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Press Matthew Passion in Bruchsal 2004

Bruchsaler Rundschau No. 63, Tuesday 16 March 2004 - not page 14

In the service of evangelization

Brilliant performance of Bach's "St. Matthew Passion" in Bruchsal Paul Church

winner remains the hypocritical high priests, scribes, Pharisees and other "crucified him," the Passion of Jesus comes to an end not in the peace of the grave, but culminates in der glorreichen Auferstehung am dritten Tag mit dem Vermächtnis an uns, dass Jesus Christus aus Liebe zu uns Menschen und insbesondere für die Sünder und deren Erlösung gestorben ist. Wenn auch die Matthäuspassion aus der genialen Feder des fünften Evangelisten alias Johann Sebastian Bach mit der Grabesruhe Jesu endigt, konnte ein kontemplatives Zelebrieren dieses "opus summum", dieses "höchsten Werkes" in der Bruchsaler Pauluskirche den Durchblick fürs "Ganze" öffnen. Gott sei Dank gibt es noch geistliche Konzerte, die nicht nur dem musikalischen Selbstzweck eines möglichst hohen künstlerischen Niveaus dienen, sondern sich in den Dienst der Glaubensverkündigung stellen.

Mit Bezirkskantor Leo Langer stand der Bruchsaler Aufführung ein Kirchenmusiker vor, der den Verkündigungsauftrag ernst nahm. Es ist die nicht handhabbare emotionale Dimension, welche die riesige Schar an Mitwirkenden verinnerlicht hatte und an das Publikum im vollbesetzten Gotteshaus versprühte. Fesselnd wären alleine schon die Äußerlichkeiten bei diesem Passionskonzert gewesen. Die katholischen Kantoreien Bruchsal und Eberbach bildeten den geforderten Doppelchor, der Jugendchor San Taddeo Neureut übernahm die sopranistischen Ripienostimmen. In historischer Disposition hatte das üppig besetzte Barockorchester "l'arpa festante" aus München Platz genommen. Fünf exzellente Solisten komplettieren das Ensemble, welches nahezu vier Stunden gefordert is.

are Immense preparation time and effort that has more than paid off. The two choirs complemented each other admirably, playing the chorales in a clear diction and dynamic content logically and agogics. Long shaped the sometimes-elegant lyrical Eberbach and the equally brilliant convincing Bruchsaler choir into a homogeneous unit. The tenor Jürgen Ochs seemed the role of the Evangelist in his clear articulation and recitation better technology to be tailored to how the body. The humble deep "vox Christi" would have to Thomas Herberich, whose soothing, almost sedative sonority and expressiveness liked particularly sympathetic, hardly ideal reception can be. Hubert Wild crafted the games the rest of the male and the bass arias Soliloquenten with pathos and emphatic expression. Sabine Goetz (soprano) and Susan Marquardt (Alt) proved to be specialists with regard to a vocal baroque performance practice. Her slender tone allows many subtleties in the field of musical rhetoric and poetics.

It is for such instrumental experts, is the renowned baroque orchestra L'Arpa festante "together, which acted on period instruments properly and professionally. An emotional immersion of many instrumentalists would have been reflected not only in a dynamically nuanced interpretation, but once more of a "goose bumps" caused. Leo Langer proved especially in the recitatives accompagnato a conductor's mastery. A few minutes of silence at the end of the passion demonstrated then the emotion of the audience and participants, before the first legitimate their thanks and recognition in the extended applause they were used.

Mark Zepp

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Press Friedberg

Gray Nicolls Legend Bat 2010

Carl Heinrich Graun's Passion cantata" The Death of Jesus "in Bad Dürkheim

A discovery

Carl Heinrich Graun's Passion cantata "The Death of Jesus" in Bad Dürkheim

By Roland Happersberger

Bad Dürkheim. Be sure was worth listening to the performance of the great Passion cantata "The Death of Jesus" by Carl Heinrich Graun by Dürkheimer castle church choir, an impeccable quartet of soloists and the Heidelberg cantata orchestra, not to mention Stefan Göttelmann at the organ, on Sunday at the church door. Church music director Jürgen E. Müller kept all the reins and created an exciting, well-sounding and never boring performance - although the work will last at least a half hour

In a way, leads Graun's oratorio in almost uncharted musical territory, the composer was court musician to Frederick II.. since and with the Prussian king Rheinberger Teenage years combined. "The death of Jesus" in 1755 in the former Berlin Cathedral was first performed, five years after Bach's death, a year before Mozart's birth, and while the style of the chants and has some in the old masters of polyphonic style composed choral music not far removed from Bach, breathe . solo singing a very different spirit that today's music lover may have encountered most likely in the early Italian Mozart operas This is no coincidence: Graun was committed to the latest Italian opera tendencies here prevail cheerful melody bliss and a certain course, to the conventional similarity tending sentimentality that. the libretto is also given.

Seine Reime, freie, mit Betrachtungen angereicherte Nacherzählungen der biblischen Passionsberichte, stammen von Carl Wilhelm Ramler, einem Literaturpapst jener Übergangsepoche, und neben einer ziemlich indezenten Gefühligkeit, mit der sie Jesu Leiden gleichsam auf die Pelle rücken, transportieren sie ein ziemlich kaltes Tugend-Raisonnement und ein ganz eigentümlich verwässertes Gottesbild. Man denkt unmittelbar an Goethes Satire auf die kräftig modernisierende Bibelübersetzung des auch am Dürkheimer Fürstenhof wirkenden dubiosen Theologen Carl Friedrich Bahrdt, in welcher dieser den unvermutet zu Besuch kommenden vier Evangelisten eröffnet, sie müssten erst mal ihre unmodernen Bärte scheren und ihre antiken Coats replaced by modern suits before he could go with them in society.

Some of that is also in this oratorio, especially in the epilogue contains nevertheless some absolute musical gems. It begins simply, with a simple and melodious set chorale stanza to the tune of "O bleeding head wounds." The actual opening chorus is a right in itself conventional scale, but emotionally charged choral fugue, the miller at the pace, probably because of this emotional content ( "His breath is weak") takes quite broad. This gives the choir an opportunity to execute coloratura without haste extremely accurate and euphonious, and subsequently developed is an immensely impressive billowing choral sound face, balanced in the men's and women's voices to each other contrasts, her voice very well. The momentum is balanced delicious, as is the sound relationship with the organist and orchestra, the confident, beautiful sound and work together in tick-free communication - all the qualities that have lasted to the end.

The soprano Elsbeth Reuter fell at the first of the now following recitative-aria pairs, which crafted recitative it appealing, but somewhat neutral, while in the next, after this beginning surprisingly peppy and bright onset of da capo aria - with contrast-gloomy Mittelteil - deren ungemein opernhaften Charakter prachtvoll auskostete. Antonietta Jana, die das zweite derartige Paar sang, schien sich in den Ausdrucksgehalt der Rezitative stärker vertieft zu haben, sie gestaltete wunderbar, brachte in der Arie schöne, schwungvoill tänzelnde Koloraturen. Graun liefert auch hier eine Musik, wie man sie in einem Passionswerk nicht eigentlich vermuten würde.

Noch mehr tat der leider nur an einer Stelle ausgiebiger beschäftigte Tenor Thomas Jakobs, der erst vor einer Woche in Lambrecht in Mendelssohns „Lobgesang" sehr für sich eingenommen hatte: Ungemein agil detailreich gestaltend gab er seiner Partie ungeheure Spannung. Dass dabei gewissermaßen sein Körper sang, is not a mannerism, but the expression of the fact that the composition extremely mobile, the most contradictory emotions are very close together and turn constantly. His equally streamlined, powerful, smooth voice was effortlessly through to the orchestral sound, he sang the recitative is growing very fast, and did it quite vocally, that while a few details not quite right, did nothing to cause. And the aria was simply intoxicating.

Thomas Herberich, the best bass depth, made it quite differently. Jacob was at all blurring motion, stood firm as a tree Herberich sang, consider safe, cost the emotions from a very different way. His text negotiated of tempests, he thundered mightily, and the sun's rays, which he let shine magnificently. Timbre and he filled the nave, its a very different vocal means of expression just different, but just as clever as its onset choirmaster. Not least of these - especially in the common phrases tamed - different personal styles of the soloists, the performance lived to a good deal. takes

After Herberichs Monumentalespressivo the immensely as it were objective, every time and personal style exclusive big double fugue "Christ has left us an example" absolutely striking off, the choir brings them to quickly vorwärtsdrängender enthralling appeal. Remains to re-emphasize some beautiful at the end, about Herberichs almost passionately argued, and musically exciting Accompagnato "will rise Seraphim" - also in the orchestra, especially - and the beautiful penultimate sentence alone, because of him deserves Graun's oratorio, not to be forgotten

..

POESCHH

Source:
Publisher: THE RHEINPFALZ
Publication: Bad Dürkheim
newspaper edition: No.76
Date: Tuesday, March 31, 2009
page: No.21
"deep link" reference: " 4820699 '
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