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![Telemann: Passion Oratorio [IMPORT]](http://ecx.images-amazon.com/images/I/41AZA2058PL._SL500_SS90_.jpg)
~ Georg Philipp Telemann
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Biber: Missa Salisburgensis /Musica Antiqua Köln · Gabrieli Consort & Players · McCreesh ~ Heinrich Ignaz Franz von Biber |
~ Peter Harvey
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~ Max Emanuel Cencic
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Track Listings
| 1. Part I: Intro (Lamento) - Telemann-CO Michaelstein/Ludger Remy | |||
| 2. Part I. Chorale: Du, Dessen Augen Flossen - Magdeburger Kammerchor/Lothar Hennig | |||
| 3. Part I. Chor: Sein Odem Ist Schwach - Magdeburger Kammerchor/Lothar Hennig | |||
| 4. Part I. Accompagnato: Gethsemane! - Klaus Mertens | |||
| 5. Part I. Aria: Du Held! Auf Den Die Kocher Des Todes Geleeret - Klaus Mertens | |||
| 6. Part I. Chorale: Wen Hab Ich Sonst Als Dich Allein - Magdeburger Kammerchor/Lothar Hennig | |||
| 7. Part I. Accompagnato: Ach Mein Immanuel - Britta Schwarz | |||
| 8. Part I. Aria: Ein Gebet Um Neue Starke - Britta Schwarz | |||
| 9. Part I. Accompagnato: Nun Klingen Waffen - Klaus Mertens | |||
| 10. Part I. Aria: Ihr Weichgeschaffnen Seelen - Klaus Mertens | |||
| 11. Part I. Chor: Unsere Seele Ist Gebeugt Zur Erden - Dorothee Mields/Britta Schwarz/Jan Kobow/Klaus Mertens | |||
| 12. Part I. Chorale: Ich Will Von Meiner Missetat - Magdeburger Kammerchor/Lothar Hennig | |||
| 13. Part I. Recitativo: Jerusalem, Voll Mordlust - Jan Kobow | |||
| 14. Part I. Aria: So Stehet Ein Berg Gottes - Jan Kobow | |||
| 15. Part I. Chor: Christus Hat Uns Ein Vorbild Gelassen - Magdeburger Kammerchor/Lothar Hennig | |||
| 16. Part I. Chorale: Ich Werde Dir Zu Ehren Alles Wagen - Magdeburger Kammerchor/Lothar Hennig | |||
| 17. Part II. Chorale: Herzliebster Jesu, Was Hast Du Verbrochen - Magdeburger Kammerchor/Lothar Hennig | |||
| 18. Part II. Accompagnato: Da Steht Der Traurige, Verhangnisvolle Pfahl - Britta Schwarz | |||
| 19. Part II. Duetto: Feinde, Die Ihr Mich Betrubt - Britta Schwarz/Klaus Mertens | |||
| 20. Part II. Recitativo: Wer Ist Der Heilige - Dorothee Mields | |||
See all 32 tracks on this disc
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On this CD:
-
(Der) Tod Jesu
Composed by Georg Philipp Telemann
Performed by Magdeburg Chamber Choir, Michaelstein Telemann Chamber Orchestra
with Dorothee Mields, Britta Schwarz, Jan Kobow, Klaus Mertens, Ludger Rémy
Product Description
Amazon.co.uk Review
Though it is a Passion in the Lutheran tradition, Telemann's passion-oratorio of 1755 Der Tod Jesu (The Death of Jesus) it includes no Evangelist, Christ or biblical text. The work is a natural development from Bach. The four soloists sing poetic paraphrases of the story in their recitatives and personal reflections in their arias. The audience is presumed to know the original. The choir sings choruses and chorales in regular measure throughout the score. This regularity gives the work a certain predictability. The music lacks invention. In the "Unsere Seele" chorus, the choir slavishly follows the chords. Peter's denial is set to the most obvious stepwise course through the harmony. Everything points to a rushed job on Telemann's part, not least the sleeve-note's story of how he came by the text in the first place: the poet was expecting music from someone else. The soloists are excellent but soprano Dorothee Mields in particular has a diamond-bright voice which soars magically in her one and only aria despite being hampered by Telemann's attempt to fit a completely inappropriate melody to the given text. The overture at least is rewarding. A chorale tune is plaintively blown through the counterpoint by authentic narrow-bore horns that make not a single slip. --Rick Jones
Though it is a Passion in the Lutheran tradition, Telemann's passion-oratorio of 1755 Der Tod Jesu (The Death of Jesus) it includes no Evangelist, Christ or biblical text. The work is a natural development from Bach. The four soloists sing poetic paraphrases of the story in their recitatives and personal reflections in their arias. The audience is presumed to know the original. The choir sings choruses and chorales in regular measure throughout the score. This regularity gives the work a certain predictability. The music lacks invention. In the "Unsere Seele" chorus, the choir slavishly follows the chords. Peter's denial is set to the most obvious stepwise course through the harmony. Everything points to a rushed job on Telemann's part, not least the sleeve-note's story of how he came by the text in the first place: the poet was expecting music from someone else. The soloists are excellent but soprano Dorothee Mields in particular has a diamond-bright voice which soars magically in her one and only aria despite being hampered by Telemann's attempt to fit a completely inappropriate melody to the given text. The overture at least is rewarding. A chorale tune is plaintively blown through the counterpoint by authentic narrow-bore horns that make not a single slip. --Rick Jones
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