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16,95 €

Christoph Graupner
Lass mein Herz - Cantatas y oberturas


REF.: ACC 24337
EAN 13: 4015023243378
24 horas: Si realiza el pedido hoy, este producto estará listo para ser enviado el jueves 25/04/2019

Poco después de que el cantor Johann Sebastian Bach se dedicara a realizar cantatas sacras en Leipzig los domingos y días festivos, sus colegas de profesión se decidieron a tomar ejemplo de sus planteamientos y comenzaron a esforzarse en dar a luz composiciones similares en muchos otros lugares de la Alemania luterana. Entre ellos destacaba Christoph Graupner, el encargado de dirigir el día a día musical de la corte de Hesse-Darmstadt.

El músico había sido descubierto como clavecinista en la Ópera de Hamburgo en 1709 por el melómano landgrave de Darmstadt Ernst Ludwig, hombre de mucho poder que lo contrató en el acto para alegría del propio Graupner. A pesar de que con el tiempo las limitaciones de su trabajo le resultaron cada vez más insoportables, el compositor se mantuvo fielmente al servicio de Ernst Ludwig hasta su muerte en 1739 y al de su hijo Luis VIII después. Graupner era, más allá de un músico excepcional, un gestor de la vida musical cortesana de primera línea.

Esa versatilidad de la que tenía que hacer gala cada día se respira en el presente lanzamiento del sello Accent. Cantantas y oberturas se suceden en un festival de imaginería sonora que no da la espalda ni a los preceptos armónicos desarrollados por Johann Sebastian Bach ni al sentido del drama que la ópera impone en cada una de sus tramas. Ese camino intermedio está perfectamente recorrido por la experta mano de Florian Deuter y Harmonie Universelle, acompañados de manera impecable por la soprano Dorothee Mields.

FECHA DE PUBLICACIÓN
01/02/2018

INTÉRPRETES
Dorothee Mields, soprano
Harmonie Universelle
Florian Deuter · Mónica Waisman
musical direction & solo violin

DATOS DE PRODUCCIÓN
Recorded 15-16 May 2017, Trinitatiskirche, Köln (Germany)
Recording producer & editing: Günther Wollersheim
Recording engineer: Christian Meurer
Recording assistant: Michaela Höck
Executive producer: Dr. Richard Lorber (WDR) · Michael Sawall (note 1 music)
Artist photos: Harald Hoffmann (Cover, p 1, 26), Stefan Flach (p 28),
Oskar Howard Harkämper (p 10, 15, 31)
Layout & booklet editor: Joachim Berenbold

CONTENIDO
Christoph Graupner (1683-1760):   

Kantate »Reiner Geist, lass doch mein Herz« GWV 1138/11
für Sopran, 2 Oboen, Fagott, Streicher & Basso continuo
1 Aria »Reiner Geist, lass’ doch mein Herz« 4:50
2 Accompagnato »Du allerwertester und reinster Geist« 0:43
3 Aria »Mit dem heiligsten Entzücken« 2:24
4 Recitativo »Ach, weiche nicht« 0:20
5 Aria da capo »Mit dem heiligsten Entzücken« 1:51
6 Recitativo »Ach, weiche nicht« 1:06
7 Aria »Ich recke schon die matten Hände« 6:05

Ouvertüren Suite e-Moll GWV 442
für 2 Oboen da selva (da caccia), Streicher & Basso continuo
8 Ouvertüre 5:52
9 Rondeau 1:46
10 Menuet 2:13
11 Loure 2:45
12 Alt 2:51
13 Gavotte 1.10
14 Gigue 2:30

Kantate »Verleih, dass ich aus Herzensgrund« GWV 1114/16
für Sopran, 2 Violinen, Streicher & Basso continuo
15 Choral e Accompagnato »Verleih, dass ich aus Herzensgrund« 3:05
16 Recitativo »Ja, freilich muss dein Wort« 1:04
17 Aria e Recitativo »Ich habe Jesum auch vonnöten« 3:13
18 Recitativo »Mein Gott wird den ganz hart und grausam strafen« 1:12
19 Aria »So bin ich Gottes Kind« 3:40

Concerto g-Moll GWV 334
für 2 Violinen, Streicher & Basso continuo
20 Largo 3:30
21 Allegro 4:39
22 Soave 2:45
23 Vivace 3:00

Kantate »Ach Gott, wie manches Herzeleid« GWV 1142/11
für Sopran, 2 Oboen, Fagott, Streicher & Basso continuo
24 Choral »Ach! Gott, wie manches Herzeleid« 1:51
25 Accompagnato »Ihr Sterblichen, dies ist des Höchsten Lehre!« 0:57
26 Aria »Die Welt ist ein verwirrtes Jammerhaus« 5:19
27 Recitativo »Was ist demnach zu tun« 0:26
28 Aria »Im Kreuz an Gott gedenken« 4:17
29 Recitativo »So mach’, o Jesu, was du willst« 0:40
30 Aria »Wenn Himmel Welt und Erde brechen« 4.20

1 CD - DDD - 80:24

RESEÑA (La Quinta de Mahler)

When the cantor Johann Sebastian Bach performed sacred cantatas in Leipzig on Sundays and public holidays, his colleagues did the same in many other places in Lutheran Germany. Among them was Christoph Graupner, the court conductor of Hesse- Darmstadt. In 1709, the music-loving Landgraf Ernst Ludwig from Darmstadt had discovered him as a harpsichordist at the Hamburg Opera in 1709 and had hired him on the spot. Graupner was initially delighted with this; later on however, he was to often be dissatisfied with his position, which he maintained after Ernst Ludwig’s death in 1739 under his son, Ludwig VIII. The lavish courtly practices of the princes of Darmstadt led to the fact that no member of the court orchestra was ever paid in full - and some hardly ever received anything. The morale among the musicians was correspondingly low. Ernst Ludwig, on the other hand, had made a real stroke of luck with Graupner, because he was not only an outstanding musician but also a perfect organizer of the courtly musical life, which was only just being restored after the devastation of Darmstadt by French troops. It was only of advantage that Graupner came from the music scene which had developed in Leipzig around the Thomasschule, the university and the opera house circa 1700. Born in 1683 in Kirchberg, Germany, Graupner was born as Christoph Graupner Hessian Kapellmeister with Roots in Leipzig the son of a tailor in the Erzgebirge region of Germany. Graupner came to the Thomasschule at the age of 13 as a musically gifted scholarship student. He had benefited from the music lessons of the cantors Johann Schelle and Johann Kuhnau and from the friendship of Johann David Heinichen, who later became court conductor in Dresden. In 1703 Graupner began his studies of law in Leipzig - about the time when his fellow student Georg Philipp Telemann founded a student collegium musicum, which developed a prominent field of activity in church music and also acted as an opera orchestra. However, there is no evidence of Graupner’s involvement in Telemann’s Collegium. It was not until 1706 that he became known as an opera musician when he moved to Hamburg to avoid the oncoming Swedish troops marching upon Leipzig. Twice he shared the composition work with opera director Reinhard Keiser at the Haus am Gänsemarkt, and he alone delivered the music for at least five operas in Hamburg.

The sovereignty in church and opera style benefited Graupner in Darmstadt. Although the court opera had to be abandoned for financial reasons in 1722, church music continued to be performed weekly. From 1709 to shortly before his blindness in 1754, Graupner continued to deliver new compositions, first alternating with his assistant conductor Gottfried Grünewald, who had previously made a sensation as an opera singer in Leipzig and Hamburg, then alone after the latter’s death in December 1739. Over the years, more than 1,400 works have gathered from his pen and paper and are now almost entirely stored at the Hessian State and University Library in Darmstadt. Most of these still await rediscovery. Dorothee Mields and Harmonie Universelle have put together an exquisite selection from this repertoire for the present CD: three cantatas from Graupner’s early years as kapellmeister, complemented by two orchestral works. Georg Christian Lehms, who was appointed court librarian in Darmstadt in 1710, provided the textual basis for the cantatas. He had come to Leipzig from Silesia as a student in 1706 and worked as a librettist for Graupner’s fellow student Heinichen since 1709 at the latest, who was then composing for the Leipzig Opera. Perhaps did Lehms and Graupner first meet in Leipzig. The kapellmeister benefited from the court librarian’s poetic musicality until his early death in May 1717, after which he was replaced by the theologian Johann Conrad Lichtenberg from Darmstadt.

The texts on the cantatas “Ach Gott, wie manches Herzeleid” (Oh God, how many a heartache, for the first Sunday after Trinity) and “Reiner Geist, lass doch mein Herz” (for Whit Sunday) are to be found in the collection Gottgefälliges Kirchen-Opffer, published by Lehms as a book in the same year, which, according to prevailing customs, contains a whole year’s worth of cantatas for every Sunday and holiday. Bach has also set a selection of these works to music - two texts circa 1714 in Weimar and eight others in Leipzig only as of 1725. Graupner’s cantata “Verleih, dass ich aus Herzensgrund” (Provide that I, for reasons of the heart) was composed nearly five years after the two aforementioned cantatas in January 1716 on the 3rd Sunday after Epiphany; as in the cantata Ach Gott, wie mein Herzeleid (Oh God, how my heartsore), Lehms has cast a traditional 16th century chorale text at the very beginning. The monological lyrics of the three cantatas may have inspired Graupner to set them to music as solo works for soprano. In the cantata of 1711, he already lets the relevant choral melody sound in an instrumental prelude before the vocals perform it in long notes and accentuated by the instruments. On the other hand, the soprano in the cantata of 1716 unexpectedly begins with the chorale line, Provide that I may forgive my enemies’, for reasons of the heart, only to question them in a recitative. Once more. Lehms and Graupner interrupt the arioso flow of the hymn in this way, much as they also insert recitative episodes into the following aria.

All in all, Graupner, who is equally familiar with church and opera music, has put these sacred texts into music with a never-ending fantasy: whether in the fluently declaiming recitations, which he likes to orchestrate in accompagnato forms with full string or wind sections; whether in melodic arias and those which appeal through changing tonal colours, in succinctly constructed biblical verses set to music, or even in his choral editions, which integrate sleek church melodies into expressive four-voice
movements.
Even in Graupner’s cantatas for several voices,
each vocal part was usually only solo, just as the
accompanying ensemble was attuned to the more
intimate setting of the Darmstadt Schlosskapelle.
The Hessian Landgrave overruled the general ban on
church music for women - after all, he had recruited
two outstanding female singers from the Hamburg
Opera in 1709: Anna Maria Schober, who was
born in Frankfurt and had already performed at the
court of the landgraves in 1686 when she was only
fourteen, and Margaretha Susanna Kayser, whose
husband also became a member of the Darmstadt
instrumental ensemble. The interpreter of the cantata
Verleih, dass ich aus Herzensgrund, composed
in 1716, may probably have been the equally prominent
Johanna Elisabeth Döbricht, one of four sisters
from a family of musicians from Saxony and who
succeeded in various German city and court opera
houses at that time. At the age of almost 19, “The
Döbrichtin” came from the residence of Weissenfels
to Darmstadt in July 1711, where she married the
viol virtuoso Ernst Christian Hesse two years later.
In 1739 “Mademoiselle Lisgen Hesse” retired as a
singer, supported by the Landgrave’s annuities until
her death at the age of 93 (!).
The outstanding abilities of his experienced opera
sopranos are clearly reflected in the roles that
Graupner wrote for them: only true ‘singer-actresses’
are likely to impart his contrasting musical
rhetoric with the necessary intensity in the way that
it continues from the recitations, through the dazzling
imagery of the accompagnati, to heroic final
scenarios rich in coloratura. The voice readily blends
in with the lyrical bliss of thirds played by two oboes
or – as in the cantata Ach Gott, wie manches Herzeleid
– with the harsh-sweet dissonance of two
obbligato violas.
In January of 1723, Graupner took a holiday in
Darmstadt and travelled to Leipzig, where they were
looking for a successor to the late Thomaskantor
Kuhnau, given that Telemann, highly-satisfied as
music director of Hamburg, had turned the position
down. The people of Leipzig quickly came to an
agreement with Graupner, but his princely employer
denied him the leave of absence. As a result, Bach
got his chance in Leipzig. Graupner survived the new
cantor, whom he apparently never met in person, by
ten years; in his latter works, he has helped pave the
way to the musical classical period, which then developed
mainly south of Darmstadt, in the Palatine
Residence of Mannheim.
Graupner also speaks his own characteristic language
in the instrumental works that he probably
created in the mid 1730’s. The Concerto in G minor
identifies him as a sovereign creator in the baroque
form of the solo concerto shaped by the Venetian
model of Antonio Vivaldi, which he extends here in
four movements to a balanced coexistence of two
violins, tutti strings and basso continuo. The concert
is as strongly influenced by Telemann’s compositional
art in its melodic power and harmonic
originality as by the Italian violin master. Graupner
had been able to refresh and intensify the collegial
bond that originated in the early Leipzig years between
1712 and 1721, when Telemann held the post
of music director for the nearby city of Frankfurt.
The Darmstadt landgrave and his leading musicians
were again and again guests at Telemann’s performances
during this period, in return for which he
supplied compositions to the princely house until
his final years of life. Part of Telemann’s works are
now preserved only in manuscripts in Darmstadt –
often in the meticulous notation of the court kapellmeister
Graupner.
Even more clearly than in the field of concerts, Telemann
remains a point of reference for Graupner, as
evidenced in the Overture Suite in E minor. Like in
his cantatas, the court conductor from Darmstadt
makes use herein of the possibility to play with
manifold combinations of tone colours in a series of
different movements. Two oboi da selva – the familiar
curved tenor oboes from Bach’s Leipzig scores,
the oboi da caccia – are accompanied here by concertizing
strings and basso continuo and lend the
work its gallant, almost ‘symphonic’ colour. Graupner
sees the two ‘forest oboes’ as apparent woodwind
equivalents to the fashionable ‘forest horns’,
but over the course of the piece, he calls upon them
again and again for typical signal-like interjections
and drones at intervals of fourths and fifths. Soon
after, similar parts will be found in the harmonic
music of classical symphonies.

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