Описание CD

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  Исполнитель(и) :
   Schuetz, Heinrich  (Composer) , Cappella Augustana (Ensemble) , Matteo Messori (Conductor, Organ) , Gerd Turk (Tenor Voice
◄◄◄        ►►►

  Наименование CD :
   Passions: Resurrection History And Dialogues

Год издания : 2006

Компания звукозаписи : Brilliant Classics

Время звучания : 3:33:30

К-во CD : 4

Код CD : 92795 (LC 09421)

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Sacred Music (Master Works)      

Resurrection History and Dialogues

Schutz Edition III

Cappella Augustana - Matteo Messori

Il Sonar Parlante - concerto di viole

CD1 - Historia der Auferstehung Jesu Christi SWV 50

CD2 - Matthauspassion SWV 479, Dialogo per la Pascua SWV 443

CD3 - Lukaspassion SWV 480, Dialogus 'Es gingen zweene Menschen Hinauf' SWV 444

CD4 - Johannespassion SWV 481, 'Die Sieben Worte...' SWV 478

The third volume of our complete Schutz Edition is (almost) entirely devoted to music in connection with Easter. This greatest German composer of the 17th century wrote a large number of religious works. Like many of his contemporaries and successors he included some "Passionen" based on evangelical texts.

Also like so many of his colleagues he wrote a Sieben Worte unsers Erlosers… (seven (last) words of our Saviour…). About the much happier occasion of the Resurrection he composed some music as well: Historia der frohlichen und siegreichen Auferstehung …(History of the happy and triumphant resurrection….).

For this recording Matteo Messori thoroughly researched the extant material to make well-informed decisions about the use of instruments together with the vocal parts. His ensemble Cappella Augustana is of course accompanied by period i.e. early Baroque instruments. Tenor Gerd Turk sings the Evangelist parts.

Brand new recordings made in Italy

An alternative for the in this period omnipresent Matthaus and other Passions by Bach well worth trying.

========= from the cover ==========

Resurrection History and Dialogues

The third part of this edition of Schutz recordings is made up of works on the Passion and Resurrection of Christ, with the exception of the dialogue of the Pharisee and the Publican. The oeuvre of Heinrich Schutz (1583-1672), Kapellmeister at the court of the prince-elector of Saxony, has survived only in part. In all likelihood all the compositions that his bequest contained in the form of autograph manuscripts that had been neither printed nor circulated in copies went up in flames in 1790 in the musical archives of court of Dresden, when the city, besieged by the Prussians during the Seven Years War, suffered damage of proportions only surpassed in 1945, the year of the destruction of Dresden.

In spite of these serious losses, Schutz's complete works are both rich and varied, and a constant stimulus to musical and academic study.

In the following presentation of the works performed, various recent findings are published, the fruit of studies of the last two or three decades. Many details may surprise those familiar with the previous literature on Schutz, but they nonetheless deserve to be considered, since every new dating and every consideration on individual works is based on primary sources: on archival information and paper analysis, but also on facts relating to Schutz's biography, on analyses of works themselves and on a knowledge of the 17th-century historical performance practice.

The three Passions according to the evangelists Matthew, Luke and John were composed after 1662 in substitution of earlier Passions by Schutz's predecessor as court Kapellmeister, Ropier Michael (c.1550-1623), works that were periodically performed in Lent during the court liturgy in Dresden. The earliest evidence of a performance of the Lukaspassion dates to 1663; the other two Passions followed in 1663 and 1666. Together with the Markuspassion of the Dresden couri Kapellmeister Marco Gioseppe Peranda (c.1625-1675), composed in 1668, Schutz's three Passions arc to be found in a volume preserved in Leipzig, drawn up around 1697 by the future Kreuzkantor of Dresden Johann Zacharias Grundig (1669-1720). In this large and elegantly scripted volume only the Matthauspassion carries the name of the composer Schutz; all the others are anonymous. From an earlier draft of the Johannes Passion preserved in Wolfenbuttel, however, we learn that it is indeed by Schutz, while the Dresden court diaries attest him as composer also of the Lukaspassion. However, the whole of the Lukaspassion and the final chorus of the Matthauspassion pose new questions.

liver since the time of the Reform all the Passions in German belong to the liturgical genre of Historiae, in other words they were 'Biblical tales', above all about the New Testament, set to music as readings of the Gospel and performed at suitable moments during the liturgical services of the Lutheran electoral court. There are also numerous Historiae by Schutz and other composers for the feasts of Christmas, Easter, Pentecost, St John Baptist and other religious festivities. All these Historiae in German were composed in Lutheran central Germany from the mid 16th century. The Passions of Schutz belong to this Protestant tradition of the Historiae and are very late instances of the genre of the Passione responsoriale, in which the account of the evangelists and the direct dialogue of the individual characters are sung by a single unaccompanied voice, while the beginning and end of the Passion (Exordium and Conclusio), as also the direct discourse of the groups ("the people", "the High Priests", "the Disciples"), are composed for several voices as Turbae. While the recitative parts of the pre-Schutz responsorial Passions were set to the Gregorian recitation tone {as can still be seen in our Lukaspassion), in the Johannes Passion and Matthauspassion the recitatives differ and are sung by a single unaccompanied voice with freely-invented melody and rhythm. During Lent the organ and all the instruments were expected to remain silent during the liturgical rites at court. Thus developed an original, and remarkable, union of early Gregorian recitation and new monophonic declamation.

David Conrad's engraving of 1676, portraying Schutz at the head of the court Kantorei at the centre of the chapel in the castle of Dresden, precisely illustrates the musical situation of the Passions, also with respect to the forces required. There are no children's voices; only men sing. This also explains why the range of the motet-like Turbae is somewhat low. The last of Schutz's Passions is that according to St Matthew of 1666, the most elaborate of all. Just as the Turbae of the Lukaspassion present in part a harmonic-compositional structure that is very unusual for Schutz, in the same way the final chorus of the Matthauspassion substantially resembles the modern-Italian choral style of Peranda, thereby suggesting that their attribution to Schutz could be disputed and the piece ascribed to the Italian instead. But this matter requires further study. One thing remains certain: Schutz's Passions are liturgical readings of great refinement that deserved to be experienced as such; they cannot be considered as musical works with an independent life of their own.

The exact positioning within the order of the liturgy of another piece of Passion music, the Sieben Worte unsers Erlosers und Seligmachers Jesu Christi, is not known, since it was drawn up around 1662, not for the court of Dresden (given that it is Passion music with instruments!), but in all likelihood for the court of the Margrave Christian Ernst von Brandenburg-Bayreuth. Perhaps it was not meant for liturgical use, which means that it was music for private court devotion. Both the narrative parts and the dialogical parts, in which the seven words of Christ on the cross are included, are written in the style of opera recitative that was modern for Schutz and fully developed in the W'eihnachtshistorie, in the two versions of 1660 and of 1664. The instrumental parts, which arc not specified, give the best effect when performed by sweet-sounding strings. The Symphonia played after the opening choral movement and before the final one is one of the rare surviving instrumental pieces of Schutz. The introductory movement and the concluding one are composed to two strophes of the Passion Lied Da Jesus an dem Kreuze stund, elaborated by the Leipzig pastor Vincenz Schmuck. As in other cases, Schutz used only the text, but not the melody of the Protestant song.

The order and formulation of Christ's last words on the cross accord with the seven sermons given on the seven last words, and drawn up in Leipzig in 1624, by the Oberhofprediger (higher court preacher) of Dresden, Matthias Hoe von Hoenegg Die heilige Crcutz Sieben etc. It is notable that in Schutz work Christ's words are accompanied by two obbligato string instruments, a practice of which traces still survive in the 18th century.

Overall the Sieben Worte are characterized, like many other works by Schutz, by the prominence of the declamation of the word and by melodic invention closely associated with textual rhetoric. It is a music that goes direct to the heart.

The Historia der frohlichen und siegreichen Auferstehung unsers einigen Erlosers und Scligmachers Jesu Christi of Heinrich Schutz was printed in Dresden in 1623, eight years after Schutz's entry into service as "Organist und Director der Musica" in 1615 and about six years after his appointment as court Kapellmeister in 1617, when Michael Praetorius definitively declined the invitation of the prince-elector of Saxony to this post.

This is Schutz's first work belonging to the compositional tradition of the Hisroriae. As in the case of the Passions and the Weihnachtshistorie, the Osterhistorie was created to substitute a preceding Historia on the Resurrection of Christ: this time the Aufcrstehungshistorie of Antonio Scandello (1517-1580), born in Bergamo, cornettist of the Dresden court chapel and, as from 1568, electoral Kapellmeister. His Historia was drawn up before 1573 and in turn had substituted a much simpler Osterlustorie by Jacobus Haupt, singer at the Dresden chapel. The Historiae of the Resurrection in general have no model in the Catholic tradition, given that they are a post-Lutheran genre that had arisen in Dresden. Certain details show resemblances between Schutz's work and Scandello's Hisiorier. the basic text, a collation of all four Gospels by Johann Bugenhagen, is the same. The lesson tone on which the Evangelist sings the Easter narration is the Osterton, which appears for the first time with Jacobus Haupt and was later reused in the two successive Dresden Historiae. In Scandello's Historia, an a cappella work, the direct speech of the Personaewas assigned to variable forces, according to rank and importance.

So the words of Christ are for four voices! This is also reflected in Schutz's work: the words of Christ, Mary Magdalene and the angel in the tomb are for two voices, of which one can be performed by instruments ad libitum. While Scandello's work is overall a solemn setting of the Gospel of high artistic quality, the genre is further exalted by Schutz: instruments are added, those typical of basso continuo like the organ, the lute, etc. They can be substituted, however, by a chorus of viols, which makes the work particularly appealing. The choruses that frame the work, Die Auferstehung unsers Herrenjesu Christi etc. and the Beschlus arc intended for a greater number of voices: the beginning is for six voices and the final Gott sei Dank is for two choruses of four voices each, in which a ninth voice is introduced as the Vox Evangelistae singing the "Victoria" in fanfare style.

Unlike many other Easter pieces of the late 17th and 18th centuries, which set the Easter jubilation with trumpets and timpani, Schutz's work is prompted by intimate joy and by the fact that the mystery of the miracle of the Resurrection is reflected and set to music in an extremely spiritual way. Regarding the liturgical service, Schutz's Historia was sung at the Vespers of the first day of Easter and performed in the court church, so it would appear, uninterruptedly from 1623 to 1675. It was subsequently replaced by Easter Historiae of younger musicians of the Dresden chapel (Johann Muller, Johann Wilhelm Furchheim and Nikolaus Adam Strungk).

The subject of the Dialogo per la Pascua, probably written down around the time of the gestation of the Auferstehungshhtorie, is Christ's conversation with Mary of Magdala, according to John 20, 13,15-17 "Weib, was weinest du..."- "Sie haben meinen Herren weggenommen..." Though sober and expressive in appearance, the work is transmitted in a somewhat complicated fashion. The score of the first part, the dialogue proper, is found in the Landesbibliothek of Kassel. It was drawn up by Johann Klemm, Schutz's pupil and an organist at the Dresden court. Schutz himself wrote only the texts. However, this version, authorized by Schutz, is not the original one, which was most likely composed for five voices, two for Mary Magdalene, and three for Christ. This is attested by three other sources in which we find the indications "a 5" and "a 5 et 10". The second part of the dialogue is transmitted only as a continuo part and, judging from an old inventory entry, could have been a movement for double choir, each of five voices, to the text of the Easter Lied Wir danken dir, Herr Jesu Christ, dafi du vom Tod entstanden bist. The opera contains the same typology of dialogue as other Dialogues by Schutz, such as the Ave Maria gratia plena SWV 333 and 334, and also F.s gingen zweene Menschen hinauf in den Tempel SWV 444, about which more below.

As in the Auferstehungshistorie the Easter news is again represented in a very spiritual way in the Dialogo per la Pascua. We find durezze e ligature (dissonances and suspensions), along with cnromatic shillings ("Maria") illuminating the significance of this encounter on Easter morning. The motivic resemblance to the Osterhistorie is plain, though the piece is an independent dialogue.

Schutz's Dialogue of the Pharisee and the Publican, Fs gingen zweene Menschen hinaufin den Tempel (Luca 18,10-14), is also in two parts: the dialogue itself and a final choral movement. The direct speech of the two exponents of hypocrisy and sincere piety is introduced by a short narrative text sung by two sopranos. All four voices come together in the second part in a moralizing finale composed in the motet style, with which Christ concludes his parable "Ich sage euch: diescr ging hinab gerechtfertiget...". This short scene in dialogue was most likely composed and performed as liturgical music for the corresponding reading of the Gospel - but it is not known when. What is certain is that the work is one of the compositions that Schutz had sent in the 1630s from Dresden to Landgrave Wilhelm V of Hessen-Kassel on the latter's request. In that case it was probably written before or around 1630.

Although Schutz never wrote an opera - Dafne and Orpheus und Euridice were pieces for the theatre with musical intermezzos - his works in dialogue form feature a high degree of profound drama. This applies both to the Historiae and to the works defined as "dialogues". And all stand out for a sense of musical and stylistic expression to which we are still receptive today.

-Prof. Dr. Wolfram Stetide

  Соисполнители :

Alberto Stevanin (Viola)
Bas Ramselaar (Tenor Voice)
David Munderloh (Tenor Voice)
Elzbieta Adamczyk (Soprano Voice)
Giovanni Cantarini (Tenor Voice)
Herve Lamy (Tenor Voice)
Lisandro Abadie (Bass Voice)
Magdalena Niebywalska (Soprano Voice)
Marzens Lubaszka (Soprano Voice)
Vincent Livre-Picard (Alt Voice)
Walter Testolin (Bass Voice)

№ п/п

Наименование трека



   1 01 Chorus. Die Auferstehung Unsers Herren Jesu Christi         0:01:23 Die Auferstehung Unsres Herren Jesu Christi, For 3 Sopranos, 2 Altos, 3 Tenors, 2 Basses, 4 Viols & Continuo, SWV 50 (Op. 3)
   1 02 Evangelist. Da Der Sabbath Vergangen War         0:06:50 -"-
   1 03 Evangelist. Da Aber Maria Magdalena Also Lauft         0:05:26 -"-
   1 04 Evangelist. Und Als Sie Das Saget, Wandte Sie Zuruecke         0:05:22 -"-
   1 05 Evangelist. Die Weiber Aber Gingen Hinein In Das Grab         0:04:23 -"-
   1 06 Evangelist. Da Sie Aber Hingingen, Siehe, Da Kamen Etliche Von Den Huetern         0:02:20 -"-
   1 07 Evangelist. Und Siehe, Zweene Aus Ihnen Gingen An Demselbigen Tage         0:07:53 -"-
   1 08 Evangelist. Und Er Ging Hinein, Bei Ihnen Zu Bleiben         0:01:38 -"-
   1 09 Evangelist. Und Sie Stunden Zu Derselbigen Stunde Auf         0:01:37 -"-
   1 10 Evangelist. Es War Aber Am Abend Desselbigen Sabbaths         0:03:48 -"-
   1 11 Evangelist. Und Sie Legten Ihm Fuer Ein Stueck Vom Gebraten Fisch         0:05:03 -"-
   1 12 Chorus. Gott Sei Dank         0:02:05 -"-
   2 01 Introitus         0:00:55 St. Matthew Passion For 2 Sopranos, Alto, 3 Tenors, 2 Basses & Chorus, SWV 479
   2 02 Der Beschluss Des Hohen Rates         0:01:39 -"-
   2 03 Die Salbung In Betanien         0:02:40 -"-
   2 04 Der Verrat Durch Judas         0:00:42 -"-
   2 05 Die Vorbereitung Des Paschamahls         0:01:25 -"-
   2 06 Das Mahl         0:03:56 -"-
   2 07 Der Gang Zum Oelberg         0:02:07 -"-
   2 08 Das Gebet In Getsemani         0:04:19 -"-
   2 09 Die Gefangennahme         0:03:44 -"-
   2 10 Das Verhoer Vor Dem Hohen Rat         0:04:31 -"-
   2 11 Die Verleugnung Durch Petrus         0:02:39 -"-
   2 12 Die Auslieferung An Pilatus         0:00:33 -"-
   2 13 Das Ende Des Judas         0:02:51 -"-
   2 14 Die Verhandlung Vor Pilatus         0:05:54 -"-
   2 15 Die Verspottung Jesu Durch Die Soldaten         0:01:49 -"-
   2 16 Die Kreuzigung         0:04:45 -"-
   2 17 Der Tod Jesu         0:05:38 -"-
   2 18 Das Begraebnis Jesu         0:01:26 -"-
   2 19 Die Bewachung Des Grabes         0:02:22 -"-
   2 20 Beschluss         0:02:18 -"-
   2 21 Weib, Was Weinest Du?         0:04:26 Weib, Was Weinest Du, For 2 Sopranos, Alto, Tenor & Continuo ("Dialogo Per La Pascua"), SWV 443 (2 Versions)
   3 01 Introitus         0:01:09 St. Luke Passion, For Soprano, Alto, 3 Tenors, 2 Basses & Chorus, SWV 480 (attributed)
   3 02 Der Beschluss Des Hohen Rates         0:00:27 -"-
   3 03 Der Verrat Durch Judas         0:00:46 -"-
   3 04 Die Vorbereitung Des Paschamahls         0:02:29 -"-
   3 05 Das Mahl         0:03:35 -"-
   3 06 Vom Herrschen Und Vom Dienen         0:02:31 -"-
   3 07 Die Ankuendigung Der Verleugnung Und Der Umkehr Des Petrus         0:01:31 -"-
   3 08 Die Stunde Der Entscheidung         0:02:34 -"-
   3 09 Das Gebet Am Oelberg         0:02:24 -"-
   3 10 Die Gefangennahme         0:02:44 -"-
   3 11 Die Verleugnung Durch Petrus         0:02:56 -"-
   3 12 Die Verspottung Durch Die Waechter         0:00:47 -"-
   3 13 Das Verhoer Vor Dem Hohen Rat         0:03:06 -"-
   3 14 Die Auslieferung An Pilatus         0:02:51 -"-
   3 15 Die Verspottung Durch Herodes         0:01:42 -"-
   3 16 Die Verhandlung Vor Pilatus         0:03:57 -"-
   3 17 Die Kreuzigung         0:07:33 -"-
   3 18 Der Tot Jesu         0:02:25 -"-
   3 19 Das Begraebnis Jesu         0:01:47 -"-
   3 20 Beschluss         0:01:33 -"-
   3 21 Es Gingen Zweene Menschen Hinauf         0:03:38 For 2 Sopranos, Alto, Baritone & Continuo, SWV 444
   4 01 Introitus         0:01:30 St. John Passion For Soprano, 3 Tenors, 2 Basses & Chorus, SWV 481
   4 02 Die Verhaftung         0:03:55 -"-
   4 03 Jesus Vor Dem Hohenpriester         0:00:40 -"-
   4 04 Petrus Im Hof Des Hohenpriesters         0:01:32 -"-
   4 05 Das Verhoer Vor Dem Hohen Rat         0:02:12 -"-
   4 06 Die Verleugnung Durch Petrus         0:01:11 -"-
   4 07 Das Verhoer Und Die Verurteilung Durch Pilatus         0:04:49 -"-
   4 08 Jesus Wird Zum Tode Verurteilt         0:09:30 -"-
   4 09 Die Kreuzigung Jesu         0:07:14 -"-
   4 10 Beschluss         0:02:01 -"-
   4 11 Introitus. Da Jesus An Dem Kreuze Stund         0:02:09 Die Sieben Wortte Unsers Lieben Erl?sers Und Seeligmachers Jesu Christi, For Soloists, 5 Instruments & Continuo, SWV 478
   4 12 Symphonia         0:01:09 -"-
   4 13 Evangelist. Und Es War Um Die Dritte Stunde         0:00:56 -"-
   4 14 Evangelist. Es Stund Da Aber Bei Dem Kreuze         0:02:11 -"-
   4 15 Evangelist. Aber Der Uebelthaeter Einer         0:03:06 -"-
   4 16 Evangelist. Und Um Die Neunte Stunde         0:02:05 -"-
   4 17 Evangelist. Darnach Als Jesus Wusste         0:01:54 -"-
   4 18 Evangelist. Und Abermail Rief Jesus Laut         0:01:27 -"-
   4 19 Symphonia         0:01:13 -"-
   4 20 Conclusio. Wer Gottes Marter In Ehren Hat         0:01:54 -"-


 T   'щелкнуть' - переход к тексту композиции.

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