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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The rivalry between the two composers seems to have been a friendly one, however: Article PDF first page grajn. Choral works from the Bachs and their contemporaries.

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 a poetic reflection on these events in an aria. Graun’s settings consists of 25 movements:. It sounds fairly large, but whether that corresponds to the forces used in Graun’s time is impossible to say.

One of the finest versions. Der Tod Jesu Jahrhunderts fand in Norddeutschland ein entscheidender Umbruch in dieser Tradition statt: She does not have the most dramatic of voices and that is just as well. Don’t have an account? The text, compiled from the Gospels by Carl Wilhelm Ramler, was almost simultaneously set to music by Graun and Telemann, the two works receiving their premieres in March In the Netherlands where I live it is a kind of ritual to attend a performance of this work every year.


This, in combination with the central role of the chorales that were ideally suited to the Lutheran liturgy, ensured that this work would be one of the first great occasional works to enjoy a performance tradition of more than one hundred years. This development towards greater variation and freedom, found initially in the Catholic liturgy, was continued further after the Reformation, although it met with some degree of resistance.

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

You can also use this FreeFind but it is not so comprehensive. It fits into the tenor of the oratorio that Jesus fer called “friend of man”. The appeal of the rediscovered Bach Passions perhaps proved impossible to counter. Sign in via your Institution Sign in. Peter and Caiaphas, but Pilate is todd referred to as “the tyrant judge” and Judas is just one of “the foe”. IL Carnevale di Venezia Clarinet with orchestra.

Those were written for liturgical use and based on one of the gospels. The work breathes the lyrical mood of the Italian opera which long enjoyed great favour with audiences. The duet is originally scored for two sopranos and that how it is performed in Kuijken’s recording.

Der Tod Jesu | oratorio by Graun |

There were two basic forms within the genre: Die introvertierten Passagen wurden durch eine freudige und festliche Stimmung otd. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. The character of the arias is various. He achieved a reputation as a skilled composer, rising to the position of vice-Kapellmeister in Braunschweig.


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

Most users should sign in with their email address. From Wikipedia, the free encyclopedia.

Der Tod Jesu forms part of the long Christian tradition of musical settings of the Passion story for the period before Easter. After one jeau two of these individual interventions, the choir makes its answer, crowned by a chorale that could be sung by the whole congregation. Lutes, vihuelas and guitars—filling in some gaps. Monika Mauch takes most of the arias – three, to one each for tenor and bass – and sings them very well.

Unlike Bach’s PassionsGraun’s setting does not imbue grau tenor soloist with the role of narrator or Evangelistnor is the bass cast as Vox Christi.