Wie der Hirsch schreit. Kirchenwerke IV (Bernius)
Listen
(16)
- Psalm 114
- Coro: Wie der Hirsch schreit
- Recitativo, Aria: Meine Tränen
- Aria: Meine Seele dürstet
- Coro: Was betrübst du dich
- Recitativo: Mein Gott, betrübt ist meine Seele
- Quintetto: Der Herr hat des Tages
- Schlußchor: Was betrübst du dich, meine Seele
- Coro: Lauda Sion Salvatorem
- Coro: Laudis thema specialis
- Soprano Solo e coro: Sit laus plena, sit sonora
- Quartetto: In hac mensa novi Regis
- Coro: Docti sacris institutis
- Coro: Sub diversis speciebus
- Soprano Solo: Caro cibus, sanguis potus
- Soli e Coro: Sumit unus, sumunt mille
Additional material
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text (without music) for download, html file, Singing text, english translationhtml file, Singing text, english translation (Sample)1. Coro (SATB)
As the hart longs for streams of water,
O God, so my spirit longs for thee.2. Aria (Solo S)
For my spirit thrists after God,
my God, the Lord of all living.
O when shall I come before him,
so that mine own eyes may see him?3. Recitativo (Solo S)
And my tears have been all my food both day and night,
while they daily come and ask me: Where is now your God?
These things I now remember,
as I pour out my heart in prayer to him.Allegro assai (Solo S e Coro)
For I would have gone out gladly with the people
and with them would go up to God’s own temple
with rejoicing and thanksgiving,
with all the people on the feast day.... -
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1. Coro (SATB)
Wie der Hirsch schreit nach frischem Wasser,
so schreit meine Seele, Gott, zu dir.2. Aria (Solo S)
Meine Seele dürstet nach Gott,
nach dem lebendigen Gotte.
Wann werde ich dahin kommen,
dass ich Gottes Angesicht schaue?3. Recitativo (Solo S)
Meine Tränen sind meine Speise Tag und Nacht,
weil man täglich zu mir saget: Wo ist nun dein Gott?
Wenn ich dess’ inne werde,
so schütte ich mein Herz aus bei mir selbst.Allegro assai (Solo S e Coro)
Denn ich wollte gern hingehen mit dem Haufen
und mit ihnen wallen zum Hause Gottes,
mit Frohlocken und mit Danken
unter dem Haufen, die da feiern.4. Coro (SATB)
Was betrübst du dich, meine Seele,
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text (without music) for download, html file, Introductory text, Frenchhtml file, Introductory text, French (Sample)
Texte du livret du CD Carus 83.202
Thomas Schmidt-Beste
Traduction (abrégé) : Jean Paul MénièreLa musique spirituelle pour chœurs occupe une place importante dans la production de Felix Mendelssohn Bartholdy (1809–1847). Le catalogue de ses œuvres ne compte pas moins de 67 compositions, publiées ou non, qui vont de très simples et brèves pièces pour chœurs jusqu’aux deux oratorios monumenteaux Paulus et Elias. Il est facile de comprendre cet aspect de la production du compositeur lorsqu’on jette un bref regard sur sa biographie : Après l’abandon de la religion juive et la conversion de la famille Mendelssohn au christianisme en 1816 (d’abord les enfants, les parents en suivent 1822) le compositeur grandit dans le milieu culturel et musical de Berlin, fortement imprégné par le protestantisme. Son professeur, Carl Friedrich Zelter, jouait, en outre, en tant que directeur de la Singakademie, Berlin, à laquelle appartint également le jeune
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text (without music) for download, html file, Introductory text, Englishhtml file, Introductory text, English (Sample)
Text from the CD Carus 83.202
Thomas Schmidt-Beste
Translation (abridged): John CoombsSacred choral music occupies an important place among the works of Felix Mendelssohn Bartholdy (1809–1847); the catalogue of his sacred compositions includes no fewer than 67 published and unpublished works, ranging from brief and straightforward choruses to the two monumental oratorios St. Paul and Elijah. A glance at the biography of the composer makes this understandable: following conversion to Christianity of the originally Jewish Mendelssohn family (the children were converted in 1816 and the parents in 1822) the composer grew up in the Protestant-influenced musical culture of Berlin. His teacher Carl Friedrich Zelter, as director of the Berlin Singakademie (to which the young Mendelssohn belonged), was one of the leading figures in the movement of that period whose aim was to breathe new life into the “classical” art of the old
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text (without music) for download, html file, Introductory text, Germanhtml file, Introductory text, German (Sample)
Booklet-Text der CD Carus 83.202
Thomas Schmidt-Beste
Im Schaffen Felix Mendelssohn Bartholdys (1809–1847) nimmt die geistliche Chormusik einen großen Stellenwert ein – das Werkverzeichnis führt nicht weniger als 67 veröffentlichte und unveröffentlichte Werke auf, die von kurzen, ganz einfachen Chorsätzen bis zu den beiden monumentalen Oratorien Paulus und Elias reichen. Ein Blick auf die Biographie des Komponisten macht dies verständlich: Nach dem Übertritt der ursprünglich jüdischen Familie Mendelssohn zum Christentum – im Jahr 1816 erst der Kinder und 1822 dann der Eltern – wuchs der Komponist in der protestantisch geprägten Musikkultur Berlins auf; sein Lehrer Carl Friedrich Zelter war zudem als Leiter der Berliner Singakademie (deren Mitglied auch der junge Mendelssohn war) eine der treibenden Kräfte im Bestreben, die „klassische“ Kunst der alten Meister der Kirchenmusik in der Praxis zu neuem Leben zu erwecken. An erster Stelle standen hier die Werke
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text (without music) for download, html file, Singing text, english translationhtml file, Singing text, english translation (Sample)
1. Lauda Sion Salvatorem (Coro)
Praise Jehovah, bow before Him,
O be joyful, saints adore Him,
in chorus His deeds proclaim.
He is good in his salvation,
ever magnify His name,
he is mighty in creation.2. Laudis thema specialis (Coro)
By His providence directed
we are guided and protected,
we receive our daily bread:
He sustaineth all that liveth,
all that we enjoy, He giveth;
from His name we all are fed.3. Sit laus plena, sit sonora (Soprano solo e Coro)
Sing of judgment, sing of mercies,
bless the Lord in sacred verses,
praise His name in holy mirth.
For he sitteth before the cherubim,
let the people tremble and worship Him,... -
text (without music) for download, html file, Singing text, German translationhtml file, Singing text, German translation (Sample)
1. Lauda Sion Salvatorem (Coro)
Preise, Sion, den Regierer,
deinen Retter, deinen Führer,
lobsing ihm mit Harfenton.
Singe Psalmen, singe Lieder,
Alle Lande, fallet nieder,
sammelt euch um seinen Thron.2. Laudis thema specialis (Coro)
Ziel der Sehnsucht, Ziel des Strebens,
Brot der Weihe, Brot des Lebens,
unser Lied an diesem Tag.
Das zuerst in dieser Stunde,
seine Jünger in der Runde,
Er, der Herr, den Zwölfen brach.
Ziel der Sehnsucht, Brot der Weihe,
unser Lied an diesem Tag.3. Sit laus plena, sit sonora (Soprano solo e Coro)
Schallt sein Lob mit vollen Chören,
tuet kund mit allen Ehren
dieses Tages Herrlichkeit.... -
text (without music) for download, html file, Singing text, originalhtml file, Singing text, original (Sample)
1. Lauda Sion Salvatorem (Coro)
Lauda Sion Salvatorem, lauda ducem
et pastorem, in hymnis et canticis.
Quantum potes, tantum aude: quia major omni laude,
nec laudare sufficis.2. Laudis thema specialis (Coro)
Laudis thema specialis,
panis vivus et vitalis
hodie proponitur.
Quem in sacrae mensa coenae,
turbae fratrum duodenae
datum non ambigitur.
Laudis thema, panis vivus
hodie proponitur.3. Sit laus plena, sit sonora (Soprano solo e Coro)
Sit laus plena, sit sonora,
sit jucunda, sit decora
mentis jubilatio.
Dies enim solemnis agitur,
in qua mensae prima recolitur... -
text (without music) for download, html file, Introductory text, Frenchhtml file, Introductory text, French (Sample)
Text du livret du CD Carus 83.202
Thomas Schmidt-Beste
Traduction (abrégé) : Jean Paul MénièreLa musique spirituelle pour chœurs occupe une place importante dans la production de Felix Mendelssohn Bartholdy (1809–1847). Le catalogue de ses œuvres ne compte pas moins de 67 compositions, publiées ou non, qui vont de très simples et brèves pièces pour chœurs jusqu’aux deux oratorios monumenteaux Paulus et Elias. Il est facile de comprendre cet aspect de la production du compositeur lorsqu’on jette un bref regard sur sa biographie : Après l’abandon de la religion juive et la conversion de la famille Mendelssohn au christianisme en 1816 (d’abord les enfants, les parents en suivent 1822) le compositeur grandit dans le milieu culturel et musical de Berlin, fortement imprégné par le protestantisme. Son professeur, Carl Friedrich Zelter, jouait, en outre, en tant que directeur de la Singakademie, Berlin, à laquelle appartint également le jeune Mendelssohn, un rôle capital dans les efforts entrepris pour ramener à la vie l’art « classique » des anciens maîtres de la musique spirituelle. Les œuvres de Georges Frédéric Haendel et de Jean Sébastien Bach, dont le style et le phrasé passaient
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text (without music) for download, html file, Introductory text, Englishhtml file, Introductory text, English (Sample)
Text from the CD Carus 83.202
Thomas Schmidt-Beste
Translation (abridged): John CoombsSacred choral music occupies an important place among the works of Felix Mendelssohn Bartholdy (1809–1847); the catalogue of his sacred compositions includes no fewer than 67 published and unpublished works, ranging from brief and straightforward choruses to the two monumental oratorios St. Paul and Elijah. A glance at the biography of the composer makes this understandable: following conversion to Christianity of the originally Jewish Mendelssohn family (the children were converted in 1816 and the parents in 1822) the composer grew up in the Protestant-influenced musical culture of Berlin. His teacher Carl Friedrich Zelter, as director of the Berlin Singakademie (to which the young Mendelssohn belonged), was one of the leading figures in the movement of that period whose aim was to breathe new life into the “classical” art of the old masters of church music. Of prime importance were the works of George Frideric Handel and Johann Sebastian Bach, whose stylistic and compositional artistry were considered “pure” and “ideal” examples of church music. Thus Mendelssohn grew up with a concept of sacred music which was directed toward such
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text (without music) for download, html file, Introductory text, Germanhtml file, Introductory text, German (Sample)
Booklet-Text der CD Carus 83202
Thomas Schmidt-Beste
Im Schaffen Felix Mendelssohn Bartholdys (1809–1847) nimmt die geistliche Chormusik einen großen Stellenwert ein – das Werkverzeichnis führt nicht weniger als 67 veröffentlichte und unveröffentlichte Werke auf, die von kurzen, ganz einfachen Chorsätzen bis zu den beiden monumentalen Oratorien Paulus und Elias reichen. Ein Blick auf die Biographie des Komponisten macht dies verständlich: Nach dem Übertritt der ursprünglich jüdischen Familie Mendelssohn zum Christentum – im Jahr 1816 erst der Kinder und 1822 dann der Eltern – wuchs der Komponist in der protestantisch geprägten Musikkultur Berlins auf; sein Lehrer Carl Friedrich Zelter war zudem als Leiter der Berliner Singakademie (deren Mitglied auch der junge Mendelssohn war) eine der treibenden Kräfte im Bestreben, die „klassische“ Kunst der alten Meister der Kirchenmusik in der Praxis zu neuem Leben zu erwecken. An erster Stelle standen hier die Werke Georg Friedrich Händels und Johann Sebastian Bachs, deren Stil und Satzkunst für eine „reine“ und „ideale“ Kirchenmusik als vorbildhaft galten.
So formte sich auch bei Mendelssohn ein Ideal der geistlichen Musik, das stark an Werten wie
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Composer
Felix Mendelssohn Bartholdy
| 1809-1847
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Preface writer
Thomas Schmidt-Beste
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Choir
Kammerchor Stuttgart
The Kammerchor Stuttgart is regarded as one of the best ensembles of its kind. Over its fifty-year existence, Frieder Bernius has developed the choir into an exceptional ensemble acclaimed by audiences and press alike. This has led to invitations for the choir to perform at all the important European festivals. In Germany the chamber choir performs at festivals and in concert halls in repertoire ranging from the 17th to the 21st century. Frieder Bernius and his ensemble have received numerous accolades for their contribution to new music. The Kammerchor Stuttgart has made over 80 CDs and LPs, numerous of which have been awarded international recording prizes (including the Edison award, Diapason d’or, Gramophone Choice, Classical Internet Award, International Classical Music Award, and German Record Critics’ Award prizes). The International Federation for Choral Music has invited the ensemble to sing at the 1st, 4th and 10th World Symposia on Choral Music in Vienna, Sydney and Seoul. Regular tours of North America and Asia since 1988 and a South America tour reflect the Kammerchor Stuttgart’s international reputation. Since 1984 the top ensemble has also been invited to Israel biennially. Personal details
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Ensemble
Die Deutsche Kammerphilharmonie Bremen
The Deutsche Kammerphilharmonie Bremen is one of the world's leading orchestras, captivating audiences everywhere with its unique style of music-making. The Estonian conductor Paavo Järvi has been the orchestra's Artistic Director since 2004.
One of the many highlights of the collaboration with Paavo Järvi has been their Beethoven Project, on which conductor and orchestra concentrated for six years. Their Beethoven interpretations have been acclaimed worldwide by audiences and critics alike as benchmark performances. Following the Beethoven Project The Deutsche Kammerphilharmonie Bremen and Paavo Järvi focused on Robert Schumann's symphonic works with equal success.
The latest project of the orchestra and its conductor is the German composer Johannes Brahms. The first CD (Sony/RCA) of the project – Symphony No. 2, Tragic Ouverture and the Academic Festi-val Ouverture – was released in autumn 2017 and received the Opus Klassik in October 2018. The second CD, including Symphony No. 1 and the Haydn-Variations, followed in autumn 2018. With the third and fourth Symphony, released in March 2019, the symphony cycle has come to completion.
Highlight of the project was the internationally acclaimed performance of ›A German Requiem‹ on the 10th of April 2018 at Bremen Cathedral, 150 years after the first performance. The recording has now been released on DVD and Blu-ray by C-Major. In October 2019, ›The Brahms Code‹ – an excit-ing TV/DVD documentary about the Brahms Project produced by Deutsche Welle/Unitel – was re-leased and is the current German Record Critics' Award winner in the category music film (listed 1/20).
The Deutsche Kammerphilharmonie Bremen has been honoured with countless prizes such as Echo, Opus and Diapason d'Or for its recordings and the unique education project with the Gesamtschule Bremen-Ost in Osterholz-Tenever, the Zukunftslabor. For years, the orchestra has cultivated close musical friendships with international soloists such as Christian Tetzlaff, Maria João Pires, Janine Jansen, Igor Levit, Hilary Hahn and Martin Grubinger.
The Deutsche Kammerphilharmonie Bremen is permanent guest orchestra at the Elbphilharmonie Hamburg and Festival Orchestra of Kissinger Sommer. Personal details
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Conductor
Frieder Bernius
| 1947Frieder Bernius’s work has earned great worldwide recognition. He is in demand internationally as a conductor and as a teacher. His principal artistic collaborators are the ensembles he founded himself, the Kammerchor Stuttgart, the Barockorchester Stuttgart, the Hofkapelle Stuttgart and the Klassische Philharmonie Stuttgart. As a guest conductor, he has collaborated repeatedly with, for example, the SWR Vokalensemble Stuttgart, the Deutsche Kammerphilharmonie Bremen, the Stuttgarter Kammerorchester and the Streicherakademie Bozen. Great stylistic versatility is Frieder Bernius’s hallmark. Whether he conducts vocal works by Monteverdi, Bach, Händel, Mozart, Beethoven, Fauré and Ligeti, stage music by Mendelssohn or symphonies by Haydn, Burgmüller and Schubert, his work always aims for a sound that is at once unmistakably personal and at the same time oriented towards the original period sound ideal. He devotes himself equally to the rediscovery of 18th century operas and to first performances of contemporary compositions. He is particularly interested in the musical history of southwestern Germany. Carus-Verlag has awarded Frieder Bernius a Golden CD for his complete recording of the sacred music of Felix Mendelssohn Bartholdy. The award was presented to him during the German Choir Festival in Stuttgart 2016. The sale of over 250,000 recordings, which has been acclaimed with a number of awards, has made a not insignificant contribution to what today is the obvious presence of Mendelssohn's complete œuvre in the concert repertoire. Personal details
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Soloist - soprano
Ruth Ziesak
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Soloist - alto
Helene Schneiderman
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Soloist - tenor
Jan Kobow
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Soloist - tenor
Christoph Prégardien
As one of the outstanding lyric tenors of today, Christoph Pregardien is highly regarded as a lieder singer. He specializes in lieder and oratorio and his repertoire encompasses all periods. Christoph Pregardien and his accompanist Michael Gees received the MIDEM Classical Award 2009 for their recording of Schubert’s “Die schone Mullerin”. Personal details
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Soloist - bass
Gotthold Schwarz
Gotthold Schwarz received his first musical training at the Dresden Kirchenmusikschule and at the Hochschule für Musik Felix Mendelssohn Bartholdy in Leipzig. This bass studied singing with Gerda Schriever and conducting with Max Pommer and Hans-Joachim Rotzsch. He appears regularly throughout Europe with such celebrated artists as Frieder Bernius, Peter Schreier and Philippe Herreweghe. In additoin to his extensive concert activity, some of it in the USA, he has given courses in the interpretation of Bach’s works. Numerous CD and radio productions document his wide repertoire, which along with concert and opera singing includes song recitals featuring literature ranging from the baroque era to the present day. Personal details
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Soloist - bass
Adolph Seidel
Adolph Seidel studied singing with Peter Wetzler and Paul Lohmann. He specializes in music of the early and high Baroque. As well as bass roles in concert repertoire, he particularly enjoys ensemble singing. Reflecting this, since 1977 he has been a member of the Kammerchor Stuttgart, the sixteen soloists of the Kammerchor Stuttgart under Frieder Bernius and the KammerChor Saarbrücken, and has been the bass in the Orlando di Lasso-Ensemble for several years. As well as his work as a singer, he is director of the vocal ensemble VocArt, specializing in the performance of Baroque vocal music ranging from small-scale works for soloists to oratorio works. Personal details
Reviews
Felix Mendelssohn Bartholdy: wie der Hirsch schreit
Die Interpretation der drei großen Werke zeichnet sich durch höchste Qualität aus: Musizieren von höchster Intensität und Ausdruckskraft sowohl was den Chor als auch Solisten und Orchester betrifft! Großartig!
Singende Kirche, 3/1997
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