abandoned but also the dramatic element. The finest we have had in years.

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Der Tod Jesu thus disappeared from the repertoire, ripe for rediscovery in the twenty-first century. Granu became most famous for his religious music, and above all for his Der Tod Jesu. One of the finest versions. In its setting by Carl Heinrich Graun init was the most often performed Passion of the 18th century in Germany.

Der Tod Jesu was so well received that it was performed again the following year on Good Friday, a tradition that was then maintained at the Berlin court until The soloists alternate also exceptionally joining for duets to present a tood version of an episode from the Passion story in a recitative, followed by a poetic reflection on these events in an aria. The composer actually would only provide music for these sections, as the largest portion of the text was chanted.

During the compositional process Graun and Telemann corresponded about technical matters and would later perform each other’s work. Donate and keep mesu afloat. From Wikipedia, the free encyclopedia. Jahrhundert schritt diese Entwicklung weiter voran. Unlike Bach’s PassionsGraun’s setting does not imbue the tenor soloist with jewu role of narrator or Evangelistnor is the bass cast as Vox Christi.


Halfway through the seventeenth century, a fundamental revolution in this tradition took place in northern Germany: The site is also available in several languages. Telemann represents the North-German, late-Baroque tradition, with all its complexity and preference for structure and colour.

The singing is fine and despite the choir’s size the text is clearly audible. Johan van Veen www. It fits into the tenor of the oratorio that Jesus is called “friend of man”.

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

Don’t already have an Oxford Academic account? Hyperion offers both CDs, and downloads jesj a number of formats. It sounds fairly large, but whether that corresponds to the forces used in Graun’s time is impossible to say. The main goal of this oratorio is to tempt the audience to follow the path of virtue by following Jesus’ model.

Monika Mauch takes most of the arias – three, to one each for tenor and bass – and sings them very well. After one or two of these individual interventions, the choir makes its answer, crowned by a chorale that could be sung by the kesu congregation.

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