Georg Friedrich Händel: Brockes-Passion. »Der für die Sünde der Welt gemarterte und sterbende Jesu« - CD, Choir Coach, multimedia | Carus-Verlag

Georg Friedrich Händel Brockes-Passion. »Der für die Sünde der Welt gemarterte und sterbende Jesu«

based on the copy by J. S. Bach HWV 48

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Barthold Heinrich Brockes’ text for the passion oratorio later named after him is among the most influential and well-known Passion librettos of the early 18th century. The present version is the first recording on CD of the work based on the copy made by Johann Sebastian Bach himself. It is distinguished from the more well-known version by a different text underlay for the opening chorus.
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  • Sinfonia
  • Chor: Greift zu, schlagt tot
  • Rezit. (Tochter Zion): Verwegner Dorn
  • Rezit. (Evang.): Und eine dicke Finsternis
  • I will magnify thee
  • O worship the Lord
  • Glory and worship
  • Tell it out amnog the heathen
  • Righteousness and equity
  • My mouth shall speak
  • Arie (Tochter Zion): Gott selbst, der Brunnquell
  • Choral: Ach, wie hungert mein Gemüte
  • Rezit. (Evang., Jesus): Drauf sagten sie
  • Chor: Wir alle wollen eh’ erblassen
  • Rezit. (Jesus): Es ist gewiss
  • Arie (Jesus): Weil ich den Hirten
  • Rezit. (Petrus, Jesus): Aufs wenigste
  • Arie (Jesus): Mein Vater, schau wie ich
  • Rezit. (Jesus): Mich drückt der Sünden
  • Arie (Jesus): Ist’s möglich, dass dein Zorn
  • Arioso (Tochter Zion): Sünder, schaut mit Furcht
  • Rezit. (Evang.): Die Pein vermehrte sich
  • Arie (Tochter Zion): Brich, mein Herz
  • Rezit. (Evang.): Ein Engel aber kam
  • Arioso (Jesus, Petrus u.a.): Erwachet doch!
  • Rezit. (Evang.): Und eh’ die Rede
  • Rezit. (Evang., Judas): Und der Verräter
  • Chor: Er soll uns nicht entlaufen
  • Rezit. (Judas, Jesus): Nimm, Rabbi
  • Arie (Petrus): Gift und Glut, Strahl und Flut
  • Rezit. (Jesus): Steck nur das Schwert
  • Chor: O weh, sie binden ihn
  • Rezit. (Petrus): Wo flieht ihr hin?
  • Arie (Petrus): Nehmt mich mit
  • Rezit. (Evang., Jesus u.a.): Und Jesus ward
  • Arie (Tochter Zion): Was Bärentatzen
  • Rezit. (Evang., Petrus u.a.): Dies sahe Petrus
  • Arioso (Petrus): Ich will versinken
  • Rezit. (Evang., Petrus): Drauf krähete der Hahn
  • Arie (Petrus): Heul, du Schaum
  • Rezit. (Petrus): Doch wie will ich verzweifelnd
  • Arie (Petrus): Schau, ich fall’ in strenger Buße
  • Choral: Ach, Gott und Herr
  • Rezit. (Evang., Jesus u.a.): Als Jesus nun
  • Arie (Gläubige Seele): Erwäg, ergrimmte
  • Rezit. (Evang., Tochter Zion): Die Nacht
  • Arie (Tochter Zion): Meine Laster sind die Stricke
  • Rezit. (Judas): O was hab’ ich
  • Arie (Judas): Lasst diese Tat nicht ungerochen
  • Rezit. (Judas): Unsäglich ist mein Schmerz
  • Arie (Tochter Zion): Die ihr Gottes Gnad’
  • Rezit. (Evang., Jesus): Wie nun Pilatus
  • Chor, Rezit. (Evang., Pilatus): Bestrafe diesen
  • Duett (Tochter Zion, Jesus): Sprichst du denn
  • Rezit. (Evang., Pilatus u.a.): Pilatus wunderte sich
  • Rezit. (Evang.): Wie er nun sah
  • Rezit. (Tochter Zion): Besinne dich, Pilatus
  • Rezit. (Evang.): Drauf zerreten
  • Arioso (Gläubige Seele): Ich seh’ an einen Stein
  • Rezit. (Gläubige Seele): Drum, Seele, schau
  • Arie (Gläubige Seele): Dem Himmel gleicht
  • Rezit. (Evang.): Wie nun das Blut als Strome
  • Arie (Tochter Zion): Die Rosen krönen
  • Arie (Tochter Zion): Lass doch
  • Rezit. (Tochter Zion): Die zarten Schläfen
  • Arie (Tochter Zion): Jesu! Dich mit unsern Seelen
  • Rezit. (Evang., Chor): Drauf beugten sie
  • Rezit., Arie (Evang., Tochter Zion): Ja, scheueten
  • Rezit. (Evang.): Worauf sie mit dem Rohr
  • Rezit. (Tochter Zion): Bestürzter Sünder
  • Arie (Tochter Zion): Heil der Welt
  • Rezit. (Evang.): Wie man ihm nun genug
  • Arie (Tochter Zion, Chor): Eilt, ihr angefochtnen
  • Rezit. (Maria): Ach Gott, mein Sohn
  • Duett (Maria, Jesus): Soll mein Kind
  • Rezit. (Evang., Tochter Zion): Und er trug
  • Arie (Tochter Zion): Es scheint
  • Rezit. (Evang.): Wie sie nun an die Stätte
  • Arie (Gläubige Seele): Hier erstarrt mein Herz
  • Rezit. (Gläubige Seele): O Anblick
  • Choral: O Menschenkind, nur deine Sünd’
  • Rezit. (Evang., Chor): Sobald er nun gekreuzigt
  • Arie (Gläubige Seele): Was Wunder
  • Rezit. (Evang.): Dies war zur neunten Stund’
  • Arioso (Gläubige Seele): Mein Heiland
  • Rezit. (Evang.): Drauf lief ein Kriegsknecht
  • Terzett (Gläubige Seelen): O Donnerwort!
  • Rezit. (Gläubige Seele, Evang.): O selig
  • Arie (Tochter Zion u.a.): Sind meiner Seelen
  • Rezit. (Tochter Zion, Evang.): O Großmut!
  • Arie (Gläubige Seele): Brich, brüllender Abgrund
  • Rezit. (Gläubige Seele u.a.): Ja, ja, es brüllet schon
  • Arie (Gläubige Seele): Wie kommt’s
  • Accomp. (Gläubige Seele): Bei Jesus’ Tod
  • Choral: Mein’ Sünd’ mich werden kränken
  • Arie (Tochter Zion): Wisch ab der Tränen
  • Choral: Ich bin ein Glied an deinem Leib
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Additional material
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  • Sinfonia

    1. Soli and Chorus (Chorus of Believers)

    Come, ye cast out sinners,
    death’s children, behold, here life doth end.
    Your death with him shall die,
    his ruin be your salvation.

    2a. Recitative (Evangelist)

    When Jesus sat down at the table
    and with his disciples was eating the Easter lamb,
    the symbol of his death,
    he took the bread,
    and gave thanks to the Highest and broke it,
    gave it to them and said:

    2b. Accompagnato (Jesus)

    This is my body, take and eat it;
    so you will not forget me.

    3. Aria (Daughter of Zion)

    God, for whom the infinite heavens,
    and all space as space is too small,
    is present here, in an unfathomable way,
    ...
  • Sinfonia

    1. Soli und Chor (Chor der gläubigen Seelen)

    Kommet, ihr verworfnen Sünder,
    Todeskinder, seht, hier stirbt das Leben.
    Euer Tod soll mit ihm sterben,
    sein Verderben wird euch Rettung geben.

    2a. Rezitativ (Evangelist)

    Als Jesus nun zu Tische saß,
    und er das Osterlamm, das Bild von seinem Tod,
    mit seinen Jüngern aß,
    nahm er das Brot,
    und wie er es, dem Höchsten dankend brach,
    gab er es ihnen hin, und sprach:

    2b. Accompagnato (Jesus)

    Das ist mein Leib: Kommt, nehmet, esset,
    damit ihr meiner nicht vergesset.

    ...
  • Text from the CD Carus 83.424

    Till Reininghaus
    Translation: Elizabeth Robinson

    Barthold Heinrich Brockes’ poem Der für die Sünde der Welt gemarterte und sterbende Jesus is one of the most influential and best-known Passion libretti of the early 18th century. For George Frideric Handel was by no means the only composer to set the text by the poet and future Hamburg city councilor Brockes. Shortly after the oratorio libretto was published in 1712 Reinhard Keiser, director of the Theater am Gänsemarkt, turned his attention to it. In 1716 Georg Philipp Telemann presented his own Brockes Passion for a Passion performance in Frankfurt; two years later, Johann Mattheson, the music director at Hamburg Cathedral, also decided to set the text. Handel’s setting, which was first performed in public on 3 April 1719 in the Refektorium of Hamburg Cathedral, therefore stands in the context of a whole series of compositions which are based

    ...
  • Booklet-Text der CD Carus 83.424

    Till Reininghaus

    Barthold Heinrich Brockes’ Dichtung Der für die Sünde der Welt gemarterte und sterbende Jesus gehört zu den einflussreichsten und bekanntesten Passionslibretti des frühen 18. Jahrhunderts. Denn Georg Friedrich Händel war keineswegs der einzige, der den Text des Dichters und späteren Hamburger Ratsherrn Brockes vertonte. Bereits kurz nach Erscheinen des Oratorienlibrettos 1712 hatte sich der Direktor des Theaters am Gänsemarkt Reinhard Keiser der Dichtung angenommen. 1716 legte Georg Philipp Telemann für eine Frankfurter Passionsaufführung eine eigene Brockes-Passion vor; zwei Jahre später entschied sich der Hamburger Domkantor Johann Mattheson ebenfalls für den Text. Händels Vertonung, die am 3. April 1719 erstmals öffentlich im Refektorium des Hamburger Doms unter Matthesons Leitung erklang, steht somit174 im Kontext einer ganzen Reihe von Kompositionen,

    ...
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Compact Disc, 2 CDs Carus 83.428/00, EAN 4009350834286 CD in jewel case
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Contents

  • George Frideric Handel put his exceptionally versatile compositional abilities to the test at an early age. After moving to London in 1712, where he was appointed Composer of Musick for His Majesty’s Chapel Royal in 1723, he wrote numerous masterpieces for the royal court as well as his major opere serie. For many years he enjoyed triumphant successes with his operas, which were sung by outstanding performers, with serenades, and later also with oratorios such as Saul and Israel in Egypt. Over the years Handel’s reputation grew far beyond the city where he worked; some of his choral works, particularly Messiah, have enjoyed a performance tradition which remains unbroken to this day, and are sung by choirs throughout the world. Personal details
  • The period instrument ensemble Collegium Cartusianum, founded in 1988 as successor to the Barockorchester Koln, has a repertoire ranging from Monteverdi to Brahms. The ensemble’s participation in the complete recording of Wolfgang Amadeus Mozart’s masses conducted by Peter Neumann earned it an outstanding reputation, subsequently confirmed by many concerts, radio broadcasts and CD recordings. As well as collaborating with the Kolner Kammerchor, the Collegium Cartusianum has also received international acclaim for its performances of J. S. Bach’s Orchestral Suites as well as Mozart and Beethoven symphonies. With Mozart’s Il Re Pastore, Mendelssohn’s St. Paul and Elijah, and Dvo?ak’s Requiem the orchestra has extended its repertoire to include opera and romantic works. It has appeared at many leading festivals in Europe and Japan, recently at the Leipzig Bach Festival with a Handel-Bach program, with Handel’s Serenata Aci, Galatea e Polifemo in Krakow and Essen at the second “Fest fur Alte Musik” in Cologne in February 2012. Personal details
  • In recent years Peter Neumann, born in Karlsruhe, has made a name for himself particularly as a conductor of Handel’s music. This is demonstrated both by the concert series “250 Years Handel Oratorios” which he initiated – performing nine music dramas in accordance with Handel’s concert schedule of 1749–1752 – and by his numerous CD recordings. He has performed masterworks from vocal and orchestral music in the European musical capitals and at many renowned festivals, ranging from Monteverdi’s L’Orfeo and Vespers for the Blessed Virgin (Palais Garnier, Paris) through J. S. Bach’s passions (last in Moscow, Oslo and Versailles) and Mass in B minor (BBC Proms) to Debussy’s Le Martyre de Saint Sébastien at the MusikTriennale in Cologne. 2010, Peter Neumann and his ensembles Kolner Kammerchor and Collegium Cartusianum were guests at the Rheingau Music Festival with Schumann’s Das Paradies und die Peri and at the Schumann Festival in Dusseldorf as well as the Leipzig Bach Festival in 2011. In June 2012 he made his highly acclaimed debut at the Cologne Opera with Handel’s Alcina. As a guest conductor, Neumann has collaborated with, among others, ChorWerkRuhr, the Netherlands Chamber Choir, the SWR Vokalensemble Stuttgart, the NDR Choir, the Schola Cantorum Tokyo, the Concertgebouw Orchestra Amsterdam, the Jerusalem Symphony Orchestra, the Junge Deutsche Philharmonie and Concerto Koln. Highlights of his extensive discography include the complete recording of Mozart’s masses (Gramophone “Crown of Crowns”), Schutz’s Musical Vesper, Schumann’s Missa sacra (Diapason d’Or) and recordings of Bach’s St. John Passion and Handel’s Alexander’s Feast and Brockes Passion (Carus). Personal details
  • Soprano Nele Gramß grew up in a family where her broad musical interests began. She studied in Würzburg, Munich and Amsterdam. Initiially she studied school music and viola da gamba, and then singing. Margreet Honig, Barbara Schlick and Monika Bürgener are and were important teachers for her. Although her extensive repertoire encompasses music of all periods and genres, Nele Gramß specialises in music of the 17th century. She most frequently sings the Bach oratorios, Monteverdi, Schütz and other polyphonic vocal works. Next to oratorio, she specialises in chamber music: she is a permanent member of Movimento and the Gesualdo Consort Amsterdam. She also gives Lied recitals with her piano accompanist Annie Gicquel and performs with a wide range of ensembles and orchestras. Last summer she took part in two performances of Honegger’s Jeanne d’Arc. Another recent highlight were staged performances of Handel’s Saul in St. Egidien’s Church in Nuremberg. Personal details
  • Johanna Winkel studied singing with Mechthild Böhme and Caroline Thomas, and attended master classes to augment her education. She gave her international debut in 2008 with Peter Neumann and the Concerto Köln in Nantes. She subsequently performed with, among others, the Hamburg Symphony Orchestra, the SWR Vokalensemble Stuttgart and the SWR Symphony Orchestra as well as the NDR Choir. She has sung, for example, at the Musikfest Berlin, the Lucerne Festival and La Folle Journée. Johanna Winkel has won several prizes for opera singing and was awarded first prize in the Cantilena Singing Competition in Bayreuth. Johanna Winkel has performed various operatic roles in historical performance locations such as the Margravial Opera House in Bayreuth and the Ekhof Theater in Gotha. She can be heard on many live recordings as well as on a number of CD recordings. Personal details
  • Mezzo-soprano Elvira Bill studied singing with Christoph Prégardien at the Cologne Musikhochschule. While studying for her Abitur in Mönchengladbach, she received significant encouragement in her vocal studies from Reinhard Becker (Wuppertal). Her repertoire ranges from the established classics to contemporary music. She also studies historical performance practice with the countertenor Kai Wessel. In her solo work, she specializes in oratorio. As a soloist, Elvira Bill has sung under Marcus Creed, Peter Neumann, Robin Gritton, Christopher Hogwood and many other conductors. At the Theater Krefeld-Mönchengladbach she has sung in Friedrich Cerha’s opera Der Riese vom Steinfeld. Concert tours have taken her to many German cities, to France, Austria, the Benelux countries, Italy, Portugal, Hungary, Russia, China and Oman. Personal details
  • Countertenor Jan Thomer studied singing at the Schola Cantorum Basiliensis with Gerd Türk, Dominique Vellard, Ulrich Messthaler and Andreas Scholl. He now studies with Scot Weir in Zürich. He is a prizewinner of the Swiss Youth Music Competition (with distinction) and the Friedl Wald Foundation. He has participated in master-classes with Jakob Stämpfli, Rosa Dominguez and Margreet Honig. As well as singing in the French ensemble Gilles Binchois, he has also performed as a soloist at the Davos Festival “Young artists in concert” (2007) and the Zürich Opera House (2008, 2009). Personal details
  • Markus Brutscher received his early musical training as a choirboy with the Regensburger Domspatzen and the Augsburg Domsingknaben, before going on to study singing in Berlin, London and Maastricht. He is in constant demand, singing with leading orchestras in Europe and America and with outstanding conductors. His extensive repertoire encompasses works from all musical periods from early Baroque to contemporary. A discography of over 50 recordings illustrates the singer’s versatility. Personal details
  • James Oxley studied at the Royal College of Music and at Oxford. In 1994 he was awarded first prize at the International Vocal Competition in Holland. Since then, he has performed at the leading concert halls in Europe and further afield. James Oxley sang the role of the Evangelist in J. S. Bach’s St Matthew Passion with Philippe Herreweghe in a performance broadcast throughout Europe. Another of his special interests is French music, where he enjoys a fruitful collaboration with conductors including Herviquet, Christophe Rousset, Martin Gester and Jean-Claude Malgoire. James Oxley has sung the roles of Lensky (Eugene Onegin) and Belmonte (Die Entführung) at the Opera de Rennes, Lucano in Monteverdi’s Poppea at English National Opera, and Ferrando (Così fan tutte), Steersman (Der Fliegende Holländer) and the title role in Candide at the Opera de Rouen. He is a member of the group The Factory, an experimental theatre company in London. James Oxley regularly gives master classes and is a visiting professor at the Royal College of Music, London. Personal details
  • Baritone Michael Dahmen has studied with Christoph Prégardien at the Hochschule für Musik Cologne since 2006. Since then, he has sung in opera and concerts in Germany and abroad, including Italy, France, Switzerland, Brazil and Mexico. On the operatic stage, he has sung the roles of Masetto in Mozart’s Don Giovanni and Dr. Falke in Strauss’s Die Fledermaus. His performances with leading musicians such as the pianist Michael Gees, gamba player Christophe Coin, and conductors Peter Neumann and Marcus Creed have been documented on radio and CD. A former scholarship holder from the Richard Wagner Foundation, Michael Dahmen has performed at the International Bach Festival Schaffhausen and the Beethoven Festival Bonn. Personal details

Reviews

Not one of Handel's best-known compositions; there are very few recordings, and that makes the Carus recording all the more worthwhile. It is a performance which sets a standard that will be difficult to surpass. There is an impressive coherence between soloists, choir and orchestra - it is a performance without a weak link. A highly important addition to the catalogue of Passion music.

MUSICWEB INTERNATIONAL, Recordings Of The Year 2010, 12/2010

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