“He was without argument our greatest church composer”, wrote the lexicographer E. L. Gerber a few years after Homilius’s death in 1785. As a result of the destruction of the Kreuzkirche during the Seven Years War, the longtime Kreuzkantor, a pupil of Bach, performed his professional musical duties primarily at the Frauenkirche in Dresden.
The Passionskantate was well received and widely disseminated during the 18th and 19th centuries: Thanks to its popularity it was published in 1775 by Breitkopf as a full score – a rare honor, accorded to only one other Passion in the 18th century (Graun’s Tod Jesu). The text describes the events of the Passion from a very personal point of view: The story focuses less on the actual events, then upon the feelings of the observers of these events. The subjective nature of the narrative is reflected in a very dramatically marked style of recitative, which presents a charming contrast to the expressive choral writing and the melodically accented arias.
With the release of this SACD/CD the Passionskantate can now be rediscovered in an excellent interpretation featuring internationally renowned soloists, the Basler Madrigalisten and the Neuen Düsseldorfer Hofmusik under the direction of Fritz Näf.
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- Choral "Ein Lämmlein geht"
- Chor "Siehe, das ist Gottes Lamm"
- Arie "Wie tödlich schrecken die Gerichte"
- Arie "Ich bete, zürnet nicht"
- Choral "Seine Liebe, sein Erbarmen"
- Arie "Nun sterb ich Sünder nicht"
- Chor "Daran ist erschienen"
- Arie & Chor "Nun wird mich, Gott, dein Donner fassen"
- Chor "Ach, Herr, unsere Missetaten"
- Arie "Umgürtet mit Gerechtigkeit"
- Chor "Israel, hoffe auf den Herrn"
- Choral "Ob bei uns ist der Sünden viel"
- Choral "Ich grüße dich am Kreuzesstamm"
- Arie "Bewaffne dich, Mächtger, mit Schrecken"
- Chor "Unsre Sünden und Missetaten"
- Arioso "Mir hast du Arbeit gemacht"
- Arioso "Ich tilge deine Übertretung"
- Arie "Getrost, mein Christ"
- Choral "Nun ich weiß, worauf ich bau"
- Arie "Am Kreuze stirbt er für die Sünden"
- Chor "Hier hängt das Opfer für die Sünden"
Additional material
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Digital text (without sheet music) incl. printing licence, html file, singing text, english translationhtml file, singing text, english translation (Sample)Part One 1. ChorusA little lamb goes bearing the guilt
2. Chorus
of the world and its children.
It goes patiently atoning
for the sins of all sinners.
It goes out, grows ill and weak,
bows its head to the slaughter,
denying itself all pleasures;
it takes upon itself shame, scorn and mockery,
fear, wounds, welts, Cross and death,
and says: This will I gladly suffer.Behold the Lamb of God,
3. Recitative (Tenor)
which taketh away the sin of the world.
John 1:29In the Father’s voice the Eternal One cried:
This is my beloved Son! The voice is silent!
In all his wrath, the Eternal One now cries from...
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Digital text (without sheet music) incl. printing licence, html file, singing text, originalhtml file, singing text, original (Sample)Erster Teil 1. Choral
Ein Lämmlein geht und trägt die Schuld
2. Chor
der Welt und ihrer Kinder.
Es geht und büßet in Geduld
die Sünden aller Sünder.
Es geht dahin, wird matt und krank,
ergibt sich auf die Würgebank,
entzieht sich aller Freuden;
es nimmt an sich Schmach, Hohn und Spott,
Angst, Wunden, Striemen, Kreuz und Tod,
und spricht: Ich wills gern leiden.Siehe, das ist Gottes Lamm, welches der Welt Sünde trägt. Johannes 1,29
3. Rezitativ (Tenor)Mit väterlicher Stimme rief einst der Ewige: Dies ist mein lieber Sohn! Die Stimme schweigt! In seinem ganzen Grimme ruft nun der Ewige von seinem Thron: Mein Sohn soll sterben! Ein fürchterlicher Ton! Die Seligkeit
...
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, frenchhtml file, Introductory text, french (Sample)Texte du livret du CD Carus 83.262
Uwe Wolf
Traduction (abrégé): Sylvie CoquillatFils de pasteur, Gottfried August Homilius naît le 2 février 1714 à Rosenthal (Saxe). Il accomplit sa scolarité à l’école Sainte-Anne de Dresde où, bien qu’encore élève, il est déjà chargé de tenir l’orgue de temps en temps. En mai 1735, Homilius est immatriculé comme étudiant en droit à l’Université de Leipzig. Il travaille également comme musicien à Leipzig et remplace manifestement de temps à autre Johann Schneider, organiste de l’église Saint-Nicolas. Il prend part aux représentations des œuvres vocales de Johann Sebastian Bach. Selon Johann Adam Hiller, il appartient à Leipzig au cercle direct des élèves de Bach.
En 1742, Homilius endosse la fonction d’organiste de la nouvelle église Notre-Dame de Dresde. Dans cette fonction, il se taille une réputation de maître dans sa spécialité. En 1755 enfin, Homilius succède à Theodor Christian Reinhold au poste de cantor de la Croix et directeur de la musique des principales églises de Dresde, une fonction qu’il conserve jusqu’à sa mort, le 2 juin 1785. Mais le lieu d’action majeur du cantor de la Croix Homilius ne fut cependant pas l’église de la Croix
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, englishhtml file, Introductory text, english (Sample)Text from the CD Carus 83.262
Uwe Wolf
Translation (abridged): Peter PalmerThe son of a clergyman, Gottfried August Homilius was born in Rosenthal (Saxony) on 2 February 1714. His schooling was chiefly at the Annen-Schule in Dresden, where he occasionally performed the duties of organist while still a pupil. In May 1735 Homilius matriculated as a law student at the University of Leipzig. He was again active as a musician while in Leipzig and evidently deputized on occasion for Johann Schneider, the organist of the Nikolaikirche. In the process he also took part in the performance of Johann Sebastian Bach’s vocal works. According to Johann Adam Hiller, he belonged to Bach’s direct circle of pupils in Leipzig.
In 1742 Homilius took up the position of organist at the new Dresden Frauenkirche. In this capacity he acquired the reputation as a master of his art. In 1755 Homilius finally succeeded Theodor Christian Reinhold as Kreuzkantor and music director of the main Dresden churches – an office he occupied until his death on 2 June 1785. Notwithstanding his title, his activities were centered on the Frauenkirche rather than the Kreuzkirche, because this was destroyed by Prussian artillery in 1760 during the Seven Years War, and the edifice
...
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, germanhtml file, Introductory text, german (Sample)Booklet-Text der CD Carus 83.261
Uwe Wolf
Gottfried August Homilius wurde am 2. Februar 1714 in Rosenthal (Sachsen) als Sohn eines Pfarrers geboren und erhielt seine Schulausbildung überwiegend an der Annen-Schule in Dresden, wo er bereits als Schüler hin und wieder den Organistendienst übernahm. Im Mai 1735 immatrikulierte sich Homilius als Jura-Student an der Universität Leipzig. Auch in Leipzig war er musikalisch aktiv und vertrat offenbar zeitweilig den Nikolai-Organisten Johann Schneider. Dabei wirkte er auch an den Aufführungen der Vokalwerke Johann Sebastian Bachs mit. Laut Johann Adam Hiller zählte er in Leipzig zum direkten Schülerkreis Bachs.
1742 konnte Homilius das Amt des Organisten an der neuen Dresdner Frauenkirche übernehmen. In dieser Funktion erwarb er sich den Ruf eines hervorragenden Organisten. 1755 trat Homilius schließlich die Nachfolge Theodor Christian Reinholds als Kreuzkantor und Musikdirektor der Dresdner Hauptkirchen an, ein Amt, das er bis zu seinem Tod am 2. Juni 1785 innehatte. Hauptwirkungsstätte war für den Kreuzkantor Homilius jedoch nicht die Kreuz-, sondern die Frauenkirche, da die Kreuzkirche 1760 im Siebenjährigen Krieg durch preußische Artillerie zerstört und der Nachfolgebau erst nach
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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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Songwriter / Librettist
Ernst August Buschmann
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Preface writer
Uwe Wolf
| 1961As a musicologist, Dr. Uwe Wolf is particularly at home in the 17th and 18th centuries. The focus of his work ranges from the time of Monteverdi and Schütz to Bach and the generation of Bach's sons and pupils through to Viennese Classicism. He has been head of the editorial department at Carus-Verlag since October 2011. Prior to this, he worked in Bach research for over 20 years. Personal details
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Ensemble
Neue Düsseldorfer Hofmusik
Stylistically assured, masterly, and truly setting the tone for the early music scene: these are the labels that professional observers have bestowed on the New Düsseldorf Court Music ensemble, not least through the award of the Classics prize “Echo 2002”. The ensemble's name refers not only to its place of origin but also to its aim of exploring and cultivating the rich musical legacy of the Palatine dukes and electors who maintained palaces in Düsseldorf in the 17th and 18th centuries. The high standard of this undertaking is guaranteed by Baroque music specialists who have long been intensively involved with period performance matters. The “Court Music” is now known far beyond Düsseldorf, because the ensemble not only presents its own successful concert series “Raum & Klang” (Space & Sound) in Schloss Benrath but also performs on tour in other European countries. It makes regular guest appearances at early music festivals and has been engaged for productions by such broadcasting companies as West German Radio and Deutschlandfunk. Personal details
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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
Bogna Bartosz
After concluding her vocal studies with distinction in Danzig, Bogna Bartosz completed her training in Berlin, studying with Ingrid Figur and in master courses given by Aribert Reimann, Adele Stolte and Anna Reynolds. In 1992 she won first prize at the International Johann Sebastian Bach Competition in Leipzig and the special award of the MDR. Since then, her busy career as a recitalist and concert performer has taken her to the most important concert halls in Germany, to other parts of Europe, and to Israel and the USA. Bogna Bartosz's repertoire ranges from the Baroque to contemporary music. She has been a guest at prestigious music festivals and gives concerts with eminent conductors and orchestras. Her artistic stature is documented in numerous CD and radio recordings. Personal details
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Soloist - tenor
Markus Brutscher
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
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Soloist - bass
Hans Christoph Begemann
Reviews
[...] Das Verdienst der ausführenden Musiker dieser Weltersteinspielung ist es, eine Einspielung voller spannender Affekte auf hohem musikalischem Niveau zustande gebracht zu haben.
Quelle: Singende Kirche 2007/2
[...] Chor und Orchester zeigen sich dabei bestens aufgelegt. Sie singen und spielen mit Engagement und Elan. Dabei werden sie dem Anspruch des Empfindsamen Stils gerecht, durch drastische Effekte den Hörer zu bewegen und zu berühren. Starke hell-dunkel Kontraste und eine hochgradig ausdifferenzierte Dynamik bringen den dramatischen Gehalt des Werkes bestens zum Ausdruck. Manchmal könnte die Sprachverständlichkeit etwas besser sein, wie beispielsweise im Choral 'Ich grüße dich am Kreuzesstamm'. Markus Brutscher singt die Tenorarien mit markiger Stimme und viel Kraft. [...] Bassist Hans Christoph Begemann gelingt mit dem Arioso 'Mir hast du Arbeit gemacht' eines der Glanzstücke der Einspielung. Seine ausdrucksstarke dunkle Stimme bleibt auch in der Tiefe wendig und mischt sich interessant mit den begleitenden Celli und Fagotten. [...]
Christiane Bayer, Quelle: klassik.com, 04.07.2007
Der Bach-Schüler und Kantatenkomponist Homilius schildert das Passionsgeschehen aus sehr persönlicher Sicht: Der Fokus liegt auf den Gefühlen des Zuhörers. Die subjektive Erzählweise spiegelt sich in einem dramatisch geprägten Rezitativstil, der einen reizvollen Kontrast zum expressiven Chorstil und den stark melodiegeprägten Arien darstellt. Die Kantate kann jetzt auf SACD/CD wiederentdeckt werden in einer exzellenten Interpretation mit den Basler Madrigalisten und der Neuen Düsseldorfer Hofmusik unter der Leitung von Fritz Näf.
Quelle: Diakonie magazin 3/2007
[...] This is the first recording ever of this oratorio, and I am very impressed by its quality. The more I hear of Homilius's sacred music, the more I lean towards the view that he must be considered one of the very best composers of religious music in Germany of the generation of the sons of Bach. No wonder that his compositions were widely performed in Germany and beyond. And I am very happy that there is something like a 'Homilius renaissance' going on, as the cover of this disc states. I am also very impressed by the performance. The soloists give a splendid account of themselves and express the content of arias and recitatives very well. The voice of Hans Christoph Begemann does not however appeal to me, and it's a shame that there is a slight tremolo in his voice. But on the whole this does not detract unduly from the value this recording. The Basler Madrigalisten give immaculate performances of the choruses and the chorales. The orchestra is not that well-known yet must be one of the best baroque orchestras around, as is impressively demonstrated in this recording. This recording goes straight to the top of my list of records of the year.
Johan van Veen, Quelle: musicweb-international.com, Sept. 2007
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