The opera Polydorus penned 289 years ago last found a place in the performance program of the Gänsemarkt Opera in Hamburg in 1735. The libretto by Johann Samuel Müller depicts exchanges of identity, avaricious kings, queens bent on bloodthirsty revenge, and princes who despise their progenitors. The result is a retelling of the Polydorus legend combining Greek mythology and Shakespearean dramatic suspense. Carl Heinrich Graun, one of the best-known opera composers of the eighteenth century, wrote the emotionally moving music. The first performance in modern times by the barockwerk hamburg and the album recording of this opera rarity now being released have once again uncovered this genuinely original work and following the ensemble’s successes in recent years once again guarantee you a very special listening experience.
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CPO
Graun: Polydorus / Hochman, Barockwerk Hamburg
The opera Polydorus penned 289 years ago last found a place in the performance program of the Gänsemarkt Opera in Hamburg in...
Johann Gottlieb Graun, Carl Heinrich Graun: Trios For Violin Or Viola & Clavier
CPO
$18.99
June 25, 2013
GRAUN Trios for Violin/Viola and Clavier: in A, GrWV C:XV:90; in B?, GrWV A:XV:16; in A, GrWV A:XV:13; in b, GrWV C:XV:92 • Les Amis de Philippe • CPO 777 633 (68:24)
One will probably notice in the title that I have not been specific as to which of the prolific Graun brother, Carl Heinrich or Johann Gottlieb, wrote these pieces. To make matters more complex, these works are part of a collection of chamber works found in a Dresden manuscript that has “trios” in the title, but these four works are in reality duo sonatas for either violin or viola and obbligato keyboard, here performed by conductor Ludger Rémy on the fortepiano. In untangling this Gordian knot, one should note that these works were originally trios (hence the retention of the designation), since what one presumes was their original form exists in other sources. As to who wrote them, the situation is even murkier (although there are of course only two possibilities, with a 50-50 chance of being correct), as the styles in these works are reflective of both men. My personal choice would be Johann Gottlieb Graun, based simply upon the fact that he favored the violin and viola in both concertante and solo works, but this is only the most cursory of guesses on my part based upon my own bias, and the third work, the second one in A Major, opens with a long keyboard introduction and a rather more virtuoso violin part that is quite reminiscent of Johann Quantz, and so I might be tempted to assign this one to Carl Heinrich.
Be all of this as it may, there is no doubt that the music represents solid compositional technique. For the most part, the bulk of the harmony is carried by the keyboard, while the violin (and viola) rarely traverse their ranges with the usual virtuoso leaps and bounds. The composer keeps his violin/viola in a solid middle range, opting for contrast and depth rather than display. Three of the four works are arranged in an old-fashioned order, with a slow movement followed by two faster ones, the last usually some sort of dance tempo derivative. There are emotional depths to be plumbed here, especially in the haunting fragmented theme of the second A-Major Trio, or the long, lyrical lines of the first movement of the B?-Trio. The composer can also be strict, as in the second movement fugue of the B-Minor Trio, which contrasts in its severity with the mysterious lament of the opening movement. There is more than a bit of C. P. E. Bach in the figuration of the third movement of the first A-Major Trio, with its neat vacillation between duplets and triplets in both parts. Both instruments in each trio are used as equal partners, and in the second movement of the first A-Major Trio, as well as the nice parallel thirds in sequence in the second trio in the same key, the sonorities are calculated to match, rather than being contrasting. These are the types of works that any reputable chamber musician of the time would find a delight to play, as players must cooperate intimately to make them work, and at the same time would be pleasing to the ears of their knowledgeable audiences.
Les amis de Philippe is conductor Ludger Rémy’s group of people whom he gathers around himself to perform such chamber works. Here, he uses violinist Anne Schumann and violist Eva Salonen, both of whom use a similar tone that is fairly rich and dark. This blends nicely with the softer sounds of the fortepiano, a choice made by Rémy that lends these works a slightly more modern (read, Classical era) interpretation. One might suggest that a harpsichord might have been more “authentic,” but I find that the textures speak better with the fortepiano. The original sources, of course, are generic, and there is nothing that would argue against Rémy’s choice. The only bobble I can detect is when Schumann’s violin enters into some of the upper registers; here there is an occasional scratch and squeal, which would probably be unremarkable had not Graun chosen to set most of the music for the violin/viola in the lower and middle portions of their range.
In short these trio arrangements function quite well on their own, and indeed demonstrate that whichever of the brothers wrote them was quite cognizant of how the music could unfold. These performances too render this disc a good addition to any collection of 18th-century chamber music. The playing is excellent and the musicality of the works shows that they are not just museum reference pieces, but real flesh and blood contributions to the sensitive style of the period. Recommended.
FANFARE: Bertil van Boer
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CPO
Johann Gottlieb Graun, Carl Heinrich Graun: Trios For Violin Or Viola & Clavier
GRAUN Trios for Violin/Viola and Clavier: in A, GrWV C:XV:90 ; in B?, GrWV A:XV:16 ; in A, GrWV A:XV:13 ; in...
Graun: Grosse Passion / Max, Winter, Andersen, Schafer, Abele, Et Al
CPO
$36.99
May 26, 2009
GRAUN Grosse Passion • Hermann Max, cond; Veronika Winter (sop); Hilke Andersen (mez); Markus Schäfer (ten); Ekkehard Abele (bbar); Das Kleine Konzert; Rheinische Kantorei (period instruments) • cpo 777 452 (2 CDs: 122:28 Text and Translation) Live: Dusseldorf 9/2008
This is my third exposure to Carl Henrich Graun’s music, the other two being his operas Montezuma (libretto by Friedrich II, King of Prussia) and Cleopatra and Cesare (libretto by Giovanni Gualberto Bottarelli). He is best known for his passion oratorio Der Tod Jesu (1755), which was so popular it rivaled Messiah. Graun wrote two other passions: Ein Lämmlein geht und träght die Schuld and this Grosse Passion that is often referred to by its opening lyric “Kommt her und schaut” (Come here and see). It is a large-scale work: 66 numbers, with some alternatives available, calling for a large chorus and orchestra with the usual quartet of soprano, alto, tenor, bass. Supplementing the recitative-aria combinations are 10 choral numbers, five duets, and one quartet.
The libretto is somewhat of a rambling affair. Unlike Messiah, there are only a few Biblical quotes; instead, the narrative flow is often interrupted by reflections and even some lyrics that are redundant of previously expressed sentiments. Much of the libretto is over-written doggerel, especially in the early pages. The music, however, is a different matter.
Graun was in his mid-twenties when he composed this Grand Passion. It is a surprisingly mature work, full of subtle gems. When first listening to this two-CD album, I wrote: “The music is very pleasant. Although it is quite tuneful, little of it is memorable and at two hours tends to wear out its welcome. There is almost a monotonous similarity of one number to the next. It needs something rousing like the ‘Hallelujah’ chorus.” Repeated hearings of this album have increased my appreciation considerably. Even Handel liked this Passion, and quoted some of its music in his own works.
Graun establishes a musical mood and varies little from it. The music in the Grosse Passion is not as flamboyant as Graun’s operatic work, but careful listening to the Passion reveals a wealth of interesting details, especially in the orchestrations. The textures are very clean and transparent and occasionally command more of the listener’s attention than do the vocal lines. One number (CD 1, track 22, Choral: “Die Lust des Fleisches dämpf in mir”) sounds like a distant cousin to the familiar Doxology, Praise God from whom all blessings flow. Instead of the virtuoso showpieces found in Graun’s operas, the Grosse Passion is very reflective and subdued.
Conductor Hermann Max and his musical forces deliver a sincere and beautifully sung and played performance. The soloists have attractive voices and pay devout attention to the musical details. If you like this musical genre, you’re likely to find this a lovely recording, performed with sensitivity and expression.
FANFARE: David L. Kirk
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CPO
Graun: Grosse Passion / Max, Winter, Andersen, Schafer, Abele, Et Al
GRAUN Grosse Passion • Hermann Max, cond; Veronika Winter (sop); Hilke Andersen (mez); Markus Schäfer (ten); Ekkehard Abele (bbar); Das Kleine Konzert;...
Graun: Christmas Oratorio / Max, Schmithüsen, Et Al
CPO
$18.99
January 01, 1900
Includes work(s) by Carl Heinrich Graun. Ensembles: Rheinische Kantorei, Das Kleine Konzert. Conductor: Hermann Max. Soloists: Ingrid Schmithüsen, Lena Susanne Norin, Klaus Mertens, Markus Schäfer.
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CPO
Graun: Christmas Oratorio / Max, Schmithüsen, Et Al
Includes work(s) by Carl Heinrich Graun. Ensembles: Rheinische Kantorei, Das Kleine Konzert. Conductor: Hermann Max. Soloists: Ingrid Schmithüsen, Lena Susanne Norin, Klaus...
A work caught the attention of musicians during the late 1990s - a Christmas Oratorio by Graun. The only known copy of it was being housed in the Library of Congress in Washington, D.C. But it has so far been impossible to determine either the name of the manuscript copyist or an exact dating of the work and copy. There are many indications that this is a work from the composer's phase prior to his years in Berlin. After The Death of Jesus, Thomas Gropper and his Arcis Vocalists now proudly present the second oratorio of Graun as a recorded production for OehmsClassics. Since their foundation by their chorus director Thomas Gropper in 2005, the Arcis-Vocalists have taken a firm place among the well-known semi-professional choirs of the city in the high-class and diverse Munich music scene due to their sound quality and the special program design. The project choir consists of about 80 committed singers, who mostly have a sound vocal education. Depending on the work it is flexibly occupied and can count between 30 and 80 members.
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Oehms Classics
Graun: Weihnachtsoratorium / Gropper
A work caught the attention of musicians during the late 1990s - a Christmas Oratorio by Graun. The only known copy of...
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CPO
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CPO
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CPO
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CPO
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Oehms Classics
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