Capella Orlandi Bremen, Thomas Ihlenfeldt - Reinhard Keiser: Passion Music (2010)
BAND/ARTIST: Eeva Tenkanan, Doerthe Sandmann, Olivia Vermeulen, Knut Schoch, Julian Podger, Raimund Spogis, Matthias Jahrmaerke, Capella Orlandi Bremen, Thomas Ihlenfeldt
- Title: Reinhard Keiser: Passion Music
- Year Of Release: 2010
- Label: CPO
- Genre: Classical
- Quality: flac lossless (tracks) +Booklet
- Total Time: 01:19:27
- Total Size: 322 mb
- WebSite: Album Preview
Tracklist
01. Ich liege und schlafe ganz mit Frieden (Chorus)
02. Ich liege und schlafe ganz mit Frieden: Meine Seele ruht in Gottes Hand (Soprano)
03. Ich liege und schlafe ganz mit Frieden: O sel'ge Ruh (Chorus)
04. Ich liege und schlafe ganz mit Frieden: Wenn Gott mir hilft und mich erhalt, was kann mir schaden (Tenor)
05. Ich liege und schlafe ganz mit Frieden: Wenn Gott mir hilft und mich erhalt, kann ich wohl bleiben (Soprano)
06. Ich liege und schlafe ganz mit Frieden: Ich bin sicher bei den Blitzen (Bass)
07. Ich liege und schlafe ganz mit Frieden: Ich den schonen Himmels-Auen (Alto)
08. Ich liege und schlafe ganz mit Frieden (Chorus)
09. Wir gingen alle in die Irre (Chorus)
10. Wir gingen alle in die Irre: Recitativo: Und er ging hinaus (Tenor, Bass)
11. Wir gingen alle in die Irre: Aria: Weint, besturzte Augen (Soprano)
12. Wir gingen alle in die Irre: Recitativo: Und er stund auf von dem Gebet (Tenor, Bass)
13. Wir gingen alle in die Irre: Aria: Schmeichle nur, boshafte Schlange (Soprano)
14. Wir gingen alle in die Irre: Recitativo: Da aber sahen, die um ihn waren (Tenor)
15. Wir gingen alle in die Irre: Herr, sollen wir mit dem Schwert dareinschlagen? (Chorus)
16. Wir gingen alle in die Irre: Recitativo: Und einer aus ihnen schlug des Hohenpriesters Knecht (Tenor, Bass, Soprano)
17. Wir gingen alle in die Irre: Aria: Verstummet, unglucksel'ge Lippen (Alto)
18. Wir gingen alle in die Irre: Recitativo: Und uber eine kleine Weile (Tenor, Soprano, Alto)
19. Wir gingen alle in die Irre: Arioso: Ach, was hab ich doch begangen (Tenor)
20. Wir gingen alle in die Irre: Accompagnato: Ergreif nun Dolch und Strick (Tenor)
21. Wir gingen alle in die Irre: Aria lamentosa: Rinnet, ihr betranten Augen (Tenor)
22. Wir gingen alle in die Irre: Recitativo: Die Manner aber, die Jesum hielten (Tenor)
23. Wir gingen alle in die Irre: Weissage, wer ist's, der dich schlug? (Chorus)
24. Wir gingen alle in die Irre: Recitativo: Und viel andere Lasterungen (Tenor)
25. Wir gingen alle in die Irre: Aria furiosa: Zeuget, ihr Wolken, ergrimmete Blitze (Bass)
26. Wir gingen alle in die Irre: Recitativo: Und als es Tag ward (Tenor)
27. Wir gingen alle in die Irre: Bistu Christus, sage es uns! (Chorus)
28. Wir gingen alle in die Irre: Recitativo: Er sprach aber zu ihnen (Tenor, Bass)
29. Wir gingen alle in die Irre: Bistu denn Gottes Sohn? (Chorus)
30. Seelige Erlosungs-Gedancken: Aria: Ach, Golgatha! (Soprano, Tenor, Bass)
31. Seelige Erlosungs-Gedancken: Recitativo: Bejammert meinen Jammer-Stand (Soprano)
32. Seelige Erlosungs-Gedancken: Accompagnato: Ihr Henker, ach, mit welcher Tyrannei (Soprano)
33. Seelige Erlosungs-Gedancken: Aria: Kann nicht mein bittrer Tranen-Regen (Soprano)
34. Seelige Erlosungs-Gedancken: Recitativo: O herber Anblick (Tenor)
35. Seelige Erlosungs-Gedancken: Aria: Schenkt man dir Gall' und Essig ein (Tenor)
36. Seelige Erlosungs-Gedancken: Recitativo: Unseliger Gefahrte meiner Pein (Bass)
37. Seelige Erlosungs-Gedancken: Accompagnato: Herr, schliesse mich in dein Gedachtnus ein (Bass)
38. Seelige Erlosungs-Gedancken: Arioso: Wahrlich, ich sage dir (Bass)
39. Seelige Erlosungs-Gedancken: Aria: Ich bin zum Himmel eingeladen (Bass)
40. Seelige Erlosungs-Gedancken: Aria: Weinet, ihr getreue Herzen (Soprano)
41. Seelige Erlosungs-Gedancken: Recitativo: Schaut den entblossten Leib (Bass)
42. Seelige Erlosungs-Gedancken: Aria: Aus Liebe bin ich Mensch geworden (Bass)
The great oratorios and Passion settings of the High Baroque are effective in part because they successfully combine various forms of musical discourse; they draw on opera, on chorales and other forms of devotional music, on pastoral themes (where would Messiah be without those?), on political and military ideas, and more. In order for Bach and Handel to accomplish what they did, someone had to carve out a space in the sacred music sphere for them. Hamburg composer Reinhard Keiser, best known (when he is known at all) for his operas, was one of these figures, and this release from the specialist German label CPO, which has embarked on an intriguing project covering two centuries of church music from the Hanseatic city, does a top-notch job of illuminating the ways he did it and the circumstances under which he did it. The booklet notes (in English and German) by conductor Thomas Ihlenfeldt concisely and entertainingly explain the factors in play: arrayed against the musically conservative clergy of the city's large churches were smaller churches and also its cathedral, which was partly under foreign (for a time Swedish) control. And Hamburg was full of talented opera singers eager for work during periods (such as Lent) when theaters were closed. The three works here, collectively designated as Passion music but including a motet, a partial Passion setting, and a series of arias entitled Seelige Erlösungs-Gedancken (Thoughts on the Soul's Redemption), all anticipate the forms and modes of expression used by Bach, and especially Handel. All are made up of recitatives and arias, with the first two framed by very brief choruses and choral exclamations from the crowd, like those in Bach's or Schütz's settings, in Wir gingen alle in der Irre, setting material from the Passion According to Luke. The recitatives in this work are noteworthy in their depth and variety, but perhaps the most interesting are the Seelige Erlösungs-Gedancken, which have a reflective and inward tone suggesting that Keiser knew the slightly older and often magnificent chamber sacred music of Buxtehude. The performers, with an unusual variety of international backgrounds, turn in generally strong efforts; the quiet warmth of mezzo-soprano Olivia Vermeulen is especially in tune with the expressive dimensions of the music. Tenor Knut Schoch will be familiar to buyers of parts or the entire Bach cycle on the budget Brilliant label. The choruses are sung with one voice per part, simply by the assembled soloists, and indeed music like this, where the chorus doesn't really have much to do, provides a decent argument for the one-voice-per-part procedure (it's much more troublesome in chorale-based music like Bach's). A very strong outing from CPO's adventurous catalog, and it makes one want to check out other releases in the Hamburg series.
01. Ich liege und schlafe ganz mit Frieden (Chorus)
02. Ich liege und schlafe ganz mit Frieden: Meine Seele ruht in Gottes Hand (Soprano)
03. Ich liege und schlafe ganz mit Frieden: O sel'ge Ruh (Chorus)
04. Ich liege und schlafe ganz mit Frieden: Wenn Gott mir hilft und mich erhalt, was kann mir schaden (Tenor)
05. Ich liege und schlafe ganz mit Frieden: Wenn Gott mir hilft und mich erhalt, kann ich wohl bleiben (Soprano)
06. Ich liege und schlafe ganz mit Frieden: Ich bin sicher bei den Blitzen (Bass)
07. Ich liege und schlafe ganz mit Frieden: Ich den schonen Himmels-Auen (Alto)
08. Ich liege und schlafe ganz mit Frieden (Chorus)
09. Wir gingen alle in die Irre (Chorus)
10. Wir gingen alle in die Irre: Recitativo: Und er ging hinaus (Tenor, Bass)
11. Wir gingen alle in die Irre: Aria: Weint, besturzte Augen (Soprano)
12. Wir gingen alle in die Irre: Recitativo: Und er stund auf von dem Gebet (Tenor, Bass)
13. Wir gingen alle in die Irre: Aria: Schmeichle nur, boshafte Schlange (Soprano)
14. Wir gingen alle in die Irre: Recitativo: Da aber sahen, die um ihn waren (Tenor)
15. Wir gingen alle in die Irre: Herr, sollen wir mit dem Schwert dareinschlagen? (Chorus)
16. Wir gingen alle in die Irre: Recitativo: Und einer aus ihnen schlug des Hohenpriesters Knecht (Tenor, Bass, Soprano)
17. Wir gingen alle in die Irre: Aria: Verstummet, unglucksel'ge Lippen (Alto)
18. Wir gingen alle in die Irre: Recitativo: Und uber eine kleine Weile (Tenor, Soprano, Alto)
19. Wir gingen alle in die Irre: Arioso: Ach, was hab ich doch begangen (Tenor)
20. Wir gingen alle in die Irre: Accompagnato: Ergreif nun Dolch und Strick (Tenor)
21. Wir gingen alle in die Irre: Aria lamentosa: Rinnet, ihr betranten Augen (Tenor)
22. Wir gingen alle in die Irre: Recitativo: Die Manner aber, die Jesum hielten (Tenor)
23. Wir gingen alle in die Irre: Weissage, wer ist's, der dich schlug? (Chorus)
24. Wir gingen alle in die Irre: Recitativo: Und viel andere Lasterungen (Tenor)
25. Wir gingen alle in die Irre: Aria furiosa: Zeuget, ihr Wolken, ergrimmete Blitze (Bass)
26. Wir gingen alle in die Irre: Recitativo: Und als es Tag ward (Tenor)
27. Wir gingen alle in die Irre: Bistu Christus, sage es uns! (Chorus)
28. Wir gingen alle in die Irre: Recitativo: Er sprach aber zu ihnen (Tenor, Bass)
29. Wir gingen alle in die Irre: Bistu denn Gottes Sohn? (Chorus)
30. Seelige Erlosungs-Gedancken: Aria: Ach, Golgatha! (Soprano, Tenor, Bass)
31. Seelige Erlosungs-Gedancken: Recitativo: Bejammert meinen Jammer-Stand (Soprano)
32. Seelige Erlosungs-Gedancken: Accompagnato: Ihr Henker, ach, mit welcher Tyrannei (Soprano)
33. Seelige Erlosungs-Gedancken: Aria: Kann nicht mein bittrer Tranen-Regen (Soprano)
34. Seelige Erlosungs-Gedancken: Recitativo: O herber Anblick (Tenor)
35. Seelige Erlosungs-Gedancken: Aria: Schenkt man dir Gall' und Essig ein (Tenor)
36. Seelige Erlosungs-Gedancken: Recitativo: Unseliger Gefahrte meiner Pein (Bass)
37. Seelige Erlosungs-Gedancken: Accompagnato: Herr, schliesse mich in dein Gedachtnus ein (Bass)
38. Seelige Erlosungs-Gedancken: Arioso: Wahrlich, ich sage dir (Bass)
39. Seelige Erlosungs-Gedancken: Aria: Ich bin zum Himmel eingeladen (Bass)
40. Seelige Erlosungs-Gedancken: Aria: Weinet, ihr getreue Herzen (Soprano)
41. Seelige Erlosungs-Gedancken: Recitativo: Schaut den entblossten Leib (Bass)
42. Seelige Erlosungs-Gedancken: Aria: Aus Liebe bin ich Mensch geworden (Bass)
The great oratorios and Passion settings of the High Baroque are effective in part because they successfully combine various forms of musical discourse; they draw on opera, on chorales and other forms of devotional music, on pastoral themes (where would Messiah be without those?), on political and military ideas, and more. In order for Bach and Handel to accomplish what they did, someone had to carve out a space in the sacred music sphere for them. Hamburg composer Reinhard Keiser, best known (when he is known at all) for his operas, was one of these figures, and this release from the specialist German label CPO, which has embarked on an intriguing project covering two centuries of church music from the Hanseatic city, does a top-notch job of illuminating the ways he did it and the circumstances under which he did it. The booklet notes (in English and German) by conductor Thomas Ihlenfeldt concisely and entertainingly explain the factors in play: arrayed against the musically conservative clergy of the city's large churches were smaller churches and also its cathedral, which was partly under foreign (for a time Swedish) control. And Hamburg was full of talented opera singers eager for work during periods (such as Lent) when theaters were closed. The three works here, collectively designated as Passion music but including a motet, a partial Passion setting, and a series of arias entitled Seelige Erlösungs-Gedancken (Thoughts on the Soul's Redemption), all anticipate the forms and modes of expression used by Bach, and especially Handel. All are made up of recitatives and arias, with the first two framed by very brief choruses and choral exclamations from the crowd, like those in Bach's or Schütz's settings, in Wir gingen alle in der Irre, setting material from the Passion According to Luke. The recitatives in this work are noteworthy in their depth and variety, but perhaps the most interesting are the Seelige Erlösungs-Gedancken, which have a reflective and inward tone suggesting that Keiser knew the slightly older and often magnificent chamber sacred music of Buxtehude. The performers, with an unusual variety of international backgrounds, turn in generally strong efforts; the quiet warmth of mezzo-soprano Olivia Vermeulen is especially in tune with the expressive dimensions of the music. Tenor Knut Schoch will be familiar to buyers of parts or the entire Bach cycle on the budget Brilliant label. The choruses are sung with one voice per part, simply by the assembled soloists, and indeed music like this, where the chorus doesn't really have much to do, provides a decent argument for the one-voice-per-part procedure (it's much more troublesome in chorale-based music like Bach's). A very strong outing from CPO's adventurous catalog, and it makes one want to check out other releases in the Hamburg series.
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