• CPO5552302 Katalognummer
  • 761203523023 EAN
  • CD Format
  • 2019 Utgivelsesår

Artist
Heyerick, Florian

Dirigent
Heyerick, Florian

Komponist
Graupner, Cristoph

Ensemble
Solistenensemble Ex Tempore | Barockorchester Mannheim Hofkapelle

Plateselskap
CPO

Verk

Christoph Graupner (1683-1760)
Das Leiden Jesu; Passion Cantatas III:
Kommt, Seelen, seid in Andacht stille, GWV 1119/41
(Kantate zum Sonntag Estomihi);
Sie rüsten sich wider die Seele, GWV 1124/41
(Kantate zum Sonntag Judica);
Jesus, auf dass er heiligte das Volk, GWV 1126/41;

Solistenensemble Ex Tempore;
Barockorchester Mannheim Hofkapelle
Florian Heyerick

Produktbeskrivelse

»Listening to these works is synonymous with pure joy: Graupner’s
expressive chromaticism, the uncommonly manifold instrumental color
artistry in the arias, and the most highly proficient application of the
Baroque doctrine of the affections are enchanting and gripping. All of this
is more immediately understandable and emotionally more heartfelt than the
works of Bach.« This is what klassik-heute.com wrote following the release
of our Vol. 2 with the Passion cantatas of Christoph Graupner. And now –
for the Passion season – we are releasing Vol. 3. Once again the
instrumentation has been designed with great variety, and it is here that
the key to Graupner’s personal style is to be found: he captivates
listeners not so much with impressive, highly memorable »melodies« but with
intensive playing with the various tone colors made available to him by the
court chapel members and their instruments on each particular occasion. For
all their individuality and rich variety, however, the cantatas are linked
together: the three works for Quinquagesima, Passion Sunday, and Holy
Thursday presented here adhere to the formal structure with seven numbers
as a rule most frequently employed by Graupner. Their design is largely
symmetrical, with framing choral numbers and one soprano aria and one bass
aria. These cantatas have in common a contrast principle assigned central
importance and employed on a textual and dramatic level as well as in the
musical design. It is precisely here that Graupner’s original background as
an opera composer is reflected, a circumstance that had enabled him to
gather experience with pronounced dramaturgical oppositions.

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