Wir glauben all an einen Gott is one of eight chorale cantatas which Mendelssohn composed to hymns. Martin Luther wrote this hymn, basing it on an older melody, and included it in services in place of the creed. Mendelssohn was enthused by the power of the old Lutheran hymns and retained their melodies as far as possible. His chorale cantatas were also inspired by his close study of the works of J.S. Bach. In order to express the power of the cantata, all the singers must be sure of their notes and enter confidently. Particularly in the first verse, it is worth holding up the tension in the long phrases and supporting it well. This only works if everything else is well-rehearsed!
Simply practice. Anytime. Everywhere.
Whether at home on your tablet or PC or on the road on your smartphone: with carus music, the Choir Coach, you always have your choral works with you to practice! With the carus music choir app, you can listen to your score together with a first-class recording on any device and easily practice your own choir part with a coach. With carus music, your concert preparation is easy, efficient and fun to master!
Performers: Kammerchor Stuttgart – Frieder Bernius
Simply practice. Anytime. Everywhere.
Whether at home on your tablet or PC or on the road on your smartphone: with carus music, the Choir Coach, you always have your choral works with you to practice! With the carus music choir app, you can listen to your score together with a first-class recording on any device and easily practice your own choir part with a coach. With carus music, your concert preparation is easy, efficient and fun to master!
Performers: Kammerchor Stuttgart – Frieder Bernius
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- Wir glauben all an einen Gott
- Wir glauben auch an Jesum Christ
- Wir glauben an den Heilgen Geist
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texte (pas de notes) & licence d'impression, fichier html, Paroles, originalfichier html, Paroles, original (Extrait)1. Wir glauben all an einen Gott
Wir glauben all an einen Gott,
Schöpfer Himmels und der Erden,
der sich zum Vater geben hat,
dass wir seine Kinder werden.
Er will uns allzeit ernähren,
Leib und Seel auch wohl bewahren;
allem Unfall will er wehren,
kein Leid soll uns widerfahren;
er sorget für uns, hüt‘ und wacht,
es steht alles in seiner Macht.2. Wir glauben auch an Jesum Christ
Wir glauben auch an Jesum Christ,
seinen Sohn und unsern Herren,
der ewig bei dem Vater ist,
gleicher Gott von Macht und Ehren;
von Maria, der Jungfrauen,
ist ein wahrer Mensch geboren
durch den Heilgen Geist im Glauben;
für uns, die wir warn verloren,
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texte (pas de notes) & licence d'impression, fichier html, Paroles, traduction en anglaisfichier html, Paroles, traduction en anglais (Extrait)
1. We all believe in one true God
We all believe in one true God,
maker of the earth and heaven,
who is our Father and our Lord,
that we may be called his children.
He will at all times sustain us.
Soul and body’s watchful guardian
from all evil will defend us,
that sorrow have no dominion;
and keep us in his love and care,
for all creatures are in his power.2. And we believe in Jesus Christ
And we believe in Jesus Christ,
his own son and our Redeemer,
who dwells with God the Father blest,
like to him in power and honor,
who of Mary, virgin lowly,
as true man was born among us
by god’s spririt, hope most holy,
redemption from sin to bring us,
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texte (pas de notes) & licence d'impression, fichier html, Texte introductif, françaisfichier html, Texte introductif, français (Extrait)
Texte du livret du CD Carus 83.216
Thomas Schmidt-Beste
Traduction (abrégée) : Sylvie CoquillatÀ partir de 1820, Félix Mendelssohn Bartholdy, alors âgé de onze ans, suit les cours de composition de Carl Friedrich Zelter, chef de la Singakademie de Berlin. La méthode d’enseignement favorite est dès le début l’étude et l'imitation créative de compositeurs et d’œuvres considérés comme exemplaires ; un parti pris naturellement logique pour la musique sacrée, étant donné que les genres correspondants étaient de toute manière plus étroitement liés à la tradition que les genres « modernes » comme le quatuor à cordes ou la symphonie. Rappelons que Mozart avait déjà étudié Haendel et Bach, et que le début du 19ème siècle est en général une époque de retour historique à la musique sacrée « ancienne ». Le contrepoint rigoureux était resté quoi qu’il en soit un élément indispensable de la polyphonie vocale. Rien d’étonnant donc au fait de trouver aussi des
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texte (pas de notes) & licence d'impression, fichier html, Texte introductif, en anglaisfichier html, Texte introductif, en anglais (Extrait)
Text from the CD Carus 83.216
Thomas Schmidt-Beste
Translation (abridged): Elizabeth RobinsonBeginning in 1820, when he was eleven years old, Felix Mendelssohn Bartholdy received composition lessons from the director of the Berlin Singakademie, Carl Friedrich Zelter. From the beginning, the preferred method of teaching was the study and creative imitation of composers and works considered exemplary; for sacred music, the links to the relevant forms of the tradition were much closer than with the “modern” genres such as the string quartet or symphony. After all, Mozart had immersed himself in the works of Handel and Bach, and the early 19th century is generally regarded as the period of historical reassessment of “early” church music. And it goes without saying that strict counterpoint had always remained an essential component of vocal polyphony. So it is not surprising that sacred works were amongst the earliest independent
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texte (pas de notes) & licence d'impression, fichier html, Texte introductif, en allemandfichier html, Texte introductif, en allemand (Extrait)
Booklet-Text der CD Carus 83.216
Thomas Schmidt-Beste
Seit 1820 erhielt der zu diesem Zeitpunkt elfjährige Felix Mendelssohn Bartholdy Kompositionsunterricht bei dem Leiter der Berliner Singakademie, Carl Friedrich Zelter. Die bevorzugte Lehrmethode war von Anfang an das Studium und die kreative Nachahmung von als vorbildhaft verstandenen Komponisten und Werken; für die geistliche Musik lag dies natürlich besonders nahe, da die entsprechenden Gattungen der Tradition ohnehin weit enger verbunden waren als die ‚modernen’ Genres, etwa Streichquartett oder Sinfonie. Immerhin hatte sich schon Mozart mit Händel und Bach befasst, und das frühe 19. Jahrhundert ist generell die Zeit der historistischen Rückbesinnung auf ‚alte’ Kirchenmusik – nicht nur die Händels und Bachs, sondern auch die noch weiter zurückliegender Epochen, bis hin zu Giovanni Pierlugi da Palestrina und Tomás Luis de Victoria. Und der strenge Kontrapunkt war
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Informations complémentaires sur l'œuvre
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Compositeur
Felix Mendelssohn Bartholdy
| 1809-1847
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Compositeur de melodie
Martin Luther
| 1483-1546
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Parolier/Librettiste
Martin Luther
| 1483-1546
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Chœur
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. Plus d'information sur la personne
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Chef d'orchestre
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. Plus d'information sur la personne
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