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1 LP -
6.42955 AZ - (p) 1984
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| 1 CD -
8.42955 ZK - (p) 1984 |
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| Johann
Sebastian Bach (1685-1750) |
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Magnificat D-dur, BWV 243
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27' 39" |
A |
| - Magnificat |
4' 18" |
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- Et exsultavit spiritus meus
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2' 40" |
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- Quia respexit humilitatem
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2' 01" |
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| - Omnes generationes |
1' 26" |
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- Quia fecit mihi magna
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1' 58" |
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| - Et misericordia |
3' 33" |
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| - Fecit potentiam |
1' 59" |
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| - Deposuit potentes |
2' 08" |
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| - Esurientes implevit bonis |
2' 56" |
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| - Suscepit Israel |
1' 24" |
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| - Sicut locutus est |
1 34" |
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- Gloria Patri
|
2' 15"
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| Georg Friedrich Händel
(1685-1759) |
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24' 28" |
B |
Utrechter Te Deum, HWV
278
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| - Chorus: Adagio-Allegro "We
praise Thee, O God" |
2' 28" |
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| - Chorus: (Allegro) "All the
earth doth woorship Thee" |
1' 47" |
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| - Soli and Chorus: (Largo) "To
Thee all angels ery aloud" |
1' 04" |
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| - Soli and Chorus: Andante "To
Thee Cherubin ans Seraphin" |
1' 11" |
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| - Soli and Chorus:
(Allegro)-Adagio "The glorious company" |
3' 22" |
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| - Chorus: Allegro -
Adagio-Allegro "Thou art the King of
Glory" |
2' 01" |
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- Soli and Chorus:
Adagio-Allegro-Adagio "When Thou took'st
upon Thee"... "When Thou hadst overcome"
|
2' 45" |
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| - Chorus: Allegro "Thou sittest
at the right hand of God" |
1' 09" |
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| - Soli and Chorus: Adagio "We
believe that Thou shalt come" |
2' 45" |
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| - Chorus: (Allegro) "Day by day
we magnify Thee" |
1' 19" |
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| - Chorus: (Allegro) "And we
worship Thy Name" |
0' 51" |
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| - Soli and Chorus: (Andante)
"Vouchsafe, O Lord" |
2' 44" |
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| - Chorus: (Allegro) "O Lord, in
Thee have I trusted" |
1' 02" |
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| Magnificat |
Utrechter Te Deum
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| Hildegard
Heichele, Soprano I |
Felicity
Palmer, Soprano |
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| Helrun
Gardow, Soprano II |
Marjana
Lipovsék, Alto |
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| Paul
Esswood, Alto |
Philip
Langridge, Tenore |
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| Kurt
Equiluz, Tenore |
Kurt
Equiluz, Tenore |
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| Robert
Holl, Basso |
Thomas
Moser, Tenore |
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Ludwig
Baumann, Basso |
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| Wiener
Sängerknaben - Chorus Viennensis |
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| Uwe
Harrer, Leitung |
Arnold-Schönberg-Chor |
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Erwin
Ortner, Leitung |
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CONCENTUS
MUSICUS WIEN
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| -
Friedemann Immer, Tromba
(Naturtrompete in D) |
CONCENTUS
MUSICUS WIEN |
|
| -
Hermann Schober, Tromba
(Naturtrompete in D) |
-
Friedemann Immer, Tromba
(Naturtrompete in D) |
|
| -
Richard Rudolf, Tromba
(Naturtrompete in D) |
-
Richard Rudolf, Tromba
(Naturtrompete in D) |
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| -
Richard Rudolf, Tromba
(Naturtrompete in D) |
-
Richard Rudolf, Tromba
(Naturtrompete in D) |
|
| -
Leopold Stastny, Flauto I |
-
Leopold Stastny, Traversa |
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| -
Gottfried Hechtl, Flauto II |
-
Jürg Scaheftlein, Oboe
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| -
Jürg Scaheftlein, Oboe I,
d'amore I |
-
David Reichenberg, Oboe |
|
| -
Marie Wolf, Oboe II, d'amore II |
-
Sam Kegley, Oboe
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| -
Alice Harnoncourt, Violine |
-
Alice Harnoncourt, Violine |
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-
Anita Mitterer, Violine
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-
Anita Mitterer, Violine
|
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| -
Peter Schoberwalter, Violine |
-
Andrea Bischof, Violine
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Andrea Bischof, Violine
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Peter Schoberwalter, Violine |
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Karl Höffinger, Violine
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Karl Höffinger, Violine
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Walter Pfeiffer, Violine
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-
Helmut Mitter, Violine |
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| -
Helmut Mitter, Violine |
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Wolfgang Trauner, Violine |
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| -
Herlinde Schaller, Violine |
-
Herlinde Schaller, Violine |
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| -
Gottfried Justh, Violine |
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Juliane Heuser, Violine |
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| -
Wolfgang Trauner, Violine |
-
Annemarie Ortner, Violine |
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| -
Irmgard Seidl, Violine |
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Kurt Theiner, Viola
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Kurt Theiner, Viola
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Josef de Sordi, Viola |
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-
Josef de Sordi, Viola
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Herwig Tachezi, Violoncello |
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| -
Mark Peters, Violoncello |
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Wolfgang Aichinger, Violoncello |
|
| -
Fritz Geyerhofer, Violoncello |
-
Eduard Hruza, Violone
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Eduard Hruza, Violone
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Stepan Turnowsky, Fagott |
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| -
Andrew Ackerman, Violone |
-
Herbert Tachezi, Orgel |
|
| -
Milan Turković, Fagott |
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-
Herbert Tachezi, Orgel
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| Nikolaus
Harnoncourt, Leitung |
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Luogo
e data di registrazione
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| Casino Zögernitz,
Vienna (Austria) - 25 maggio 1983 (Bach),
17 gennaio 1984 (Händel) |
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Registrazione
live / studio
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| studio |
Producer
/ Engineer
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-
|
Prima Edizione CD
|
Teldec
"Das Alte Werk" - 8.42955 ZK - (1 cd) -
58' 24" - (p) 1984 - DDD
|
Prima
Edizione LP
|
Teldec "Das Alte
Werk" - 6.42955 AZ - (1
lp) - 58'
24"
- (p) 1984
- Digital
|
|
|
Notes
|
Magnificat D
major
There are three canticles from
the Ncw Testament in the Roman
Catholic liturgy: the Benedictus, the
Nunc dirnittis and the Magnificat (My
soul doth magnify the Lord), the words
spoken by the Virgin
Mary (Luke I, 46-55) in the house of
Zacharias when her cousin Elisabeth
greeted her as the mother ofthe future
Saviour. - Originally the ten verses
of the Magnificat and the concluding
“Gloria Patri”, the lesser doxology,
were sung during Vespers
in unison, i. e. in plainsong. In the
Protestant Church in Germany this
Marian hymn, often sung in German, was
also the climax of Evensong, but only
on feast days. Since the middle of the
15th century settings of the Magnihcat
in several parts have increasingly
been written and appreciated. In
analogy with the antithesis between
the burden of original sin and the
Saviour’s promise, the musical
exegesis also deploys
contrasting movements.
Johann Sebastian Bach probably
composed the Magnificat
in D, BWV 243, around 1732/33. It is
usually referred to as the “later”
version, the earlier
one in E flat, BWV 243 a, having
probably been sung at St. Thomas’,
Leipzig, at Christmas 1723. The
autograph scores of both versions are
preserved in the German State Library,
Berlin. In 1955 the new
edition of Bach’s works (Neue
Bach-Ausgabe) for the first time
presented both versions side by side,
but clearly distinct, and accompanied
by an extensive critical commenmry by
A. Dürr.
According to this, the autograph of
the D major version (Mus. ms. Bach
P39), close in time to the Mass in B
minor, BWV 232, is “one of Bach’s most
beautiful fair copies in our
possession. Not only do the staves,
the bar lines and the actual notes
indicate particular care in the
writing, but so do the specification
of the instruments and expression
marks, which in less meticulously
written original manuscripts can
frequently only be discovered from the
parts.” The later, D major,
work has three distinct advantages
over the earlier, E flat, version: its
key makes it much easier for the brass
instruments, with their limited tuning
and range, to play the top notes,
which sometimes run on
for several bars. The scoring of the
work as a whole is distinguished by
being enlarged by two flutes. Finally,
on account of its neutral character,
the four Christmas-orientated
movements interpolated in the E flat
version being eliminated, the D major
work can be performed all the year
round.
Unlike the ten verses of the biblical
text, the work consists of twelve
sections, since Bach subdivided the
first two verses and added on the
doxology. The opening chorus
“Magnificat” (D major; 3/4 time) is
framed by a spacious instrumental ritornello
with a substantially shorter repeat,
the opening section already presenting
the melodic material of the five-part
chorus. In accordance with the festive
character of the work, three trumpets,
supported by two timpani, shine
brightly out of the instrumental
tutti. - The “Et exsultavit” (second
soprano; d major; 3/ 8 time), a binary
aria accompanied only by a string trio
and continuo, creates a pronounced
contrast. The discreet semiquaver
coloratura also symbolises rejoicing.
- Bach employs word-painting in the
descending melodic line, first played
by the gently sounding oboe d’amore,
for the next aria, the predominantly
syllabic "Quia respexit” (first
soprano; B minor; common time) to
portray the lowliness of the chosen
handmaiden. - In the immediately
following five-part
chorus (F sharp minor) the lastwords
of verse 3 “Omnes generationes” are
brilliantly interpreted. - The melody
of the bass aria (A major; common
time) in verse 4 “Quia fecit mihi
magna” is played as a basso ostinato
by the continuo.
Syllabic treatment and coloratura
alternate regularly. -
An instrumental ritornello
of four bars determines the character
of the duet for alto and tenor of
verse 5 “Et misericordia” (E minor;
l2/8 time), praising God’s mercy. The
melodic line of the first and second
violins, predominantly in parallel
thirds, and of the two flutes, mostly
in unison with the violins, is matched
by the gently rocking rhythm; these
features serve to emphasise the
siciliano nature of the movement. -
The orchestration of “Fecit potentiam"
(D major; common time) is the same as
that of the opening movement. The
wider intervals symbolise His
strength, while massive descending
octaves in the ostinato bass suggest
the scattering of the proud (“superbos
mentes”) who are realistically rebuked
in the dissonances of the concluding
homophonic adagio. - In “Deposuit”, a
tenor aria (F sharp minor 3 /4 time)
accompanied solely by the violins, the
text is interpreted not only by the
choice of key but also by the
descending melodic line, illustrating
how the mighty are put down from their
seats (“deposuit potentes“), while the
ascending line represents the humble
and meek, whom He exalts (“exaltavit
humiles”). The wide
intervals once again symbolise divine
power. - The binary aria “Esurientes”
(E major; common time) is another
masterly example of word painting: the
modest instrumentation with just two
flutes is matched by a restrained
melodic line, mostly in conjunct
motion. - In the contrapuntal trio
“Suscepit Israel” (tirst and second
soprano, alto; B minor; 3/4 time) the
oboes in unison play the tune of the
Magnilicat as a cantus firmus in note
values of equal length. - The
five-part choral fugue “Sicut locutus
est” (D major; alla breve) symbolises
faith and confidence, - The “Gloria
Patri” (A major; common time) is
characterised both by dotted chords
and by ascending chains of triplets, while
timpany and trumpets emphasise the
festive nature of the doxology. A
pause on an A maior cadence is
followed by the concluding “Sicut
erat” (D major; 3/4 time) which is
based on the opening chorus.
Renate
Federhofer-Königs
Translation:
Lindsay Craig
----------
Utrecht Te Deum
The outcome of the War of
the Spanish Succession
(1701-1713/14) enabled Britain to
negotiate a favourable settlement
in the Treaty of Utrecht, one of
the territories gained by her at
the expense of Spain being
Gibraltar. Victories of that
nature were celebrated in church
services which frequently
culminated in a Te Deum. For
centuries this ancient hymn of
praise and thanksgiving had been
sung at Mass on special occasions.
Since the 16th century and more
specifically during the baroque
period specially commissioned
works, for all that they were
based on Gregorian chant, were not
infrequently expressions of
political power rather than
religious fervour. Gun salvoes and
victory fanfares were the rule,
though Handel employed none of
these special effects in any of
his five Te
Deum compositions. Arriving in
London for the second time in
l7l2, he rapidly made a name for
himself with
his operas “Il pastor fido” and “Teseo”;
he also composed an “Ode for the
Birthday of Queen Anne” (6th
February 1713) in which the
monarch was celebrated as a
bringer of peace. This work also
refers to the Peace of Utrecht.
Handel must have been commissioned
for both the Te Deum and the Ode while
negotiations were still in
progress. Since the Te Deum was
finished on l4th January 1713,
whereas the peace negotiations
were only concluded at the end of
March of that year. The Utrecht Te
Deum laid the foundation of
Handel’s fame in England and
remained his best-known work until
the “Messiah” (1742) and thc
Dettingen Te Deum (l743).
After the separation of the
Anglican from the Roman Catholic
church, the liturgical Te Deum
was, as early as the middle third
of the 16th century, absorbed and
adapted both to its religious
attitudes and its musical
tradition. In the Anglican church,
the place of the concertante
masses and psalms of Catholicism and the motets
and cantatas of the Lutheran faith
is taken by the anthem. This is
clearly derived from the motet and
the part song for several soloists
of the English renaissance. In
spite of the use of instrumental ensembles there are
no self-contained solo movements
as in Latin or German church
music. While on the continent the
baroque Te Deum was modelled on
the cantata, in England the
“Festival Anthem” with an ensemble
of soloists together with chorus
and orchestra became the prototype
for Te Deum compositions, Henry
Purcell wrote one in 1694 for the
Feast of St. Cecilia (22nd
November), which was subsequently
performed every year on that day
in honour of the patron saint of
music. This was the work that
Handel emulated for his Utrccht Te
Deum, his first composition for the Anglican
church, which from
then on was given preference over
Purcell’s.
Like Purcell Handel also wrote a Jubilate
to complement his Te Deurn; after
the peace proclamation, on 5th May 1713, both
works were performed
at the peace celebrations in St.
Pauls’s Cathedral on 7th July.
When one traces Handel’s
development one mervels to observe
how qickly he was able to turn new
musical impressions and stimuli
into works ofhis own. During his
travels in Italy he encountered
the Italian oratorio,
which resulted in his first work of that
type, “La resurrezione” (Rome,
1708), an oratorio in the Italian
style for solo voices and
orchestra with magniticant solo
parts. In London
he
immediately struck gold with his
Utrecht Te Deum in the spirit of
the Anglican church, without quite
abandoning the German tradition or
the impressions gained in Italy.
Handel was a man of the world in
the true sense of the term, a
cosmopolitan of the music of his
day.
The Utrecht
Te Deum is scored for five soloists,
live-part chorus and a brilliant
orchestra including timpani and
trumpets. It
is divided into seven main
sections (with 14 subdivisions)
which are arranged with a
sensitive appreciation of tonal
shading and attention to musical
diversity. The trequent
alternation of homophonic and
polyphonic sections is as
typically English as is the
contrast between the ensemble of
soloists and the chorus, fore
example in the magnificent “We
believe that Thou shalt come” and
the “and we worship Thy name”, in
which the trumpets lead the
orchestra.
The use of musical figures to
interpret the text, such as in the
opening chorus and the immediately
following contrasting double fugue
to the words “All the earth doth
worship Thee”, arising from the
depths, together with homophonic
interludes, combines German and
English traditions. The doubled
alto (countertenor) parts are also
typically English. The Italian
Concerto grosso, translated into
vocal music, is apparent in the
praise of the angels, in which
Handel followed Purcell’s example
by using word painting for the
word “cry”. One
particular feature of this work is
the mounting tension in the
section “The glorious company
ofthe Apostles".
The prelude, which opens with two
oboes, introduces an expansive
coloratura passage for the tenor,
followed by a bass solo with oboe
imitation and a duet for two
sopranos leading to the homophonic
chorus “The holy Church”. The
musical treatment of the English
text (e. g. in “Thou sittest”)
proves Handel’s intense
preoccupation with his task. "Thou art the King
of Glory" is
set to the Tc Deum tune, and the
final chorus to a Gregorian Amen.
Both were transformed by Handel in
such a manner taht they now
resemble one another and give the
impression of being his own
thematic material.
Gerhard
Schuhmacher
Translation:
Lindsay Craig
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Nikolaus
Harnoncourt (1929-2016)
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