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Graupner: Passion Cantatas II / Heyerick, Ex Tempore, Mannheim Hofkapelle


Release Date: 06/15/2018 
Label:  Cpo   Catalog #: 555170  
Composer:  Christoph Graupner
Conductor:  Florian Heyerick
Orchestra/Ensemble:  Ex TemporeMannheim Hofkapelle Baroque Orchestra
Number of Discs: 1 
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Notes and Editorial Reviews

“Graupner holds in store music of the highest artistic sophistication. Flawless vocal achievements and an orchestra that savors all the color nuances of Graupner’s carefully thought-out instrumentation make these Passion cantatas a genuine listening feast.” This is what klassik-heute.com wrote after the release of cpo’s Vol. 1 featuring cantatas by Christoph Graupner. Vol. 2 now follows, just in time for Passiontide. Once again the instrumentation is manifold in its design, and it is here too that we find the key to Graupner’s personal style: he captivates his listeners not so much with catchy, easy-to-remember »melodies« as with intensive play with the various tone colors made available to him by the court chapel members and Read more their instruments. For example, while the Cantata for the Third Sunday in Lent exclusively employs stringed instruments, for the Cantata of the Annunciation of Mary Graupner chooses a clearly more colorful instrumentation by additionally using two transverse flutes and two oboes opposing each other as pairs in the opening chorus. The instrumentation of the Bass Aria No. 5 in the cantata exhibits special finesse. Along with the pair of transverse flutes, the first violin part is given an original design: it has tones held for an entire measure in the lowest register on the lowest string, while the two flutes insistently repeat their syncopated motion. This recording is new proof that Graupner was indeed the most independent-minded and individual and composer of the German Baroque. Read less

Works on This Recording

1.
Freund, warum bist Du kommen? by Christoph Graupner
Conductor:  Florian Heyerick
Orchestra/Ensemble:  Ex Tempore,  Mannheim Hofkapelle Baroque Orchestra
Period: Baroque 
Written: Germany 
2.
Nun ist alles wohn gemacht by Christoph Graupner
Conductor:  Florian Heyerick
Orchestra/Ensemble:  Ex Tempore,  Mannheim Hofkapelle Baroque Orchestra
Period: Baroque 
Written: Germany 
3.
Gedenke Herr an die Schmach by Christoph Graupner
Conductor:  Florian Heyerick
Orchestra/Ensemble:  Ex Tempore,  Mannheim Hofkapelle Baroque Orchestra
Period: Baroque 
Written: Germany 

Customer Reviews

Average Customer Review:  1 Customer Review )
 Intimate, small-scale performances October 1, 2019 By Ralph Graves (Hood, VA) See All My Reviews "In 1741 Christoph Graupner produced ten Passion Cantatas -- one for each Sunday of Lent. Volume 1 featured three of those cantatas; Volume 2 has three more, each uniquely shaped by the text Graupner sets. Das Leiden Jesu von seinen Freunden GWV 1122/41 (Friend, why are you here) was for the Third Sunday of Lent. Graupner illustrates the despair of Judas' betrayal with grinding dissonances. They eventually resolve to end the cantata with hope -- but not too much. There are still six more Sundays to go before Easter. Die Gesegnete Vollendung der Leiden Jesu GWV 1127/41 (Now everything is done; Jesus cries "It is finished.") is the last cantata in the series. It was performed on Good Friday and is the largest in scope of Graupner's Passion Cantatas. Graupner adds a bassoon to the transverse flutes and oboes for a fuller sound. He also adds a number and greatly expands two others. The soprano's aria "Weine über Jesus Schmerzen" is over eleven minutes long; the bass aria "Alles ist vollendet!" is runs more than eight minutes. Gedenke Herr an die Scchmach - Die Schmähliche Verspottung GWV 1170/41 (Remember, O Lord, the scorning of your servants) is the seventh work in the cycle. Transverse flute illustrates the mocking of Jesus. They flit around over somber sustained chords of the choir and strings. Florian Heyerick elicits wonderfully expressive performances. The voices of the Solistenensemble Ex Tempore blend beautifully with the Barokorchester Mannheimer Hofkapelle. The soloists sing with rich, rounded tones and restrained expressiveness. These are intimate, small-scale performances -- appropriate for Lenten cantatas." Report Abuse
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