Gottfried August Homilius St. Mark Passion
Die Geschichte des Leidens und Sterbens unseres Heilandes Jesu Christi nach der Beschreibung des Evanglisten Marcus HoWV I.10
- Scoring:
- Soli SATB, Soliloquenten, Coro SATB, 2 Fl, 2 Ob, 2 Fg, 2 Cor, Timp, 2 Vl, Va, Bc
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- Language:
- German
- Duration:
- 140 min
- Difficulty level:
- 1 2 3 4 5
- Text source:
- Markusevangelium, Kap. 14-15, Choraltexte, neu gedichtete Texte
- 1. Choral "So gehst du nun, mein Jesu"
- 2a. Recitativo "Und nach zween Tagen"
- 2b. Coro "Ja nicht auf das Fest"
- 2c. Recitativo "Und da er zu Bethanien"
- 2d. Coro "Was soll doch dieser Unrat"
- 2e. Recitativo "Und murreten über sie"
- 3. Aria "Mensch, empfinde doch Erbarmen"
- 4a. Recitativo "Und Judas Ischarioth"
- 4b. Coro "Wo willt du"
- 4c. Recitativo "Und er sandte"
- 5. Choral "Wo soll ich, der du alles weißt"
- 6. Recitativo "Und sie wurdne traurig"
- 7. Choral "O weh demselben"
- 8. Recitativo "Und indem sie aßen"
- 9a. Aria "Wenn euch eure Sünden drücken"
- 9b. Coro "Dir Heiland, dir weihn wir"
- 10. Recitativo "Und da sie den Lobgesang"
- 11. Choral "Hilf, dass ich stets"
- 12. Recitativo "Desselbengleichen"
- 13. Choral "Wache, dass dich Satans List"
- 14. Recitativo "Und ging ein wenig"
- 15. Aria "Ich geh, von Leiden ganz"
- 16. Recitativo "Und alsbald"
- 17. Choral "Sei getreu in deinem Herzen"
- 18. Recitativo "Die aber legten"
- 19. Choral "Mir nach, spricht Christus"
- 20a. Recitativo "Und er war da"
- 20b. Arioso "Wir haben gehöret"
- 20c. Recitativo "Aber ihr Zeugnis"
- 21. Choral "O Jesu, hilf zur selben Zeit"
- 22. Recitativo "Da zuriss der Hohepriester"
- 23. Aria "Verdammt ihn nur"
- 24a. Recitativo "Da fingen an etliche"
- 24b. Coro "Weissage uns"
- 24c. Recitativo "Und die Knechte"
- 24d. Coro "Wahrlich, du bist der einer"
- 24e. Recitativo "Und er fing an"
- 25. Aria "Verkennt ihn nicht"
- 26. Recitativo "Und der Hahn krähete"
- 27. Choral "O Vater der Barmherzigkeit"
- 28. Choral "Weint, izt wird"
- 29. Recitativo "Und bald am Morgen"
- 30. Aria "Mit Preis und Ruhm gekrönt"
- 31a. Recitativo "Und die Hohenpriester"
- 31b. Coro "Kreuzige ihn"
- 31c. Recitativo "Pilatus aber sprach"
- 31d. Coro "Kreuzige ihn"
- 32. Choral "Herzliebster Jesu"
- 33a. Recitativo "Pilatus aber gedachte"
- 33b. Coro "Gegrüßet seist du"
- 33c. Recitativo "Und schlugen ihm"
- "34a. Accompagnato "Jerusalem"
- 34b. Aria "Er hat dich erretten wollen"
- 34c. Accompagnato "Nein, du hast nicht"
- 34d. Aria "Er will leiden"
- 33. Recitativo "Und sie brachtem ihn"
- 36. Choral "Dein Durst und Gallentrank"
- 37a. Recitativo "Und da sie ihn"
- 37b. Coro "Pfui dich"
- 37c. Recitativo "Desselbigengleichen"
- 37d. Coro "Er hat andern geholfen"
- 37e. Recitativo "Und die mit ihm"
- 38. Choral "Ich werde dir zu Ehren"
- 39. Recitativo "Und nach der sechsten"
- 40. Aria "Verstummet, ihr Himmel!"
- 41a. Recitativo "Und etliche"
- 41b. Coro "Siehe, er rufet"
- 41c. Recitativo "Da lief einer"
- 42. Aria "Ihr Tränen fließt!"
- 43. Recitativo "Und der Vorhang"
- 44. Choral "Ihr Gräber brecht"
- 45. Recitativo "Der Hauptmann aber"
- 46. Choral "Der Hirt ist tot"
- 47. Recitativo "Und er kaufte"
- "Gott ist versöhnt"
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Part 1
1. Choral
And so thou goest, Lord Jesus, hence
to suffer death for me,
sinner that I am,
who hath clouded thy joy.
Go on thy way, then, noble treasure!
Weeping and wailing,
my eyes shall yield a flood of tears
to besprinkle thy sorrow.
Caspar Friedrich Nachtenhofer (1624–1685): „So gehst du nun, mein Jesu, hin“, Verse 1
Translations (chorals & arias): Hector Ian Soga2a. Recitativo Evangelist
After two days was the feast of the passover, and of unleavened bread: and the chief priests and the scribes sought how they might take him by craft, and put him to death. But they said:
2b. Coro
Not on the feast day, lest there be an uproar of the people.
2c. Recitativo Evangelist
And being in Bethany in the house of Simon the leper,
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Teil 1
1. Choral
So gehst du nun, mein Jesu, hin,
den Tod für mich zu leiden,
für mich, der ich ein Sünder bin,
der dich betrübt in Freuden.
Wohlan, fahr fort, du edler Hort,
mein Augen sollen fließen,
ein Tränensee mit Ach und Weh
dein Leiden zu begießen.
Caspar Friedrich Nachtenhofer (1624–1685): „So gehst du nun, mein Jesu, hin“, Strophe 12a. Recitativo Evangelist
Und nach zween Tagen war Ostern und die Tage der süßen Brot. Und die Hohenpriester und Schriftgelehrten suchten, wie sie ihn mit Listen griffen und töten. Sie sprachen aber:
2b. Coro
Ja nicht auf das Fest, dass nicht ein Aufruhr im Volk werde.
2c. Recitativo Evangelist
Und da er zu Bethanien war, in Simonis, des Aussätzigen, Hause, und saß zu Tische, da kam ein Weib,
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Text from the CD 83.260
Uwe Wolf
Translation (abridged): Elizabeth RobinsonPRINCESS may the work of the devout Muse please YOU, | who dedicates it to YOU shyly and reverently, | YOUR great acclaim shall encourage him to greater songs, | if he deserves these, he will sing happily. | YOUR ROYAL HIGHNESS’S | most humble servant | Gottfried August Homilius.
With these affected words, typical of the time, Gottfried August Homilius, Kreuzkantor in Dresden, dedicated a copy of his St. Mark Passion to the Prussian princess Anna Amalia, the music lover and composing sister of Frederick the Great.
This dedication by the Dresden Kantor to the Prussian princess was most probably in connection with a Berlin performance of the St. Mark Passion, the precise date of which is not known, which had taken place a few years prior to 1765. Both that performance as well as the dedication are notable in several respects.
In the 1760s, the immensely successful Passion oratorio Der Tod Jesu, composed in 1755 by Carl Heinrich Graun (who was associated with the circle centered around Anna Amalia), was already enjoying its triumphal progress throughout Germany. With the success of Der Tod Jesu Passion oratorios without
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Booklet-Text der CD Carus 83.260
Uwe Wolf
PRINZESSIN laß DIR das Werk der frommen Muse gefallen, | das sie DIR schüchtern und erfurchtsvoll weyht, | DEIN hoher Beyfall soll sie zu höhern Liedern ermuntern, | Verdient sie diesen, so sing sie beglückt. | EUER KOENIGLICHEN HOHEIT | unterthänigster Knecht | Gottfried August Homilius.
Mit diesen zeittypisch gestelzten Worten widmete der Dresdner Kreuzkantor Gottfried August Homilius eine Abschrift seiner Markuspassion der preußischen Prinzessin Anna Amalia, der musikliebenden und komponierenden Schwester Friedrichs des Großen. Diese Widmung des Dresdner Kantors an die preußische Prinzessin steht höchstwahrscheinlich im Zusammenhang mit einer nicht genau zu datierenden Berliner Aufführung jener Markuspassion, die wenige Jahre vor 1765 stattgefunden hatte (eine Berliner Aufführung einer nicht näher genannten Passion 1758 von Homilius ist bezeugt). Sowohl jene Aufführung als auch die Widmung sind in mehrfacher Hinsicht bemerkenswert.
In den 1760er Jahren hatte das immens erfolgreiche Passionsoratorium Der Tod Jesu von Carl Heinrich Graun (1755, entstanden im Umkreis Anna Amalias) seinen deutschlandweiten Siegeszug bereits begonnen. Mit dem Erfolg des Tod
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Contents
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Composer
Gottfried August Homilius
| 1714-1785Gottfried August Homilius, the son of a pastor, was born in Rosenthal (Saxony) on 2 February 1714. In May 1735 he enrolled as a law student at Leipzig University. Likewise, it was probably at this time that Homilius was a pupil of Johann Sebastian Bach; the latter fact had been attested to by Johann Adam Hiller. Apart from Bach, Homilius also had contact with Johann Schneider, a Bach pupil and organist at the Nicolaikirche, for whom he also substituted. After unsuccesfully applying for a post as organist in Bautzen, Homilius was appointed organist at the Dresden Frauenkirche in 1742. In 1755 Homilius succeeded Theodor Christlieb Reinhold as Kreuzkantor and music director of the three main churches in Dresden, a position that he occupied until his death on 2 June 1785. Personal details
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Preface writer
Uwe Wolf
| 1961Uwe Wolf studied musicology, history, and historical ancillary science at Tübingen and Göttingen. After receiving his doctorate in 1991 he was a research assistant at the Johann-Sebastian-Bach-Institut in Göttingen. From 2004 he worked at the Bach-Archiv Leipzig. There he directed a both research departments, was substantially responsible for the redisigning of the Bach Museum, and he developed the digital Online-Projekt Bach. Since October 2011 he has been the Chief Editor at Carus-Verlag, Stuttgart. He has taught at various universities and also belongs to the editorial boards of several complete editions. Personal details
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Ensemble
L'arpa festante Barockorchester
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Ensemble
Basler Madrigalisten
Founded by Fritz Näf, the Basler Madrigalisten (Basel Madrigalists) sing in the most diverse formations, as soloists and as a small vocal ensemble. Their large repertoire extends from the early Renaissance to the modern period. Their main emphasis is on the preparation and (first) performance of contemporary works and the revival of works from the 15th to 18th centuries. The Basler Madrigalisten have participated in the world’s leading music festivals. Concert tours have taken the choir to nearly every European country, to Russia, the USA, Lebanon and the Far East. Their recordings have received various awards. They have repeatedly gained the sponsor’s award of the Ernst von Siemens musical foundation, and in 1998 they were given the sponsor’s prize of the European Economy. The Basler Madrigalisten are supported by the cantons of the city and district of Basel, the Artephila Foundation and other foundations. Personal details
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Conductor
Fritz Näf
| 1943Fritz Näf studied solo singing at the Musikhochschule in Zurich and Freiburg/Breisgau and attended master courses given by Jenny Tourel and Ernst Haefliger. As a tenor he appeared in concerts in many parts of Europe, while continuing his studies as a choral and orchestral conductor. Between 1976 and 1986 he taught solo and ensemble singing at the Schola Cantorum Basiliensis, where he founded the Basle Madrigalists in 1978. Between 1986 and 2000 first he was director of the Winterthur Music School and Conservatory, and subsequently rector of the newly established Hochschule for Music and Theater in Zurich. Since December 2000 Fritz Näf has been full-time artistic director of the Swiss Chamber Choir (founded in 1997) and the Basle Madrigalists. He also continues to appear as a guest conductor with various choirs and orchestras. Personal details
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Soloist - soprano
Monika Mauch
The soprano Monika Mauch studied singing initially with Richard Wistreich at the Institute of Early Music at the Musikhochschule Trossingen. She continued her training by studying for a year with Jill Feldman in Paris. Since the beginning of her singing career she has focused primarily on projects in the field of early music. She has worked with such leading ensembles as the Ricercar Ensemble, Taverner Consort, Red Byrd, the Hilliard Ensemble, L’arpa festante (Munich), the Ensemble Daedalus (Geneva), CordArte Ensemble (Cologne), and Montreal Baroque. Monika Mauch’s vocal achievements are documented on numerous radio and CD recordings. Her recordings for the Altbachische Archiv and the B minor Mass with Cantus Coelln and her “Morimur” CD with the Hilliard Ensemble have attracted especial attention. As a concert singer Monika Mauch works on a regular basis with conductors such as Roland Wilson, Manfred Cordes, René Jacobs and Philippe Herreweghe. Personal details
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Soloist - alto
Ruth Sandhoff
The repertoire of mezzo-soprano Ruth Sandhoff ranges from early Baroque works to contemporary compositions. Lied singing is her especial passion, also in collaboration with the choreographer Sasha Waltz. Ruth Sandhoff has given concert tours in the USA, in Australia and in Europe. She has participated in numerous CD productions both in Germany and abroad. The recording of J. C. Bach’s “Missa da Requiem” with the RIAS Chamber Choir was awarded the German Record Critics’ Award. Personal details
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Soloist - tenor
Hans Jörg Mammel
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Soloist - bass
Thomas Laske
Thomas Laske was born in Stuttgart. He won the Richard Strauss singing competition in Munich in 1997. As a concert singer the baritone has appeared with leading conductors and ensembles such as Riccardo Chailly, Mariss Jansons, Ton Koopman, Helmuth Rilling, the Bavarian Radio Symphony Orchestra, Leipzig Gewandhaus Orchestra, Saint Petersburg Philharmonic Orchestra, Amsterdam Baroque Orchestra & Choir, Dresdner Kreuzchor, and Thomanerchor Leipzig and has participated in numerous CD productions. On the operatic stage (a.?o. Deutsche Oper Berlin, Deutsche Oper am Rhein and the Bavarian State Opera in Munich) he has sung roles including Barbier, Don Giovanni, Figaro, Graf Almaviva, Escamillo, Eugen Onegin, Sharpless, and Marcello. Thomas Laske has been teaching singing at the Robert Schumann Hochschule in Düsseldorf since 2010. Personal details
Reviews
Homilius erweist sich hier als ein grosser Komponist, und die Interpreten lassen seine Qualitäten zur vollen Blüte kommen.
Toccata, Nr. 2 (März/April) 2014
Die Aufnahme kann in allen Belangen als mustergültig bezeichnet werden.
Neue Zürcher Zeitung, 18. Oktober 2013
[…] a compelling Passion with music of great beauty and incisive expression. The performance does full justice to its character and quality. […] A worthy addition to the repertoire for Passiontide.
Johan van Veen, musicweb-international.com, Juli 2013
Fritz Näf und seine Ensembles verstehen es wunderbar, die Worte in Musik zu kleiden und den Text glaubwürdig, authentisch zu interpretieren.
Pizzicato, Juni 2013
This new recording of the St. Mark Passion HoWV I.10 by Gottfried August Homilius (1714-1785) is an important release that should not slip by any collector unnoticed; it has been released by Carus and is the world premiere recording. Regarding the performance, there really isn't much more to ask for from tenor-turned-conductor Fritz Näf, the Basler Madrigalisten, L'arpa Festante and his fine assembly of vocal soloists.
Paul Ballyk, expeditionaudio.com, 24. April 2013
Fritz Näf und seine Ensembles überzeugen auf der ganzen Linie mit ihrem frischen, direkten, durchaus dramatisch orientierten Ansatz, der auch das Elegante, Schlichte schön zur Entfaltung kommen lässt. Eine feine Bereicherung des Repertoires.
Dr. Matthias Lange, klassik.com, 23. April 2013
Und da Gottfried August Homilius in Fritz Näf und seinen Ensembles „L’arpa festante“ und Basler Madrigalisten, ergänzt um gehaltvolle Solisten, überaus beredte Anwälte findet, erklingt hier eine Passionsmusik, die keine Wünsche offen lässt, daneben aber auch in Sachen spiritueller Expressivität hohe Maßstäbe setzt.
Norbert Meyers, Kirchenzeitung/Bistumspresse, Ausgabe 2013.12 - 24. März 2013
A grandly expressive take on the St Matthew Passion […] elegant performances […]
John Terauds, Musical Toronto, 16. März 2013
Fritz Näf gelingt mit den Basler Madrigalisten und dem Ensemble L'arpa festante eine tief empfundene, den klassischen Duktus betonende Interpretation. […] Musikalisches Neuland, das den Entdecker reich belohnt.
Glaube + Heimat, 17. März 2013
Es muss nicht immer Bach in der vorösterlichen Zeit sein! Hier muss sogleich angemerkt werden, dass alle Homilius-Einspielungen des Carus-CD-Labels interpretatorisch auf allerhöchstem Niveau angesiedelt sind, was in besonders hohem Maße für die vorliegende gilt. Die hochprofessionellen Solisten, der Chor und das Instrumentalensemble setzen hier ihre langjährige Erfahrung mit der Musik des 17. und 18. Jahrhunderts höchst eindrücklich um. Vor allem gelingt Fritz Näf vorzüglich, den besonderen Ausdruckswert der Komposition zu entfalten.
Bernhard Morbach, kulturradio rbb, 7. März 2013
[…] insightfully performed […]
New Classics, März 2013
Die Stärke dieser historisch informierten Aufnahme ist die Kultur, mit der hier gesungen und musiziert wird. [...] eine große Entdeckung, die einen ins Herz trifft.
Mannheimer Morgen, 21. Februar 2013
... The performances of this truly shining St. Mark are absolutely first rate all around, from chorus to soloists, to the exceptionally gorgeous-sounding orchestra, all under the knowing and caring hand of director Fritz Näf. The sound, from the Reformierte Kirche Arlsheim, couldn’t be bettered.
Classics today, 2021
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