Tuesday, 31 March 2009

George Friedrich Händel (1685-1759) - Chandos Te Deum (World Premiere Recording)/Chandos Anthem "Let God Arise"

When Georg Friedrich Händel was born in Halle on 23 February 1685, the same year as Bach and Scarlatti, Europe was largely a geographic term, and one could hardly speak of a feeling of supranational unity.

Händel was one of the few who represented a cosmopolitan form of musical artistry. He was, of course, shaped - albeit in varying intensity - by the music centres of Europe. Italy provided him with a variety of forms and the technique of musical diction, while France's influence centered around the stylistic peculiarities of overtures, suites and opera compositions.

England - his residence of choice - provided the artistic foundation for his oratories, with which he set new standards in the history of music composition.

When Händel settled in the English capital in 1717, after George I was named king, he not only encountered a myriad of possibilities for the development of his music but also forward-looking intellectual stimulation.

Thus he came to know John Locke and his empirical-rationalistic philosophy, and he also met numerous librettists for his oratories. Händel did not turn to the oratory until after he completed his extensive opera oeuvre.

To date Händel owes his fame to his oratories, which clearly show in their scenic conception that throughout his life the theatre was the focal point of his artistic inspiration.

The unmistakable style of his vocal and vocal-instrumental work was made possible by the existence of large choirs in England that had been established by the musical culture of the rising middle class.

When Händel entered the service of the Duke of Chandos in Cannons, he was primarily involved in composing anthems - church music compositions with English texts that were not part of the liturgy. At this time Händel composed Chandos Te Deum HWV 281, commissioned by the Duke, as well as the Chandos anthem "Let God Arise" HWV 256a.

Both compositions rely on older instrumental and vocal works by Händel and are characterized by the most varied harmonic figures and contrasts in tone. The cantata-like arrangement of the verses is achieved by alternating transparent counterpoint in the choirs with airs and accompagnatos in the solo parts, which in stylistic terms is also reminiscent of the cantata form.

The CD was released by Arte Nova, 1998 (DDD). Arte Nova 74321 59228 2.

Vocalsolisten Frankfurt, Drottningholms Baroque Ensemble, Conductor: Gerhard Jenemann

Track List:

Chandos Te Deum HWV 281 (World Premiere Recording)
  1. We Praise Thee, O God (3'12")
  2. All The Earth (3'22")
  3. The Glorious Company (3'03")
  4. Thou Art The King (2'56")
  5. When Thou Tookest (2'11")
  6. When Thou Hadst Overcome (00'36")
  7. Thou Didst Open The Kingdom (00'43")
  8. Thou Sittest Of The Right Hand (3'58")
  9. We Believe That Thou Shalt Come (3'12")
  10. Day By Day (2'02")
  11. And We Worship Thy Name Ever (1'27")
  12. Vouchsafe, O Lord (3'31")
  13. O Lord, In Thee We Have Trust (4'09")
Chandos Anthem "Let God Arise" HWV 256a

14. Symphony (3'42")
15. Let God Arise (2'38")
16. Like As A Smoke (2'44")
17. Let The Righteous Be Glad (3'24")
18. O Sing Unto God (4'28")
19. Praised By the Lord (1'20")
20. At Thy Rebuke, O God (2'03")
21. Blessed Be God, Alleluja (2'01")

Girolamo Frescobaldi (1583-1643) - Messa sopra l'Aria di Fiorenza

Girolamo Frescobaldi "had all his brains in his fingertips" wrote the Florentine Giovanni Batista Dona. This discharging comment has its roots in the fact that the composer was during his lifetime known mainly as an organist and harpsichordist.

His teacher, the Ferrarese musician Luzzasco Luzzaschi, was regarded as a great organ virtuoso, and Frescobaldi was relatively young when appointed organist to St. Peter's in Rome. Small wonder, then, that his printed works include only music for keyboard instruments and secular vocal music.

That Frescobaldi was also a composer of sacred music can only be deduced from a few remaing manuscripts. Among them, the most remarkable are two masses, the Messa sopra l'aria di Monica and the Messa sopra l'aria di Fiorenza. Both are based on borrowed models, the Monica on a melody with bass, known in the German-speaking world as 'Von Gott will ich nicht lassen', the Fiorenza on a bass part only. This comes originally from a five-part madrigal by Emilio de' Cavalieri, first performed at the Florentine wedding of 1589 - hence its name.

Frescobaldi uses this bass part in his mass as the foundation for the continuo: its memorable opening g-d-e-B-c-d-G is recognizable in all parts. From it is derived the theme for the upper voices, it sets the harmonic framework, and adds spice to many a variation. In this way a straightforward inner coherence is maintained, which pulls together the irregular entries of the various voices in the two choirs, the polyphonic interplay of the vocal parts and the many-layered rhythms. The resultant sound never threatens to become opaque, promotes the intelligibility of the text, and uses the performing space to best advantage - all apparently without effort. The choice of the Fiorentina bass suggests that the composer wrote the work during his Florentine period, 1628-1634.

The CD was released by Arte Nova, 2000 (DDD). Arte Nova 74321 75500 2.

Soprano: Siri Thornhill
Altus: Rainer Seifert
Tenor: Henning Kaiser
Bass: Marcus Niedermeyr

Orpheus Chor München, Lyra Ensemble, Conductor: Gerd Guglhör

Track List:

Girolamo Frescobaldi - Messa sopra l'aria di Fiorenza
  1. Kyrie (2'43")
  2. Gloria (3'04")
  3. Credo (3'15")
  4. Crucifixus (00'39")
  5. Et resurrexit (00'42")
  6. Et iterum (1'02")
  7. Et in spiritum (1'57")
  8. Sanctus (1'00")
  9. Agnus Dei (1'15")
Franceso Cavalli - Vesperi 1675

10. Dixit Dominus (5'20")
11. Laudate Pueri Dominum (2'37")
12. Laetatus Sum (Psalm 122) (3'14")
13. O Quam Suavis Es (Hymnus) (3'52")
14. Nisi Dominus (Psalm 127) (2'41")
15. Beatus Vir (Psalm 112) (6'20")
16. Ave Regina (Hymnus) (5'30")
17. Confitebor (Psalm 111) (5'13")
18. Lauda Jerusalem (Psalm 148) (3'13")
19. In Exitu (Psalm 114, 115) (6'53")

Monday, 30 March 2009

Giuseppe Verdi (1813-1901) - Unpublished Verdi

Of Verdi's innumerable youthful works, the manuscripts of only a few have been found and are known. Some of Verdi's utterances, with which he sharply criticised his production before turning towards opera ("Oh dear! I admit that I wrote this Tantum Ergo some sixty years ago! I recommend that the owner of this unhappy work throw it into the flames...") have contributed to the conviction that a large portion of these valuable autographs was destroyed in accordance with the composer's whishes.

It is difficult to understand how it could happen that the works of Verdi's youth were dispersed so far and in so many directions.

The source of the music introduced on this recording (the Fondo Cocchi-Cavalli, the name of which comes from two Busseto families who inherited the manuscripts) represents an important element in the reconstruction of the puzzle of Verdi's youthful instrumental works and is an important contribution to a better understanding of Italian instrumental music of the nineteenth century.

The CD was released by ARTS, 2001 (DDD 24bit/96khz). ARTS 47574-2.

Tenor: Fausto Tenzi
Bass: Antonio Abete

Basson: Rino Vernizzi
Oboe: Alberto Negroni

Coro e Orchestra "G. Verdi" di Busseto, Conductor: Fausto Pedretti

Track List:
  1. Credo for Tenor, Bass, male chorus and orchestra: Credo In Unum Deum (2'22)
  2. Credo for Tenor, Bass, male chorus and orchestra: Et Incarnatus Est (4'36")
  3. Credo for Tenor, Bass, male chorus and orchestra: Et Resurrexit (3'20")
  4. Capriccio per fagotto con accompagnamento di grande orchestra (12'53")
  5. Introduzione, Andante e Tema con variazioni per oboe solo sopra un motivo della Straniera di Bellini con accompagnamento di grande orchestra: Introduzione (2'35")
  6. Andante (5'11)
  7. Tema con Variazioni (9'34")
  8. Un Giorn di Regno, sinfonia (5'15")
  9. Attila: Cavatina (5'36")
  10. Attila: Scena, Romanza e Terzetto dall'Atto Terzo: Scena (2'15")
  11. Romanza (2'11)
  12. Terzetto (5'44")

Sunday, 29 March 2009

Franz Liszt (1811-1886) - St. Stanislaus (World Premiere Recording)

This is the first complete recording of the two scenes Liszt finished for his last great project: an oratorio on the matyrdom in 1079 of Poland's patron saint. It was, Liszt said, his "Nunc dimittis", by which he meant a hymn for the close of day, a valedictory prayer, like the Canticle of Simeon.

He composed the music scene I in 1874. He returned to the music in 1882, after an eight-year hiatus during which various poets helped him improve the libretto.

Liszt sent the finished score of Scene IV to his publisher just weeks before he died in 1886.

No music exists for scenes II and III. In this recording scenes I and IV are performed just as he left them, with one exception: at the end of scene I, the bishop's mother's area, which Liszt left in piano-vocal score, has been orchestrated in a manner consistent with his other orchestral works from the 1870s.

The CD was released by Telarc, 2004 (DDD). Telarc CD-80607.

Mezzo-Soprano: Kristine Jepson
Baritone: Donnie Ray Albert
Organ: Michael Chertock
Mezzo-Soprano: Teresa Bucholz
Mezzo-Soprano: Liza Forrester
Mezzo-Soprano: Stacey Rishoi
Baritone: William McGraw
Bass: Gustav Andreassen

May Festival Chorus, Cincinnati Symphony Orchestra, Conductor: James Conlon

Track List:
  1. Scene I: Introduction - Chorus "Qual und Leid", Recitative "Kindlein! Was weinet ihr?", Chorus "Beschütz uns" (18'27")
  2. Scene I: Aria "Mein Sohn, O still des Volkes Not" (8'27")
  3. Scene IV: Orchestral Interlude: "Salve Polonia" (9'57")
  4. Scene IV: Orchestral Interlude II: "Salve Polonia" (6'21")
  5. Scene IV: Psalm 129: "De Profundis" (12'16")
  6. Scene IV: "Salve Polonia" (4'16")

Franz Liszt (1811-1886) - Christus

An Oratorio to Latin texts from the Holy Scriptures and the Catholic Liturgy for soloists, choir, organ and orchestra.

The work was first planned in 1853 and composed bewteen 1862 and 1866. Father Theiner, archivist at the Vatican, offered him the chance of accomodation in the convent of the Madonna of the Rosary on Monte Mario, which at that time still lay outside Rome.

Liszt moved in on 20 June 1863 and was installed amongst the Oratorians with his piano, harmonium and a few items of furniture in two small cells.

There Pope Pius IX paid him half an hour's visit on 11 July and insisted on hearing him play.

By the end of 1863 Parts I and II of Christus were complete. Liszt wrote the following details on the score: 'Completed on St Michael's Day, 29 September 1866 - Madonna del Rosario; revised between 22 November and 4 December - Santa Francesca Romana.'

When composing this work Liszt was able to draw on earlier works: one of these was the Seligpreisung of 1859 (possibly begun in 1855) written in Weimar to a German text and performed on 2 October 1859 in the main church of the town. The other was the Pater Noster I, written in or before 1860 and published in 1860 and 1864 on its own. He had begun work in 1860 on a Stabat Mater, a composition which he was to use again in 1878-79 for the Good Friday composition Via Crucis for choir and organ.

The complete work was first performed on 29 May 1873 in the Protestant church in Weimar, known as the Herderkirche after one of its distinguished preachers, under the direction of the composer and in the presence of, among others, Liszt's daughter Cosima and her second husband, Richard Wagner.

The performers numbered three hundred and were drawn from Weimar, Erfurt , Jena and Sondershausen.

Shortly after the Weimar premiere it was also heard in Budapest, in the assembly rooms in Pest, on 9 Nevember, conducted by Hans Richter, who was Hungarian by birth.

Some sections had already been performed in Rome in 1866: the first part, the 'Christmas oratorio', was conducted by Giovanni Sgambati on 6 July 1867 and by Anton Rubinstein on New Year's Eve, 1871, a successful performance with none other than Anton Bruckner on the organ (!).

During Liszt's lifetime it was performed ten more times, mainly in Germany, for instance in Berlin in 1881 under Alexis Holländer, but also further afield, in England and Hungary.

But after 1914 it virtually disappeared from the repertoire. The first recording was made as late as 1970, with Hungarian performers. In 1986 large sections of the oratorio were arranged choreographically together with the 'Chorus mysticus' from the Faust Symphony, and performed as a ballet in Györ, Hungary, under the title 'Jesus the Son of Man'.

The 3 CD Set was released by Hänssler Classic, 1998 (DDD). hänssler CD 98.121.

Soprano: Henriette Bonde-Hansen
Mezzosoprano: Iris Vermillion
Tenor: Michael Schade
Bass: Andreas Schmidt

Gächinger Kantorei Stuttgart, Krakauer Kammerchor, Radio-Sinfonieorchester Stuttgart, Conductor: Helmuth Rilling

Track List CD 1 (Oratorium in Nativitate Domini - Christmas Oratorio)
  1. Introduction (14'18")
  2. Pastorale and Herald Angel's Song(6'55")
  3. Stabat Mater Speciosa (10'43")
  4. Pastoral Music in the Manger (13'21")
  5. March of the Three Magi (14'31")
Track List CD 2 (Post Epiphaniam -After Epiphany)
  1. The Beatitudes (10'57")
  2. The Lord's Prayer (7'44")
  3. The Founding of the church (5'28")
  4. The Miracle (8'49")
  5. Ride into Jerusalem (13'58")
Track List CD 3 (Passio et Resurrectio - Passion and Resurrection)
  1. Tristis Est Anima Mea (14'02")
  2. Stabat Mater Dolorosa (32'40")
  3. O Filii Et Filiae (1'41")
  4. Resurrexit (5'25")

Saturday, 28 March 2009

Anton Bruckner (1824-1896) - Te Deum/Mass in D Minor

The quality which most powerfully characterizes Bruckner's music is its religious mysticism. Not only the sacred works, but also the symphonies which form the bulk of his output, display a religiosity which is not grafted on but deeply ingrained.

The D Minor Mass is a natural successor to the classical settings of Haydn and Mozart, conceived symphonically and with the orchestra allotted a prominet role.

It was from Haydn and Mozart that Bruckner learned the cyclic principle in which the final Agnus Dei recalls material from earlier movements. From his beloved Schubert he acquired lyricism and lush harmony, while his innate sense of the monumental and his grounding in the counterpoint of J.S. Bach equipped him perfectly to write music on the grandest scale.

Liszt and Wagner, also, were influences, the one chiefly in matters of thematic development, the other in melodic and harmonic innovations and in the size and use of the orchestra.

It was not until the age of forty, when he wrote the D Minor Mass, that Bruckner showed the first real signs of artistic maturity.

The composer himself conducted the premiere of the D Minor Mass in Linz Cathedral on 20 November 1864, and its favourable reception ensured its repeat at the Redoutensaal, also in Linz, on the 18 December 1864. After the November performance the critic of the Linzer Abendbote had proounced it "the best work of its type to be created for a long time."

Bruckner had begun work on the Te Deum in May 1881, almost contemporaneously with the sketches for his Seventh Symphony, but it was not until September 1883 that he gave it his full attention. The Te Deum calls for soprano, contralto, tenor and bass soloists, four-part choir, organ and orchestra, though the organ is optional.

Bruckner completed the Te Deum in March 1884 and it was first performed, accompanied by two pianos, on 2 May 1885. Hans Richter conducted the first performance with orchestra in Vienna on 10 January 1886. Even the normally vicious Hanslick, who never forgave Bruckner's espousal of Wagner, was uncharacteristically polite.

The CD was released by HYPERION, 1993 (DDD). Hyperion CDA 66650.

Soprano: Joan Rodgers
Alto: Catherine Wyn-Rogers
Tenor: Keith Lewis
Bass: Alastair Miles
Organ (!): James O'Donnell

Corydon Singers, Corydon Orchestra, Organ in the Te Deum WESTMINSTER CATHEDRAL (!), Conductor: Matthew Best

Thank You, Matthew Best, for this unbelievable recording !

Track List:
  1. Te Deum Laudamus (6'28")
  2. Te Ergo (2'57")
  3. Aeterna Fac (1'35")
  4. Salvum Fac (6'55")
  5. In Te, Domine (5'18")
  6. Mass D Minor: Kyrie (6'58")
  7. Gloria (6'00")
  8. Credo (12'57")
  9. Sanctus (1'47")
  10. Benedictus (7'12")
  11. Agnus Dei (8'31")

Wednesday, 25 March 2009

Charles Gounod (1818-1893) - Mors Et Vita

The oratorio "Mors et Vita" ("Death and Life") was first performed at the Birmingham Festival, August 26, 1885. Gounod wrote this oratorium for 4 soloists, chorus, organ and large orchestra.

It is divided into three parts:

1. Mors ("Death")
2. Judicium ("Judgement")
3. Vita ("Life")

The first part "Mors" is actually a Requiem:

- Prologus
- Introitus & Kyrie
- A Custodia
- Sequentia (Dies Irae)
- Offertorium
- Sanctus
- Pie Jesu Domine
- Agnus Dei / Lux Aeterna
- Epilogus

This oratorium was dedicated to Pope Leo XIII (1810 - 1903), several years before his funeral.

Unfortunately this 2 CD set lacks a booklet with further information about the work and the track list.

Obviously it is difficult to find the libretto in the internet, so I managed to find the lyrics in Latin. Those having learned Latin at school will deal well with the text:

CD 1

Pars Prima - Mors



(Track 1) Horrendum Est Incidere In Manus Dei Viventis.

Solo (Baritone), Jesus

Ego Sum Resurrectio Et Vita. Qui Credit In Me, Etsiamsi Mortuus Fuerit, Vivet. Et Ego Resuscitabo Eum In Novissimo Die.


Ego Sum Resurrectio Et Vita. Qui Credit In Me, Etsiamsi Mortuus Fuerit, Vivet. Et Ego Resuscitabo Eum In Novissimo Die.


Introit & Kyrie


(Track 2) Requiem Aeternam Dona Eis, Domine, Et Lux Perpetua Luceat Eis.

Quartet & Choir

Te Decet Hymnus, Deus, In Sion, Et Tibi Reddetur Votum In Jerusalem. Exaudi Orationem Meam. Ad Te Omnis Caro Veniet. Requiem Aeternam Dona Eis, Domine, Et Lux Perpetua Luceat Eis. Kyrie Eleison.

Double Choir

(Track 3) A Custodia Matutina Usque Ad Noctem, Speret Israel In Domino. Quia Apud Dominum Misericordia. Et Copiosa Apud Eum Redemptio. Et Ipse Redimet Israel Ex Omnibus Iniquitatibus Eius.


(Track 4) Dies Irae, Dies Illa, Solvet Saeclum In Favilla, Teste David Cum Sibylla.
Quantus Tremor Est Futurus, Quando Judex Est Venturus, Cuncta Stricte Discussurus.
Tuba Mirum Spargens Sonum Per Sepulchra Regionum, Coget Omnes Ante Thronum.
Mors Stupebit Et Natura, Cum Resurget Creatura, Judicanti Responsura.
Liber Scriptus Proferetur, In Quo Totum Continetur, Unde Mundus judicetur.
Judex Ergo Cum Sedebit, Quidquid Latet Apparebit, Nil Inultum Remanebit.

Quartet & Choir

(Track 5) Quid Sum Miser Tunc Dicturus, Quem Patronum Rogaturus, Cum Vix Justus Sit securus ?
Rex Tremendae Majestatis, Qui Salvandos Salvas Gratis, Salva Me Fons Pietatis.
Recordare Jesu Pie, Quod Sum Causa Tuae Viae, Ne Me Perdas Illa Die.

Solo (Soprano) & Choir

(Track 6) Felix Culpa, Quae Talem Meruit Habere Redemptorem.

Duet & Choir

(Track 7) Quaerens Me, Sedisti Lassus, Redemisti Crucem Passus, Tantus Labor Non Sit Cassus. Juste Judex Ultionis, Donum Fac Remissionis, Ante Diem Rationis.

Quartet & Choir

(Track 8) Ingemisco Tamquam Reus, Culpa Rubet Vultus Meus, Supplicanti Parce, Deus.
Qui Mariam Absolvisti, Et Latronem Exaudisti, Mihi Quoque Spem Dedisti.
Preces Meae Non Sunt Dignae, Sed Tu Bonus Fac Benigne, Ne Perenni Cremer Igne.

Solo (Tenor)

(Track 9) Inter Oves Locum Praesta, Et Ab Haedis Me Sequestra, Statuens In Parte Dextra.

Choir & Quartett

(Track 10) Confutatis Maledictis, Flammis Acribus Addictis, Voca Me Cum Benedictis.
Oro Supplex Et Acclinis, Cor Contritum Quasi Cinis, Gere Curam Mei Finis.

Choir & Soli

(Track 11) Lacrymosa Dies Illa, Qua Resurget Ex Favilla, Judicandus Homo Reus.
Huic Ergo Parce, Deus.
Pie Jesu Domine, Dona Eis Requiem Sempiternam.


(Track 12) Domine Jesu Christe, Rex Gloriae, Libera Animas Omnium Fidelium Defunctorum De Poenis Infernis et De Profundo Lacu:
Libera Eas De Ore Leonis, Ne Absorbeat Eas Tartarus, Ne cadant In Obscurum.

Solo (Soprano)

Sed Signifer Sanctus Michael Repraesentet Eas In Lucem Sanctam.


Quam Olim Abrahae Promisisti, Et semini Eius.


Hostias Et Preces Tibi, Domine, Laudis Offerimus: Tu Suscipe Pro Animabus Illis, quarum Hodie Memoriam Facimus. Fac Eas, Domine, De Morte Transire Ad Vitam, Quam Olim Abrahae Promisisti, Et Semini Eius.


Cd 2

Solo (Tenor) & Choir

(Track 1) Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni Sunt Coeli Et Terra Gloria Tua. Hosanna In Excelsis.


(Track 2) Pie Jesu, Domine, Dona Eis Requiem Sempiternam. Amen.

Solo (Soprano) & Choir

(Track 3) Agnus Dei, Qui Tollis Peccata Mundi, Dona Eis Requiem.


Lux Aeterna Luceat Eis, Domine, Cum Sanctis Tuis In Aeternum, Quia Pius Es.
Requiem Aeternam Dona Eis, Domine, Et Lux Perpetua Luceat Eis.

(Track 4) Epilogus

Pars Secunda - Judicium

(Track 5) Somnus Mortuorum


(Track 6) Tubae Ad Ultimum Judicium

Solo (Baritone)

(Track 7) Cum Autem Venerit Filius Hominis In Majestate Sua, Et Omnes Angeli Cum Eo, Tunc Sedebit Super Sedem Majestatis Suae.


(Track 8) Sedenti In Throno, Et Agno Benedicto, Et Honor Et Gloria Et Potestas, In Saecula Saeculorum.

Judicium Electorum, Solo (Baritone)

(Track 9) Et Congregabuntur Ante Eum Omnes Gentes. Et Separabit Eos Ab Invicem, Sicut Pastor Segregat Oves Ab Haedis. Et Statuet Oves Quidem A Dextris, Haedos Autem A Sinistris.
Tunc Dicet Rex His Qui A Dextris Eius Sunt: Venite, Benedicti Patris Mei, Possidete Paratum Vobis Regnum A Constitutione Mundi.

Solo (Soprano) & Choir

Beati Qui Lavant Stolas Suas In Sanguine Agni.


(Track 10) In Memoria Aeterna Erit Justus, ab Auditione Mala Non Timebit.

Judicium Rejectaneorum

Solo (Baritone)

(Track 11) Tunc Dicet His Qui A Sinistris Eius Sunt.


Discedite A Me, Maledicti, In Ignem Aeternam, Qui Paratus Est Diabolo Et Angelis Eius. Nescio Vos, Unde Sitis.

Solo (Baritone)

Et Dicent Intra Se:


Ergo Erravimus A Via Veritatis.

Pars Tertia - Vita

Visio Sancti Joannis
Solo (Baritone)

(Track 12) Et Vidi Coelum Novum Et Terram Novam, Primum Enim Coelum Et Prima Terra abierunt. Et Mare Jam Non Est.

Solo (Baritone)

(Track 13) Et Ego Joannes Vidi Sanctam Civitatem, Jerusalem Novam, Descendentem De Coelo A Deo, Paratam Sicut Sponsam Ornatam Viro Suo.


(Track 14) Sanctus Dominus Deus Omnipotens, Qui Erat, Et Qui Est, Et Qui Venturus Est.
Vox Magna In Coelo.

Solo (Baritone)

(Track 15) Et Audivi Vocem Manam De Throno, Dicentem:


Ecce, Tabernaculum Dei Cum Hominibus, Et Habitabit Cum Eis, Et Ipsi Populus Eius Erunt, Et Ipse Deus Cum Eis Erit Eorum Deus.
Lacrymae, Dolor, Mors, Amplius Non Exstabunt.


(Track 16) Et Absterget Deus Omnem Lacrymam Ab Oculis Eorum. Et Mors Ultra Non Erit, Neque Luctus Neque Clamor, Neque Dolor Erit Ultra, Quia Prima Abierunt.

Solo (Baritone)

(Track 17) Et Dixit Qui Sedebat In Throno:


Ecce, Nova Facio Omnia.

Solo (Baritone)

Et Dixit Mihi: Scribe, Quia Haec Verba Fidelissima Sunt Et Vera.


Et Dixit Mihi: Factum Est.

Heavenly Choir

(Track 18) Ego Sum Alpha Et Omega, Initium Et Finis. Ego Sitienti Dabo De Fonte Aquae Vivae Gratis. Qui Vicerit, possidebit Hae. Et Ero Illi Deus, Et Erit Mihi Filius. Ecce, Tabernaculum Dei Cum Hominibus, Et Habitabit Cum Eis.

Big Choir

Ecce, Tabernaculum Dei Cum Hominibus, Et Habitabit Cum Eis, Et Ipsi Populus Eius Erunt, Et Ipse Deus Cum Eis Erit Eorum Deus.


(Track 19) Hosanna In Excelsis Deo !

The 2 CD Set was released by Emi Classics, 1992 (DDD). EMI CLASSICS CDS 7544592.

Soprano: Barbara Hendricks
Alto: Nadine Denize
Tenor: John Aler
Baritone: José van Dam

Orféon Donostiarra, Orchestre du Capitole de Toulouse, Conductor: Michel Plasson

Track List CD 1:
  1. Pars Prima - Mors: Prologus
  2. Requiem: Introitus et Kyrie
  3. Requiem: A Custodia Matutina Usque Ad Noctem
  4. Requiem: Dies Irae
  5. Requiem: Quid Sum Miser
  6. Requiem: Felix Culpa
  7. Requiem: Quaerens Me, Sedisti Lassus
  8. Requiem: Ingemisco Tamquam Reus
  9. Requiem: Inter Oves Locum Praesta
  10. Requiem: Confutatis Maledictis
  11. Requiem: Lacrymosa
  12. Requiem: Offertorium - Domine Jesu Christe
Track List CD 2:
  1. Requiem: Sanctus
  2. Requiem: Pie Jesu
  3. Requiem: Agnus Dei
  4. Requiem: Epilogus
  5. Pars Secunda - Judicium: Somnus Mortuorum - Preludio
  6. Somnus Mortuorum - Tubae Ad Ultimum Judicium
  7. Ressurectio Mortuorum - Cum Autem Venerit Filius
  8. Judex: Sedenti In Throno
  9. Judicium Electorum - Et Congregabuntur
  10. Judicium Electorum - In Memoria Aeterna
  11. Judicium Rejectaneorum - Tunc Dicet
  12. Pars Tertia - Vita: Visio Sancti Joannis - Et Vidi Coelum Novum
  13. Jerusalem Coelestis - Et Ego Joannis
  14. Jerusalem Coelestis -Sanctus
  15. Vox Magna In Coelo - Et Audivi Vocem Magnam
  16. Lacrymae, Dolor, Mors Amplius Non Extabunt - Et Absterget
  17. Ecce, Omnia Novata ! - Et Dixit: Qui Sedebat In Throno
  18. Ecce, Omnia Novata ! - Ego Sum Alpha Et Omega
  19. Ecce, Omnia Novata ! - Hosanna In Excelsis

Wednesday, 11 March 2009

Robert Schumann (1810-1856) - Requiem D Flat Major for Soli, Choir and Orchestra op. 148

Preface: A school massacre took place today on 11.03.2009 at Albertville School in Baden-Württemberg, Germany. A 17-year-old gunman killed at least 9 students and 3 teachers. What a tragedy !

May the dead rest in peace !

Schumann's Requiem: compassionate and heartfelt emotions

It has supposedly been said by Schumann that Requiems are "written for one's self". Schumann wrote his Requiem in 1849, could this have been a premonition of his suicide five years later ? It is known that longing for death was an obsession for Schumann.

His Requiem für Mignon is composed to Goethe`s Wilhelm Meisters Lehrjahre, the piece is a literary masque which Schumann puts on to create a unification of words and music. It was composed for the centenary of Goethe's birth.

The CD was released by BMG, P 1988, C 1996, (DDD). BMG 74321 40507 2.

Soprano: Helen Donath
Soprano op. 98b: Julie Kaufman
Contralto: Marjana Lipovsek
Contralto op. 98b: Birgit Calm
Tenor: Thomas Moser
Bass: Jan Hendrik Rootering

Chorus of the Bavarian Radio, Symphony Orchestra of the Bavarian Radio, Conductor: Wolfgang Sawallisch

Track List:
  1. Requiem Aeternam (3'41")
  2. Te Decet Hymnus (5'07")
  3. Dies Irae (2'45")
  4. Liber Scriptus (5'58")
  5. Qui Mariam Absolvisti (4'43")
  6. Domine Jesu Christi (3'03")
  7. Hostias et Preces Tibi (1'24")
  8. Sanctus (3'50")
  9. Benedictus - Agnus Dei (6'57")

Requiem für Mignon for Soli, Choir and Orchestra op. 98b
  1. Wen bringt Ihr uns zur stillen Gesellschaft (2'26")
  2. Ach ! Wie ungern brachten wir Ihn her (0'36")
  3. Seht die mächtigen Flügel doch an ! (2'53")
  4. In Euch lebe die bildende Kraft (2'42")
  5. Kinder, kehret ins Leben zurück (1'43")
  6. Kinder, eilet ins Leben hinein ! (2'40")