Carl Heinrich Graun Der Tod Jesu

1755

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Since its first performance in Berlin in 1755, Carl Heinrich Graun’s “empfindsame” (sensible) Passion Cantata Der Tod Jesu, with a libretto by Karl Wilhelm Ramler had long been one of the most frequently performed works in this genre. Until the end of the 19th century this work was able to maintain its position in the repertoire of numerous oratorio societies and singing academies (especially the Berliner Sing-Akademie). It was often given equal billing with Bach’s passions, until finally, in the second half of the 19th century Bach's works became more predominant. With the publication of the present critical new edition (the first since it was first published in 1760), Der Tod Jesu is once again available for sale to the musical public. This makes accessible an epoch-making work which in its time set the standard for settings of the Passion.

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text (without music) for download, html file, Introductory text, English

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Wer sich mit der evangelischen P
Anyone who is interested

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text (without music) for download, html file, Introductory text, German

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Wer sich mit der evangelischen P
Wer sich mit der

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full score Carus 10.379/00, ISMN 979-0-007-03283-8 152 pages, DIN A4, paperback

vocal score Carus 10.379/03, ISMN 979-0-007-03171-8 96 pages, paperback

choral score Carus 10.379/05, ISMN 979-0-007-10969-1 24 pages, DIN A4, without cover Minimum order quantity: 20 copies

study score Carus 10.379/07, ISMN 979-0-007-13562-1 152 pages, DIN A5, paperback

set of parts, complete orchestral parts Carus 10.379/19, ISMN 979-0-007-13380-1 23 x 32 cm, without cover

Consisting of

1 x set of parts, harmony parts, flute 1, flute 2, 2 oboes, 2 bassoons (10.379/09)

each: 24,00 €

5 x individual part, violin 1 (10.379/11)

each: 16,20 €

4 x individual part, violin 2 (10.379/12)

each: 16,20 €

3 x individual part, viola (10.379/13)

each: 16,20 €

4 x individual part, violoncello/double bass (10.379/14)

each: 16,20 €

1 x individual part, organ (10.379/49)

each: 40,40 €

individual part, organ Carus 10.379/49, ISMN 979-0-007-05898-2 56 pages, DIN A4, paperback

full score digital (download), pdf file Carus 10.379/00-010-000, ISMN 979-0-007-31065-3

text (without music) for download, html file, Introductory text, German Carus 10.379/00-310-000

text (without music) for download, html file, Introductory text, English Carus 10.379/00-320-000

Additional product information

Composer
Carl Heinrich Graun
| 1703-1759

1714 Besuch der Dresdner Kreuzkirche, 1724 Sänger in Braunschweig, später dort Vizekapellmeister, 1735 Vizekapellmeister am Hof in Berlin, seit der Thronbesteigung Friedrich des Großen 1740 schließlich dort Kapellmeister. Personal details

Editor
Herbert Lölkes

Personal details

Reviews

Carl Heinrich Grauns: Der Tod Jesu

Carl Heinrich Grauns „Der Tod Jesu”, 1754/55 entstanden, zählt zu den populärsten Passionsoratorien des 18. und 19. Jahrhunderts, wobei allein in Berlin bis 1884 das Werk über 70 Mal erklang. Ramlers Libretto, welches Graun (1703 od. 04 bis 1759), einer der bekanntesten deutschen Komponisten neben Johann Adolf Hasse und Georg Philipp Telemann, seinem Werk zugrunde legte, enthält, ähnlich einer Evangelienharmonie, Erzählelemente und Motive aus allen vier Evangelien. Gegliedert in 8 Rezitativen, 6 Arien und 5 Chören sind noch weitere 6 Choräle enthalten, deren Text teils von Ramler selbst, teils Berliner Gesangbüchern seiner Zeit entnommen wurden. Ein großes Werk, das einerseits zu Unrecht im Schatten der großen Passionen Bachs steht, das andererseits mit seinen groß angelegten Arien und Chören eine äußerst lohnende Aufgabe für Chor, Solisten und Orchester darstellt!

Walter Sengstschmid
Quelle: Singende Kirche 2/04

Der „Königlich Preußische Capellmeister” Carl Heinrich Graun zählte zu den bekanntesten deutschen Komponisten seiner Zeit, allerdings nicht hauptsächlich als Schöpfer dieser Passionsvertonung, sondern durch seine zahlreichen italienischen Operae seriae. Viel gerühmt wurde er besonders für seine kompositorische Darstellung rührender Gemütszustände, die als wunderbar ausdrucksvoll bezeichnet wurden. Stark von solchen - ganz der Epoche der Empfindsamkeit entsprechenden - Stimmungen geprägt ist auch sein 1754/55 entstandenes Oratorium Der Tod Jesu, ein Werk, das schon bei seinen Zeitgenossen großen Anklang fand und noch im 19. Jahrhundert auf Wunsch König Wilhelm I. regelmäßig von der Berliner Singakademie aufgeführt wurde.
So ist dieses knapp anderthalbstündige Oratorium ein Werk, das heute vermutlich nicht mehr der Idealvorstellung karfreitäglicher Kontemplation entspricht, das in seiner harmonischen Klarheit und seinem Melodienreichtum aber gerade auch die Laien im Publikum ansprechen dürfte und schon deshalb wieder häufiger aufgeführt werden sollte.
Die bei Carus erschienene Partitur nach dem Erstdruck von 1760 erfreut durch klares Druckbild und historische Treue. Die Schlüsselung wurde modernisiert. Ergänzungen sind als solche gekennzeichnet, der Generalbass ist nicht ausgesetzt, ein kritischer Bericht ist beigefügt. Bleibt zu hoffen, dass dieser neuen Partitur neue Aufführungen folgen werden!

Andrea Braun
Quelle: Das Orchester, 9/05, S.82

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Frequent questions about this work

What is the situation with the source material for this work?

The situation regarding the sources is clear – no divergent versions survive. The work was premiered in 1755 in Berlin Cathedral (for which the original libretti, but no original parts, survive) and it was published in 1760, a year after the composer’s death, in clean movable type. This first printed edition forms the basis for the Carus edition.

What are the key features of the Carus edition?

The Carus edition is a critical edition, making a score available on sale for the first time since the 1760 publication.

Which challenges face the performers?

The work places only modest demands on the chorus and orchestra, and this also applies to the forces required (chamber choir strength is sufficient). The orchestra is predominantly strings, with an occasional requirement for two flutes, two oboes, and two bassoons, but the wind parts do not contain any virtuoso solo writing (on the contrary, they mainly play colla parte with the strings). The vocal solo parts are more demanding: in particular, the first soprano should have the agility and clarity of a virtuoso operatic aria singer, as this part contributes a lot to the overall effect of the performance (especially the last bravura aria no. 19 “Singt dem göttlichen Propheten”). Conductors and orchestral musicians well-versed in historically-informed performance will know how to add additional accents and tasteful ornamentation (in addition to that included in the score).

What should be observed in the recitatives?

As well as secco recitatives, at important points Graun composed carefully written-out accompagnato recitatives with orchestral accompaniment (as he did in his Italian language operas), which require the finest nuances in interpretation.

How should the chorales be performed?

As was typical in the 18th century (as, for example, with Telemann), the chorales are very simply set, with the pulse in half notes as the basic rhythm. But that does not mean that they should be performed slowly in the sense of “boring” or monotonous. Essentially, they are placed as points of repose and reflection in the work, and should have that effect. The last chorale movement, “Ihr Augen weint” no. 24, is one of the most beautiful and moving Passion chorales of the Hasse-Graun-Homilius era!

What could be used to complement this work in a Passiontide concert?

With its performance duration of 80 to 85 minutes, the Passion cantata is sufficient for a shorter Passiontide concert or Passiontide church service. The beginning (with a well-known Passion chorale) and the rather solemn, pathos-laden conclusion (with dotted rhythms), mark the beginning and end very clearly. Those who want to devise a longer program could use one of Graun’s own shorter unaccompanied motets on the same theme (e. g. Carus 40.147) or one of the motets by his contemporary G. A. Homilius related to the Passion (see Carus 37.101) as an introduction.

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Carl Heinrich Graun Der Tod Jesu

1755