Since its first performance in Berlin in , Carl Heinrich Graun’s “empfindsame” (sensible) Passion Cantata “Der Tod Jesu”, with a libretto by Karl Wilhelm. Der Tod Jesu: Carl Heinrich Graun: especially for his Passion oratorio Der Tod Jesu. Der Tod Jesu Mauch; Poplutz, Burkhart; Arcis-Vocalisten München, Barockorchester L’Arpa Festante, Gropper. German text only. Oehms OC GRAUN E.

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Graun, influenced by Italian opera, chose the path of lyricism and spontaneous melodies, using the harmonic language that had emerged from Classicism. Cesare e Cleopatra Montezuma Article PDF first page preview. Auch instrumentale Sinfonias und Kirchenlieder fanden Eingang.

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Der Tod Jesu | oratorio by Graun |

Im Text findet man keine Dialoge oder Personen eines Dramas, wie zum Beispiel den berichtenden Evangelisten oder einzeln zugewiesene Rollen.

For Luther, the suffering of Christ was to be experienced to the full by all believers, and not only in words alone. Yet he without fear approaches the foe; magnanimously he speaks” and so on. In its setting by Carl Heinrich Graun init was the most often performed Passion of the 18th century in Germany. Besides his task as a court composer, Graun was also commissioned to set up an Italian opera house in Berlin.

In Der Tod Jesu there are fugal passages reminiscent of Bach but the horizontal nature of edr generally yields to a strong sense of harmonic progression. The singing is fine and despite the choir’s size the text is clearly audible.

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The soloists alternate also exceptionally joining for duets to present a free version of an episode from the Passion story in a recitative, followed by graunn poetic reflection on these events in an aria.

All arias are da capo arias with stylistic borrowings from opera arias. In Germany, the Passion thus became an important musical genre in which German translations of the gospel were generally used, as well as the summae passionis edr German or Latin texts and shortened versions of the gospels.

Der Tod Jesu, GraunWV B:VII:2 (Graun, Karl Heinrich)

Es gab unter den Passionsvertonungen zwei Grundformen: The quotations in this review are taken from that translation. It is the middle of three oratorio texts by Ramler — Die Hirten bei der Krippe zu BethlehemDer Tod Jesuand Die Auferstehung und Himmelfahrt — which may have been viewed by Ramler as a libretto cycle, though they were never set as a cycle by any composer.

Instead, it presents emotively various aspects of the Passion.

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In the eighteenth century, this evolution developed further as a new mesu of Oratorio Passion arose which freed itself completely from the gospel text.

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The rivalry between the two composers seems god have been a friendly one, however: This page was graunn edited on 5 Augustat This development towards greater variation fod freedom, found initially in the Catholic liturgy, was continued further after the Reformation, although it met with some degree of resistance. Early music online survey: Der Tod Jesu was so well received that it was performed again the following year on Good Friday, a tradition that was then maintained at the Berlin court until It was first performed on Good Friday inand was repeated the next year.


After his voice broke he studied keyboard and composition, but he also developed his singing voice, which allowed him to sing as a tenor in the court chapel of Braunschweig from on. This article is also available for rental through DeepDyve.

In his liner-notes Thomas Gropper states that it “is usually performed today by soprano and tenor”. We are left only with the question of why Der Tod Jesu disappeared from the repertoire at the end of the nineteenth century, to be replaced by the rediscovered Bach Passions.

The first suggestions of such a tradition date from as cer as the late-Roman period. This, in combination with the central role of the chorales that were ideally suited to the Lutheran liturgy, ensured jeeu this work would be one of the first great occasional works to enjoy a performance tradition of more than one hundred years.

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