CPO
Graupner: Christmas Cantatas / Max, Das Kleine Konzert
$18.99
Details
- Composer
- GRAUPNER, CHRISTOPH
- Artist
- Winter, Vitzthum, Kobow, Flaig, Das Kleine Konzert, Max
- Format
- CD
- Label
- CPO
- Released
- Nov 16, 2010
- Catalog #
- 777572-2
- UPC
- 761203757220
About
There is hardly a better way to get to know Graupner's individual vocal style than with this disc.
One of the most remarkable things about German composers of the 17th and 18th centuries is the size of their oeuvre. One wonders where they found the time to compose so many works, considering the general slowness of life. It took days to travel from one part of Germany to another, and weeks to go from Germany abroad. Writing a composition by hand, copying parts for all performers, teaching, rehearsing - it is just amazing how much work they had to do. And in addition, there was an insatiable demand for music which they had to satisfy. This is also the main reason they composed so much.
Take Christoph Graupner: the number of his cantatas is estimated at about 1400! He had to deliver a cantata for every Sunday, plus all feastdays, plus special events like the birthday of his employer. And then there was the instrumental music, both chamber and orchestral music, which was played as entertainment. Reusing old material was no option: music which was more than 10 years old was considered old-fashioned. As Graupner worked in Darmstadt from 1709 until his death there was no material his employer hadn't heard before.
But by good fortune he had some assistance. From 1713 to 1738 the cantatas for the first and third Christmas days - one of the busiest periods of the year - were written by his assistant chapel master, Gottfried Grünewald. The second Christmas day was also the birthday of his employer, so the music for that day, which had to be particularly festive, was written by Graupner himself. He also composed the music for New Year, and the following Sundays, including Epiphany and Candlemas.
Four of the five cantatas on this disc date from the 1740s. Graupner used texts which were provided by his brother-in-law, the theologian Johann Conrad Lichtenberg, who for a number of years wrote a cycle of cantata texts every year. The cantatas consist of a sequence of recitatives, arias and chorales, but the texture varies.
Frohlocke, werte Christenheit, begins with a chorus on a free poetic text. This is followed by two pairs of recitative and aria, for bass and soprano respectively, and closes with a harmonisation of two stanzas from the old hymn 'Ein Kind geborn zu Bethlehem'. The vocal parts are embedded in lively orchestral figurations which is typical of Graupner's treatment of chorales. This practice has its roots in the 17th century, and was often used by composers like Johann Kuhnau and Johann Ludwig Bach.
Der Herr hat mich gehabt im Anfang and Das Licht scheinet in der Finsternis both begin with a dictum, a quotation from the Bible. The former has a recitative for bass and a duet for alto and tenor, who mostly sing in parallel motion, which is only broken at the end. The duet is followed by a recitative and an aria for tenor, and closes with a stanza from Luther's hymn 'Gelobet seist du, Jesu Christ'.
The latter also contains a duet, this time for tenor and bass. There is a strong contrast in the vocal and instrumental parts between section A and section B, reflecting the juxtaposition of light and darkness in the text. The preceding recitative for bass is a perfect example of Graupner's effective treatment of the text.
Das Licht des Lebens scheinet hell opens with an accompanied recitative for bass, who then sings an aria. This is followed by a chorale - a stanza from 'Ermuntre dich, mein schwacher Geist'. Then the soprano sings a recitative and an aria, and the alto has a recitative which ends in an accompagnato at the last line. The cantata ends with another stanza from 'Ermuntre dich'.
The last cantata of this disc, Von Gott will ich nicht lassen, is the only one which dates from the period that Grünewald was active. It was written for the second Sunday after Epiphany, 18 January 1728. But during the winter season 1727/28 Grünewald was ill. Because of that he wasn't able to compose, and Graupner had to write all cantatas himself. As Grünewald also participated in the performances as a bass, Graupner omitted bass parts in his cantatas. This shows that at that time cantatas were performed with one voice per part, which is also practised in this recording. This particular cantata is the only one from this period that has a bass part. One may conclude that Graupner temporarily had a bass at his disposal, but probably a not very experienced one as he only participates in the three chorale settings.
These are three stanzas from the hymn 'Von Gott will ich nicht lassen' (1563). The cantata opens with the first stanza, which is followed by a recitative for the tenor, who then sings a duet with the alto which is an eloquent expression of the text: "Jesus provides. Now away, you cares!" This is followed by another stanza from the hymn. Next are a recitative and an aria for soprano. In the latter she is accompanied by a trio of two oboes and bassoon which are joined by the strings in the ritornelli. The cantata closes with another stanza from the hymn 'Von Gott will ich nicht lassen'.
During his career Graupner has developed a musical language of his own, which is not comparable with anything written in his time. His compositions are certainly not easy-listening stuff as recent recordings of his instrumental oeuvre show. Of his vocal music very little has been performed and recorded as yet. There is hardly a better way to get to know his vocal oeuvre than with this disc.
These five cantatas are varied in scoring and offer a number of beautiful arias and duets. It is particularly advisable to pay attention to the way Graupner uses the instruments to express the Affekte of the texts. Things could hardly be better. The four soloists are completely congenial and their voices blend perfectly, as the chorale settings show. The individual performances of the singers are also excellent; the delivery is immaculate thanks to good diction and pronunciation. The instrumental parts are engagingly given by the members of Das Kleine Konzert.
The booklet contains extensive programme notes and all the lyrics have an English translation. In tracks the lines are printed in the wrong order.
-- Johan van Veen, MusicWeb International
One of the most remarkable things about German composers of the 17th and 18th centuries is the size of their oeuvre. One wonders where they found the time to compose so many works, considering the general slowness of life. It took days to travel from one part of Germany to another, and weeks to go from Germany abroad. Writing a composition by hand, copying parts for all performers, teaching, rehearsing - it is just amazing how much work they had to do. And in addition, there was an insatiable demand for music which they had to satisfy. This is also the main reason they composed so much.
Take Christoph Graupner: the number of his cantatas is estimated at about 1400! He had to deliver a cantata for every Sunday, plus all feastdays, plus special events like the birthday of his employer. And then there was the instrumental music, both chamber and orchestral music, which was played as entertainment. Reusing old material was no option: music which was more than 10 years old was considered old-fashioned. As Graupner worked in Darmstadt from 1709 until his death there was no material his employer hadn't heard before.
But by good fortune he had some assistance. From 1713 to 1738 the cantatas for the first and third Christmas days - one of the busiest periods of the year - were written by his assistant chapel master, Gottfried Grünewald. The second Christmas day was also the birthday of his employer, so the music for that day, which had to be particularly festive, was written by Graupner himself. He also composed the music for New Year, and the following Sundays, including Epiphany and Candlemas.
Four of the five cantatas on this disc date from the 1740s. Graupner used texts which were provided by his brother-in-law, the theologian Johann Conrad Lichtenberg, who for a number of years wrote a cycle of cantata texts every year. The cantatas consist of a sequence of recitatives, arias and chorales, but the texture varies.
Frohlocke, werte Christenheit, begins with a chorus on a free poetic text. This is followed by two pairs of recitative and aria, for bass and soprano respectively, and closes with a harmonisation of two stanzas from the old hymn 'Ein Kind geborn zu Bethlehem'. The vocal parts are embedded in lively orchestral figurations which is typical of Graupner's treatment of chorales. This practice has its roots in the 17th century, and was often used by composers like Johann Kuhnau and Johann Ludwig Bach.
Der Herr hat mich gehabt im Anfang and Das Licht scheinet in der Finsternis both begin with a dictum, a quotation from the Bible. The former has a recitative for bass and a duet for alto and tenor, who mostly sing in parallel motion, which is only broken at the end. The duet is followed by a recitative and an aria for tenor, and closes with a stanza from Luther's hymn 'Gelobet seist du, Jesu Christ'.
The latter also contains a duet, this time for tenor and bass. There is a strong contrast in the vocal and instrumental parts between section A and section B, reflecting the juxtaposition of light and darkness in the text. The preceding recitative for bass is a perfect example of Graupner's effective treatment of the text.
Das Licht des Lebens scheinet hell opens with an accompanied recitative for bass, who then sings an aria. This is followed by a chorale - a stanza from 'Ermuntre dich, mein schwacher Geist'. Then the soprano sings a recitative and an aria, and the alto has a recitative which ends in an accompagnato at the last line. The cantata ends with another stanza from 'Ermuntre dich'.
The last cantata of this disc, Von Gott will ich nicht lassen, is the only one which dates from the period that Grünewald was active. It was written for the second Sunday after Epiphany, 18 January 1728. But during the winter season 1727/28 Grünewald was ill. Because of that he wasn't able to compose, and Graupner had to write all cantatas himself. As Grünewald also participated in the performances as a bass, Graupner omitted bass parts in his cantatas. This shows that at that time cantatas were performed with one voice per part, which is also practised in this recording. This particular cantata is the only one from this period that has a bass part. One may conclude that Graupner temporarily had a bass at his disposal, but probably a not very experienced one as he only participates in the three chorale settings.
These are three stanzas from the hymn 'Von Gott will ich nicht lassen' (1563). The cantata opens with the first stanza, which is followed by a recitative for the tenor, who then sings a duet with the alto which is an eloquent expression of the text: "Jesus provides. Now away, you cares!" This is followed by another stanza from the hymn. Next are a recitative and an aria for soprano. In the latter she is accompanied by a trio of two oboes and bassoon which are joined by the strings in the ritornelli. The cantata closes with another stanza from the hymn 'Von Gott will ich nicht lassen'.
During his career Graupner has developed a musical language of his own, which is not comparable with anything written in his time. His compositions are certainly not easy-listening stuff as recent recordings of his instrumental oeuvre show. Of his vocal music very little has been performed and recorded as yet. There is hardly a better way to get to know his vocal oeuvre than with this disc.
These five cantatas are varied in scoring and offer a number of beautiful arias and duets. It is particularly advisable to pay attention to the way Graupner uses the instruments to express the Affekte of the texts. Things could hardly be better. The four soloists are completely congenial and their voices blend perfectly, as the chorale settings show. The individual performances of the singers are also excellent; the delivery is immaculate thanks to good diction and pronunciation. The instrumental parts are engagingly given by the members of Das Kleine Konzert.
The booklet contains extensive programme notes and all the lyrics have an English translation. In tracks the lines are printed in the wrong order.
-- Johan van Veen, MusicWeb International
Tracklist 34 tracks
-
1 Chorale: Frohlocke, werte Christenheit! (All) 01:49
- Track
- 1
- Title
- Chorale: Frohlocke, werte Christenheit! (All)
- Duration
- 01:49
- Composer
- Christoph Graupner
- Performer
- Veronika Winter, Franz Vitzthum, Jan Kobow, Markus Flaig
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
2 Recitative: Ein glanz, der unverhofft entsteht (Bass) 01:03
- Track
- 2
- Title
- Recitative: Ein glanz, der unverhofft entsteht (Bass)
- Duration
- 01:03
- Composer
- Christoph Graupner
- Performer
- Markus Flaig
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
3 Aria: Du werter glanz aus gottes wesen (Bass) 03:30
- Track
- 3
- Title
- Aria: Du werter glanz aus gottes wesen (Bass)
- Duration
- 03:30
- Composer
- Christoph Graupner
- Performer
- Markus Flaig
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
4 Recitative: Die Engel freuen sich (Soprano) 01:02
- Track
- 4
- Title
- Recitative: Die Engel freuen sich (Soprano)
- Duration
- 01:02
- Composer
- Christoph Graupner
- Performer
- Veronika Winter
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
5 Aria: Selige Blicke, vergnügende Strahlen (Soprano) 03:50
- Track
- 5
- Title
- Aria: Selige Blicke, vergnügende Strahlen (Soprano)
- Duration
- 03:50
- Composer
- Christoph Graupner
- Performer
- Veronika Winter
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
6 Recitative: Du heil der Welt, ach holder glanz (Tenor) 00:50
- Track
- 6
- Title
- Recitative: Du heil der Welt, ach holder glanz (Tenor)
- Duration
- 00:50
- Composer
- Christoph Graupner
- Performer
- Jan Kobow
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
7 Chorale: Für solche gnadenreiche zeit (All) 02:10
- Track
- 7
- Title
- Chorale: Für solche gnadenreiche zeit (All)
- Duration
- 02:10
- Composer
- Christoph Graupner
- Performer
- Veronika Winter, Franz Vitzthum, Jan Kobow, Markus Flaig
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
8 Dictum: Der herr hat mich gehabt im Anfang seiner Wege (tenor) 00:43
- Track
- 8
- Title
- Dictum: Der herr hat mich gehabt im Anfang seiner Wege (tenor)
- Duration
- 00:43
- Composer
- Christoph Graupner
- Performer
- Jan Kobow
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
9 Recitative: Hört, was die Wisheit spricht! (Bass) 01:13
- Track
- 9
- Title
- Recitative: Hört, was die Wisheit spricht! (Bass)
- Duration
- 01:13
- Composer
- Christoph Graupner
- Performer
- Markus Flaig
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
10 Duet: Holde weisheit, schönstes wesen (Alto, Bass) 04:25
- Track
- 10
- Title
- Duet: Holde weisheit, schönstes wesen (Alto, Bass)
- Duration
- 04:25
- Composer
- Christoph Graupner
- Performer
- Franz Vitzthum, Markus Flaig
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
11 Recitative: Mein geist wird ganz entzückt (Tenor) 01:18
- Track
- 11
- Title
- Recitative: Mein geist wird ganz entzückt (Tenor)
- Duration
- 01:18
- Composer
- Christoph Graupner
- Performer
- Jan Kobow
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
12 Aria: Das wort is fleisch geworden (Tenor) 04:26
- Track
- 12
- Title
- Aria: Das wort is fleisch geworden (Tenor)
- Duration
- 04:26
- Composer
- Christoph Graupner
- Performer
- Jan Kobow
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
13 Chorale: Er ist auf erden kommen arm (All) 01:24
- Track
- 13
- Title
- Chorale: Er ist auf erden kommen arm (All)
- Duration
- 01:24
- Composer
- Christoph Graupner
- Performer
- Veronika Winter, Franz Vitzthum, Jan Kobow, Markus Flaig
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
14 Accompanied Recitative: Das licht des lebens scheinet hell (Bass) 01:13
- Track
- 14
- Title
- Accompanied Recitative: Das licht des lebens scheinet hell (Bass)
- Duration
- 01:13
- Composer
- Christoph Graupner
- Performer
- Markus Flaig
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
15 Aria: Trutz sünde, trutz des todes schatten (Bass) 04:35
- Track
- 15
- Title
- Aria: Trutz sünde, trutz des todes schatten (Bass)
- Duration
- 04:35
- Composer
- Christoph Graupner
- Performer
- Markus Flaig
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
16 Chorale: Willkomm', o süßer Bräutigam 02:10
- Track
- 16
- Title
- Chorale: Willkomm', o süßer Bräutigam
- Duration
- 02:10
- Composer
- Christoph Graupner
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
17 Recitative: Sind andre toll und blind? (Soprano) 01:07
- Track
- 17
- Title
- Recitative: Sind andre toll und blind? (Soprano)
- Duration
- 01:07
- Composer
- Christoph Graupner
- Performer
- Veronika Winter
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
18 Aria: Ich kann des Himmels Erbteil hoffen (Soprano) 03:59
- Track
- 18
- Title
- Aria: Ich kann des Himmels Erbteil hoffen (Soprano)
- Duration
- 03:59
- Composer
- Christoph Graupner
- Performer
- Veronika Winter
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
19 Accompanied Recitative: Wie freu ich mich in diesem Segen (Alto) 01:22
- Track
- 19
- Title
- Accompanied Recitative: Wie freu ich mich in diesem Segen (Alto)
- Duration
- 01:22
- Composer
- Christoph Graupner
- Performer
- Franz Vitzthum
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
20 Chorale: Lob, Preis und Dank, Herr Jesus Christ (All) 02:23
- Track
- 20
- Title
- Chorale: Lob, Preis und Dank, Herr Jesus Christ (All)
- Duration
- 02:23
- Composer
- Christoph Graupner
- Performer
- Veronika Winter, Franz Vitzthum, Jan Kobow, Markus Flaig
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
21 Dictum: Das licht scheinet in der finsternis (Tenor) 01:47
- Track
- 21
- Title
- Dictum: Das licht scheinet in der finsternis (Tenor)
- Duration
- 01:47
- Composer
- Christoph Graupner
- Performer
- Jan Kobow
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
22 Recitative: Ach, Welch ein Undank ist es nicht! (Soprano) 00:57
- Track
- 22
- Title
- Recitative: Ach, Welch ein Undank ist es nicht! (Soprano)
- Duration
- 00:57
- Composer
- Christoph Graupner
- Performer
- Veronika Winter
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
23 Aria: Erleuchte mich, Glanz des lebens (Soprano) 03:40
- Track
- 23
- Title
- Aria: Erleuchte mich, Glanz des lebens (Soprano)
- Duration
- 03:40
- Composer
- Christoph Graupner
- Performer
- Veronika Winter
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
24 Recitative: Wie schrecklich ist die nacht (Bass) 01:13
- Track
- 24
- Title
- Recitative: Wie schrecklich ist die nacht (Bass)
- Duration
- 01:13
- Composer
- Christoph Graupner
- Performer
- Markus Flaig
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
25 Duet/Aria: Großes Licht, durchbrich den Schatten (Tenor, Bass) 05:03
- Track
- 25
- Title
- Duet/Aria: Großes Licht, durchbrich den Schatten (Tenor, Bass)
- Duration
- 05:03
- Composer
- Christoph Graupner
- Performer
- Jan Kobow, Markus Flaig
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
26 Recitative: Das Licht ist da, es macht den Heilsweg kund (Soprano) 00:36
- Track
- 26
- Title
- Recitative: Das Licht ist da, es macht den Heilsweg kund (Soprano)
- Duration
- 00:36
- Composer
- Christoph Graupner
- Performer
- Veronika Winter
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
27 Chorale: Ei, so kommt und lasst uns laufen (All) 01:32
- Track
- 27
- Title
- Chorale: Ei, so kommt und lasst uns laufen (All)
- Duration
- 01:32
- Composer
- Christoph Graupner
- Performer
- Veronika Winter, Franz Vitzthum, Jan Kobow, Markus Flaig
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
28 Chorale: Von gott will ich nicht lassen (All) 01:22
- Track
- 28
- Title
- Chorale: Von gott will ich nicht lassen (All)
- Duration
- 01:22
- Composer
- Christoph Graupner
- Performer
- Veronika Winter, Franz Vitzthum, Jan Kobow, Markus Flaig
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
29 Recitative: Ich weiß, mein Heiland ist bei mir (Tenor) 00:54
- Track
- 29
- Title
- Recitative: Ich weiß, mein Heiland ist bei mir (Tenor)
- Duration
- 00:54
- Composer
- Christoph Graupner
- Performer
- Jan Kobow
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
30 Duet: Jesus sorgt. Nur weg, ihr sorgen! (Alto, Tenor) 03:47
- Track
- 30
- Title
- Duet: Jesus sorgt. Nur weg, ihr sorgen! (Alto, Tenor)
- Duration
- 03:47
- Composer
- Christoph Graupner
- Performer
- Franz Vitzthum, Jan Kobow
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
31 Chorale: Auf Ihn will ich vertrauen (All) 01:24
- Track
- 31
- Title
- Chorale: Auf Ihn will ich vertrauen (All)
- Duration
- 01:24
- Composer
- Christoph Graupner
- Performer
- Veronika Winter, Franz Vitzthum, Jan Kobow, Markus Flaig
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
32 Recitative: Wir würden oft in unserm jammertal (Soprano) 00:58
- Track
- 32
- Title
- Recitative: Wir würden oft in unserm jammertal (Soprano)
- Duration
- 00:58
- Composer
- Christoph Graupner
- Performer
- Veronika Winter
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
33 Aria: Ich will auf Jesus hände sehen (Soprano) 04:31
- Track
- 33
- Title
- Aria: Ich will auf Jesus hände sehen (Soprano)
- Duration
- 04:31
- Composer
- Christoph Graupner
- Performer
- Veronika Winter
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max
-
34 Chorale: Es tut Ihm nichts gefallen (All) 01:27
- Track
- 34
- Title
- Chorale: Es tut Ihm nichts gefallen (All)
- Duration
- 01:27
- Composer
- Christoph Graupner
- Performer
- Veronika Winter, Franz Vitzthum, Jan Kobow, Markus Flaig
- Ensemble
- Das Kleine Konzert
- Conductor
- Hermann Max