Messe en sol mineur
Messe Gloria-Kyrie (Messe luthérienne) BWV 235, 0Entstehungszeit vermutlich späte Leipziger Jahre
Malgré leur grande qualité musicale, les Lutherische Messen restent souvent dans l’ombre d’autres œuvres de musique sacrée de Bach. Comme les autres Missae breves, la Missa in g réutilise majoritairement du matériel des cantates BWV 72, 102 et 187 dans sa version en six parties. Les importantes parties chorales du Kyrie et surtout du Gloria rapide requièrent une forte présence de toutes les voix pour un effet exaltant et entraînant. Pour la Missa in g BWV 235 de Bach, le coach propose non seulement des notes, mais aussi un chant. Il se base sur l’enregistrement des différents pupitres du Kammerchor Stuttgart, pour s’exercer avec encore plus de plaisir.
La Musique Chorale. Partout. A tout moment.
À la maison et en déplacement : désormais, vous aurez toujours vos œuvres chorales avec vous pour les travailler! Avec carus music, l’application pour choristes, vous pouvez écouter votre partition avec un excellent enregistrement sur votre smartphone ou tablette, et facilement travailler votre propre partie avec un coach. Avec carus music, votre préparation pour le concert est facile, efficace et agréable!
Dans cette édition de l'application, la voix sélectionnée n'est pas renforcée par le piano, mais son volume est relevé par rapport au reste de l'enregistrement, afin d'être nettement entendue.
Interprètes: Sarah Wegener (soprano), David Allsopp (alto), Thomas Hobbs (tenore), Peter Harvey (basso) – Kammerchor Stuttgart, Barockorchester Stuttgart – Frieder Bernius
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Texte numérique (sans notes), licence d'impression incluse, fichier html, paroles, traduction en anglaisfichier html, paroles, traduction en anglais (Extrait)1. Coro Lord, have mercy on us.
Christ, have mercy on us.
Lord, have mercy on us.2. Coro Glory be to God on high.
And on earth peace to men of good will.
We praise thee. We bless thee. We adore thee. We glorify thee.3. Basso solo We give thee thanks for thy great glory.
Lord God, heavenly King,
almighty Father.4. Alto solo O Lord, the only-begotten Son, Jesus Christ,
O Lord God, Lamb of God, Son of the Father.5. Tenore solo Thou who takest away the sins of the world, receive our prayer.
Thou that sittest at the right hand of the Father, have mercy upon us.
For thou alone art the Holy One,
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Texte numérique (sans notes), licence d'impression incluse, fichier html, paroles, traduction allemandefichier html, paroles, traduction allemande (Extrait)
1. Coro Herr, erbarme dich.
Christus, erbarme dich unser.
Herr, erbarme dich unser.2. Coro Ehre sei Gott in der Höhe.
Und Friede auf Erden den Menschen, die guten Willens sind.
Wir loben dich. Wir preisen dich. Wir beten dich an. Wir rühmen dich.3. Basso solo Wir danken dir, denn groß ist deine Herrlichkeit. Herr und Gott, König des Himmels,
allmächtiger Vater.4. Alto solo Herr Jesus Christus, eingeborener Sohn.
Herr und Gott, Lamm Gottes, Sohn des Vaters.5. Tenore solo Du nimmst hinweg die Sünden der Welt, nimm an unser Gebet.
Du sitzest zur Rechten des Vaters, erbarme dich unser.
Denn du allein bist der Heilige,
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Texte numérique (sans notes), licence d'impression incluse, fichier html, paroles, originalfichier html, paroles, original (Extrait)
1. Coro Kyrie eleison.
Christe eleison.
Kyrie eleison.2. Coro Gloria in excelsis Deo.
Et in terra pax hominibus bonae voluntatis.
Laudamus te. Benedicimus te. Adoramus te. Glorificamus te.3. Basso solo Gratias agimus tibi propter magnam gloriam tuam.
Domine Deus, Rex coelestis,
Deus Pater omnipotens.4. Alto solo Domine Fili unigenite, Jesu Christe.
Domine Deus, Agnus Dei, Filius Patris....
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Texte numérique (sans notes), licence d'impression incluse, fichier html, Texte introductif, en anglaisfichier html, Texte introductif, en anglais (Extrait)Text from the CD Carus 83.282
Klaus Hofmann
Translation (abridged): Elizabeth RobinsonJohann Sebastian Bach’s four Lutheran Masses (BWV 233-236) were composed towards the end of the 1730s and are so-called because they comprise just Kyrie and Gloria, as was customary in Protestant practice of the time. They are almost entirely parodies of cantata movements. With the Mass in G minor, Bach appears to have started with a plan to make full use of his cantata Es wartet alles auf dich (BWV 187) of 1726. Here, he used all the movements which were suitable for parody treatment in the mass. The opening chorus “Es wartet alles auf dich” became the final chorus with the text “Cum Sancto Spiritu in gloria Dei Patris. Amen”. The three solo arias in the cantata recur in the mass as inner movements (3–5) in the Gloria section. For the Kyrie and the opening movement of the Gloria, Bach needed two further choral pieces, and for these he drew on the opening choruses of cantatas BWV 102 and BWV 72, also written in 1726.
It goes almost without saying that Bach’s reworking is not limited to the underlay of the new text and associated modifications of the vocal parts. In two cases, in
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Texte numérique (sans notes), licence d'impression incluse, fichier html, Texte introductif, en allemandfichier html, Texte introductif, en allemand (Extrait)Booklet-Text der CD Carus 83.282
Klaus Hofmann
Johann Sebastian Bachs gegen Ende der 1730er Jahre entstandene vier Lutherischen Messen (BWV 233-236) – so genannt, weil sie sich nach protestantischer Praxis auf Kyrie und Gloria beschränken – bestehen fast vollständig aus Parodien von Kantatensätzen. Bei der Messe in g-Moll scheint Bach von dem Plan ausgegangen zu sein, seine Kantate Es wartet alles auf dich (BWV 187) aus dem Jahre 1726 möglichst ausgiebig zu nutzen. So hat er hier alle zur Parodierung überhaupt geeigneten Sätze (d. h. alles außer den beiden Rezitativen und dem Schlusschoral) in die Messe übergeführt. Der Eingangschor „Es wartet alles auf dich“ wurde zum Schlusschor mit dem Text „Cum Sancto Spiritu in gloria Dei Patris. Amen“. Die drei Soloarien der Kantate kehren in der Messe als Binnensätze des Gloria-Teils wieder. Für das Kyrie und den Anfangssatz des Gloria brauchte Bach noch zwei Chorstücke und griff hierfür auf die Eingangschöre der ebenfalls 1726 entstandenen Kantaten Herr, deine Augen sehen nach dem Glauben (BWV 102) und Alles nur nach Gottes Willen (BWV 72)
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Informations complémentaires sur l'œuvre
Sommaire
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Compositeur
Johann Sebastian Bach
| 1685-1750Jean Sébastien Bach compte parmi les compositeurs essentiels de l'histoire de la musique occidentale. Il faisait partie d'une grande dynastie de musiciens, dont furent originaires nombre de musiciens municipaux et d'organistes dans les régions de Thuringe et de Saxe.
Bach vocal
Depuis la fondation des Éditions Carus en 1972, la publication des oeuvres de Johann Sebastian Bach revêt une importance particulière. En 2017, année du 500e anniversaire de la Réforme, nous avons clôturé le projet Bach vocal. L'intégralité de la musique vocale sacrée de Bach est désormais disponible en éditions modernes des textes originaux, matériel d'exécution compris. Une édition globale de toutes les partitions dans un coffret de grande qualité est aussi proposée. Plus d'information sur la personne
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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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Orchestre
Barockorchester Stuttgart
The Barockorchester Stuttgart, which was founded by Bernius in 1985, specializes in 18th century music. The musicians are among the leading representatives of historical performance practice and perform exclusively on original instruments. The ensemble dedicates itself to a large extent to the revival of 18th century operas. It has performed at numerous international festivals, among others in Rome, Dresden and Göttingen. 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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Solist - soprano
Sarah Wegener
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Solist - alto
David Allsopp
David Allsopp underwent the typical English training as a singer: he began as a choirboy in Rochester and was a choral scholar at King’s College, Cambridge. After completing his studies, he moved to Westminster Cathedral in London before venturing out on a freelance career. He works closely with groups such as Tenebrae, Polyphony, the Gabrieli Consort and Gallicantus. Thanks to his career path, he is just as familiar with the music of the Middle Ages, the Renaissance and the Baroque (especially Bach and Handel) as he is with the music of contemporary composers. Plus d'information sur la personne
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Solist - ténor
Thomas Hobbs
In the course of his short career, the young English tenor Thomas Hobbs has already earned consider - able esteem. Still as a student, he was was awarded numerous prizes and scholarships. In addition to developing his solo career, Hobbs has sung in some of England’s leading vocal ensembles, such as The Cardinall’s Musick, The Tallis Scholars, I Fagiolini, and The Sixteen. In the genre of opera, he has performed Acis and other roles in Handel’s Acis and Galathea, Ferrando in Cosi fan tutte and, most recently, the title role in Britten’s Albert Herring at the Royal Academy Opera. During the 2010/11 season he made his debut at the English National Opera in Monteverdi’s Il ritorno d'Ulisse. Thomas Hobbs regularly gives Lieder recitals; his repertoire in cludes Vaughan- Williams’s On Wenlock Edge as well as Schubert’s Die schöne Müllerin and Schumann’s Liederkreis. He is also much in demand as a concert soloist. In 2009, he participated in the Academy of the Festival Aix-en-Provence and performed with the Camerata Salzburg under Louis Langrée. Plus d'information sur la personne
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Solist - basse
Peter Harvey
Peter Harvey’s hundred or so recordings span eight centuries of music, with the High Baroque particularly well represented. He has performed and recorded all of J. S. Bach’s major vocal works and many of the cantatas. From the French Baroque, he has made many recordings of Campra, Lully, Lalande and others, including a recent solo disc with London Baroque of Rameau’s secular cantatas for bass voice. The Gabrieli Consort’s recording of Haydn’s Creation, on which Peter sings Adam, won the 2008 Gramophone Award. Peter directs the Magdalena Consort, specializing in the performance of the music of Bach with small ensembles. He is increasingly returning to the Lied repertoire, and has recently recorded Schubert’s Die Winterreise with pianist Gary Cooper. Plus d'information sur la personne
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