Hasse: Requiem in C
Carus

Hasse: Requiem in C

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Details

Composer
HASSE, JOHANN ADOLF
Artist
Colin Balzer, Marlen Herzog, Wiebke Lehmkuhl, Cornelius Uhle, Marie Luise Werneburg, Johanna Winkel
Format
CD
Label
Carus
Released
May 31, 2011
Catalog #
CV83349
UPC
4009350833494

About



HASSE Requiem in C. Miserere in c • Hans-Christoph Rademann, cond; Johanna Winkel, Marie Luise Werneburg (sop); Wiebke Lehmkuhl, Marlen Herzog (alt); Colin Balzer (ten); Cornelius Uhle (bs); Dresden C Ch; Dresden Baroque O (period instruments) • CARUS 83.349 (70:15 Text and Translation)


Carus Verlag of Stuttgart has an interesting dual purpose to its business by releasing discs such as this based upon its latest scores and parts. In general, this has been quite interesting, even given that the recording arm is now owned by Naxos, but the result has been a concentrated effort on composers whose names were mostly well known but whose works were little performed. I can say that the scores are generally quite nicely edited, and it is good to have such works as the two pieces performed here available in the series Music from Dresden . Johann Adolph Hasse is one of the pivotal figures of the 18th century. Married to soprano Faustina Bordoni and heir to George Frederick Handel’s title of “Il caro sassone,” he was a principal figure in opera and church music in Dresden, where he was Hofkapellmeister , but also in Italy, where he was commissioned to write up through his late-70s, as well as functioning as maestro di cappella at the Ospedale degli Incurabili. One might expect a vast amount of music to have been written during this time, and indeed this is the case, for he composed frequently and eloquently at the drop of the proverbial hat for any occasion. Like Telemann, he had no qualms about fulfilling any commission that was given him, no matter how large or trivial, and his style conformed to whatever the tastes were at that moment.


Hasse composed two Requiem Masses for Dresden, one in E?-Major (also recorded by Carus and the Dresden Baroque Orchestra) and this one in C Major. Both works seem to have been written in 1763 within a few weeks of each other, this one for Frederick August II and the other for his successor who kicked off only a couple of weeks later. Because Frederick August was a beloved leader, his obsequies seem to have been celebrated annually for almost a century, and Hasse’s music became a fixture in Dresden, even though it had long since gone out of fashion stylistically. The work is sprawling, with the text subdivided into numerous smaller movements and scored for a large ensemble. C Major may have been a rather odd key for a Requiem, but Hasse found that path between mourning and celebration of his ruler’s life that avoided a more maudlin setting in a minor key. Besides, he seems to have been less interested in an integrated work than one which would accompany a grand public event. In any case, the result is rather a mixed bag. For me, the opening presents one of the most suspenseful of the period, with a slow tattoo of tonic and dominant confusing the issue of key. Is it C Major, or is it C Minor? When the oboes enter, the major key becomes apparent, but at the words “et lux perpetua,” the shift to minor mode is both funereal and emotional. This captures the attention immediately, but expectations rise and fall during the course of the work. The Te decet hymnus is an old-fashioned paean with Baroque walking bass, and while the Kyrie is worthy of any major-key Mass by Joseph Haydn, the following highly contrapuntal Christe eleison with its strange harmonic twists seems anachronistic, even as it foils expectations. One might expect the Dies irae to have grist for a powerful image of the Last Judgment, but instead it is a rather weak homophonic chorus over dotted rhythms. There is nice woodwind writing in the Inter oves , reminding one of C. P. E. Bach, and the Lacrymosa ’s heavy, minor-key, ponderous tread is less gentle tears than weeping, wailing, and gnashing of teeth. There are operatic moments, such as the delightful alto solo in the Recordare , and when Hasse pairs his women’s voices, such as the lyrical Hostias et preces , or the Sanctus with its pair of sopranos at the beginning and at the Hosanna in excelsis , we are more in the heavenly realm than heading in the opposite direction (musically speaking, of course). The final Lux aeterna , followed by a recap of the opening Requiem aeternam , is brief and to the point, with an all-male chorus.


The Requiem itself is too long to be paired with a similar work but too short for a single disc, and therefore Carus has opted to include a Miserere written originally for Venice. This apparently survives in a copy for Dresden with a four-part chorus, as opposed to the first version, which was for women’s voices only, in deference to the Ospedale forces. It is a competently composed but rather more pedestrian work. The tone is lighter, such as the operatic Tibi soli or the Quoniam si voluisses , and the chorus more homophonic (though there is a bit of counterpoint as required at the final Amen ).


The performance by the Dresden early-instrument ensemble seems competent enough. The individual soloists for each movement are not enumerated on the track list, though one can probably intuit who sings which part. The voices in general blend well together, particularly sopranos Johanna Winkel and Marie Luise Werneburg, while Wiebke Lehmkuhl has a nice rich tone to her voice. Colin Balzer’s tenor can be a bit light at times, but his tone likewise is clear and unambiguous. Cornelius Uhle’s bass also fits in quite well, and in the Tibi soli he handles the part with ease. Hans-Christoph Rademann keeps his ensemble’s tempos moving along at a respectful pace, but he avoids any breakneck speeds and so allows the music to emerge well. I would have loved a bit more life in the Miserere , but Hasse’s conventionality probably prevents any real moments of brilliant light in the interpretation. My only qualm is the recorded sound, in which the strings are often a bit strident and one can hear the scraping of bows. The trumpets, too, could be more secure. You’ll probably want this disc if you are a fan of Requiems, and certainly the work would appeal to those interested in 18th-century music. It is certainly a decent recording, and brooks comparison with Hasse’s other Requiem.


FANFARE: Bertil van Boer

Tracklist 31 tracks

  1. 1 Introitus: Requiem aeternam 02:56
    Track
    1
    Title
    Introitus: Requiem aeternam
    Duration
    02:56
    Composer
    Johann Adolf Hasse
    Performer
    Johanna Winkel, Marie Luise Werneburg, Wiebke Lehmkuhl, Marlen Herzog, Colin Balzer, Cornelius Uhle
    Ensemble
    Dresdner Kammerchor, Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  2. 2 Introitus: Te decet 00:42
    Track
    2
    Title
    Introitus: Te decet
    Duration
    00:42
    Composer
    Johann Adolf Hasse
    Performer
    Colin Balzer, Cornelius Uhle
    Ensemble
    Dresdner Kammerchor, Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  3. 3 Introitus: Exaudi orationem meam 02:35
    Track
    3
    Title
    Introitus: Exaudi orationem meam
    Duration
    02:35
    Composer
    Johann Adolf Hasse
    Performer
    Wiebke Lehmkuhl
    Ensemble
    Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  4. 4 Kyrie eleison I 01:41
    Track
    4
    Title
    Kyrie eleison I
    Duration
    01:41
    Composer
    Johann Adolf Hasse
    Performer
    Johanna Winkel, Marie Luise Werneburg, Wiebke Lehmkuhl, Marlen Herzog, Colin Balzer, Cornelius Uhle
    Ensemble
    Dresdner Kammerchor, Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  5. 5 Christe eleison 01:37
    Track
    5
    Title
    Christe eleison
    Duration
    01:37
    Composer
    Johann Adolf Hasse
    Performer
    Johanna Winkel, Marie Luise Werneburg, Wiebke Lehmkuhl, Marlen Herzog, Colin Balzer, Cornelius Uhle
    Ensemble
    Dresdner Kammerchor, Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  6. 6 Kyrie eleison II 01:05
    Track
    6
    Title
    Kyrie eleison II
    Duration
    01:05
    Composer
    Johann Adolf Hasse
    Performer
    Johanna Winkel, Marie Luise Werneburg, Wiebke Lehmkuhl, Marlen Herzog, Colin Balzer, Cornelius Uhle
    Ensemble
    Dresdner Kammerchor, Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  7. 7 Sequentia: Dies irae 01:07
    Track
    7
    Title
    Sequentia: Dies irae
    Duration
    01:07
    Composer
    Johann Adolf Hasse
    Performer
    Wiebke Lehmkuhl, Johanna Winkel, Marie Luise Werneburg, Marlen Herzog, Colin Balzer, Cornelius Uhle
    Ensemble
    Dresdner Kammerchor, Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  8. 8 Sequentia: Tuba mirum 01:33
    Track
    8
    Title
    Sequentia: Tuba mirum
    Duration
    01:33
    Composer
    Johann Adolf Hasse
    Performer
    Johanna Winkel, Marie Luise Werneburg, Wiebke Lehmkuhl, Marlen Herzog, Colin Balzer, Cornelius Uhle
    Ensemble
    Dresdner Kammerchor, Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  9. 9 Sequentia: Mors stupebit 03:32
    Track
    9
    Title
    Sequentia: Mors stupebit
    Duration
    03:32
    Composer
    Johann Adolf Hasse
    Performer
    Marlen Herzog, Colin Balzer, Cornelius Uhle, Johanna Winkel, Marie Luise Werneburg, Wiebke Lehmkuhl
    Ensemble
    Dresdner Kammerchor, Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  10. 10 Sequentia: Recordare 03:21
    Track
    10
    Title
    Sequentia: Recordare
    Duration
    03:21
    Composer
    Johann Adolf Hasse
    Performer
    Wiebke Lehmkuhl
    Ensemble
    Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  11. 11 Sequentia: Querens me 03:11
    Track
    11
    Title
    Sequentia: Querens me
    Duration
    03:11
    Composer
    Johann Adolf Hasse
    Performer
    Colin Balzer
    Ensemble
    Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  12. 12 Sequentia: Juste judex 00:53
    Track
    12
    Title
    Sequentia: Juste judex
    Duration
    00:53
    Composer
    Johann Adolf Hasse
    Performer
    Johanna Winkel, Marie Luise Werneburg, Wiebke Lehmkuhl, Marlen Herzog, Colin Balzer, Cornelius Uhle
    Ensemble
    Dresdner Kammerchor, Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  13. 13 Sequentia: Inter oves locum praesto 05:30
    Track
    13
    Title
    Sequentia: Inter oves locum praesto
    Duration
    05:30
    Composer
    Johann Adolf Hasse
    Performer
    Marlen Herzog
    Ensemble
    Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  14. 14 Sequentia: Lacrimosa 03:03
    Track
    14
    Title
    Sequentia: Lacrimosa
    Duration
    03:03
    Composer
    Johann Adolf Hasse
    Performer
    Johanna Winkel, Wiebke Lehmkuhl, Marie Luise Werneburg, Marlen Herzog, Colin Balzer, Cornelius Uhle
    Ensemble
    Dresdner Kammerchor, Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  15. 15 Offertorium: Domine Jesu Christe 01:39
    Track
    15
    Title
    Offertorium: Domine Jesu Christe
    Duration
    01:39
    Composer
    Johann Adolf Hasse
    Performer
    Wiebke Lehmkuhl, Marlen Herzog, Cornelius Uhle, Johanna Winkel, Marie Luise Werneburg, Colin Balzer
    Ensemble
    Dresdner Kammerchor, Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  16. 16 Offertorium: Hostias et preces 01:52
    Track
    16
    Title
    Offertorium: Hostias et preces
    Duration
    01:52
    Composer
    Johann Adolf Hasse
    Performer
    Johanna Winkel, Marie Luise Werneburg, Wiebke Lehmkuhl, Marlen Herzog
    Ensemble
    Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  17. 17 Quam olim Abrahae 00:39
    Track
    17
    Title
    Quam olim Abrahae
    Duration
    00:39
    Composer
    Johann Adolf Hasse
    Performer
    Johanna Winkel, Marie Luise Werneburg, Wiebke Lehmkuhl, Marlen Herzog, Colin Balzer, Cornelius Uhle
    Ensemble
    Dresdner Kammerchor, Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  18. 18 Sanctus 01:31
    Track
    18
    Title
    Sanctus
    Duration
    01:31
    Composer
    Johann Adolf Hasse
    Performer
    Johanna Winkel, Marie Luise Werneburg, Wiebke Lehmkuhl, Marlen Herzog, Colin Balzer, Cornelius Uhle
    Ensemble
    Dresdner Kammerchor, Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  19. 19 Benedictus 02:10
    Track
    19
    Title
    Benedictus
    Duration
    02:10
    Composer
    Johann Adolf Hasse
    Performer
    Wiebke Lehmkuhl
    Ensemble
    Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  20. 20 Hosanna 00:43
    Track
    20
    Title
    Hosanna
    Duration
    00:43
    Composer
    Johann Adolf Hasse
    Performer
    Johanna Winkel, Marie Luise Werneburg, Wiebke Lehmkuhl, Marlen Herzog, Colin Balzer, Cornelius Uhle
    Ensemble
    Dresdner Kammerchor, Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  21. 21 Agnus Dei 03:22
    Track
    21
    Title
    Agnus Dei
    Duration
    03:22
    Composer
    Johann Adolf Hasse
    Performer
    Marlen Herzog, Wiebke Lehmkuhl
    Ensemble
    Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  22. 22 Communio: Lux aeterna 00:47
    Track
    22
    Title
    Communio: Lux aeterna
    Duration
    00:47
    Composer
    Johann Adolf Hasse
    Performer
    Colin Balzer, Cornelius Uhle
    Ensemble
    Dresdner Kammerchor, Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  23. 23 Communio: Requiem aeternam (Da capo) 02:57
    Track
    23
    Title
    Communio: Requiem aeternam (Da capo)
    Duration
    02:57
    Composer
    Johann Adolf Hasse
    Ensemble
    Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  24. 24 Miserere mei, Deus (Chorus) 03:57
    Track
    24
    Title
    Miserere mei, Deus (Chorus)
    Duration
    03:57
    Composer
    Johann Adolf Hasse
    Performer
    Johanna Winkel, Marie Luise Werneburg, Wiebke Lehmkuhl, Marlen Herzog, Colin Balzer, Cornelius Uhle
    Ensemble
    Dresdner Kammerchor, Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  25. 25 Tibi soli peccavi (Bass) 01:30
    Track
    25
    Title
    Tibi soli peccavi (Bass)
    Duration
    01:30
    Composer
    Johann Adolf Hasse
    Performer
    Cornelius Uhle
    Ensemble
    Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  26. 26 Ecce enim in iniquitatibus conceptus sum (Soloists, Chorus) 05:16
    Track
    26
    Title
    Ecce enim in iniquitatibus conceptus sum (Soloists, Chorus)
    Duration
    05:16
    Composer
    Johann Adolf Hasse
    Performer
    Johanna Winkel, Wiebke Lehmkuhl, Colin Balzer, Marie Luise Werneburg, Marlen Herzog, Cornelius Uhle
    Ensemble
    Dresdner Kammerchor, Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  27. 27 Libera me (Soprano, Alto) 03:24
    Track
    27
    Title
    Libera me (Soprano, Alto)
    Duration
    03:24
    Composer
    Johann Adolf Hasse
    Performer
    Johanna Winkel, Wiebke Lehmkuhl
    Ensemble
    Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  28. 28 Quoniam si voluisses (Soprano) 02:04
    Track
    28
    Title
    Quoniam si voluisses (Soprano)
    Duration
    02:04
    Composer
    Johann Adolf Hasse
    Performer
    Johanna Winkel
    Ensemble
    Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  29. 29 Benigne fac (Chorus) 01:18
    Track
    29
    Title
    Benigne fac (Chorus)
    Duration
    01:18
    Composer
    Johann Adolf Hasse
    Performer
    Johanna Winkel, Marie Luise Werneburg, Wiebke Lehmkuhl, Marlen Herzog, Colin Balzer, Cornelius Uhle
    Ensemble
    Dresdner Kammerchor, Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  30. 30 Gloria Patri (Alto) 02:32
    Track
    30
    Title
    Gloria Patri (Alto)
    Duration
    02:32
    Composer
    Johann Adolf Hasse
    Performer
    Wiebke Lehmkuhl
    Ensemble
    Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann
  31. 31 Sicut erat - Amen (Chorus) 01:38
    Track
    31
    Title
    Sicut erat - Amen (Chorus)
    Duration
    01:38
    Composer
    Johann Adolf Hasse
    Performer
    Johanna Winkel, Marie Luise Werneburg, Wiebke Lehmkuhl, Marlen Herzog, Colin Balzer, Cornelius Uhle
    Ensemble
    Dresdner Kammerchor, Dresdner Barockorchester
    Conductor
    Hans-Christoph Rademann