Hermann Max, Rheinische Kantorei - Jan Dismas Zelenka: Gesù al Calvario (2001)
Hermann Max, Rheinische Kantorei - Jan Dismas Zelenka: Gesù al Calvario (2001)
EAC | FLAC | Image (Cue & Log) ~ 499 Mb | Total time: 110:35 | Scans included
Classical | Label: Capriccio | # 10 887 | Recorded: 1999
EAC | FLAC | Image (Cue & Log) ~ 499 Mb | Total time: 110:35 | Scans included
Classical | Label: Capriccio | # 10 887 | Recorded: 1999
In an age of artistic conformity, Jan Dismas Zelenka (1679-1745) had a refreshingly individual voice. In his own time he was described as 'a reserved, bigoted Catholic, but also a respectable, quiet, unassuming man, deserving of the greatest respect'. His music earned Bach's respect for its serious contrapuntal procedures; today's listeners, though, are more immediately charmed by Zelenka's quirky turns of phrase and flashes of original genius. There are plenty of these in the Passion oratorio Gesù al Calvario (1735), one of the composer's three late oratorios. This is an essentially contemplative oratorio. All the 'action' is concentrated into a single scene in which the three Marys and St John are waiting on the Mount of Calvary for Jesus after he has been sentenced to death. The crucifixion itself is not depicted, just the emotional reactions to it. There are the shouts of the crowd, the anger of St John, the grief of the Holy Mother and, unusually, an aria sung by Christ himself. The level of musical inspiration is very high, with a string of disturbingly powerful arias which crank up the emotional temperature with increasingly evocative accompaniments. The singers are underscored at first by strings alone, later joined by a pair of flutes, then a pair of oboes and lastly a chalumeau. The remarkable final aria 'Che fiero martire' for the Virgin Mary incorporates them all in a concertante manner strongly prophetic of later Classical practices. Of the many engaging 'Zelenka-isms' here, the most prominent are the use of highly coloured chromatics, striking ideas played by the whole orchestra in unison and some unusual rhythmic and melodic motifs which probably derive from Bohemian folk music. Hermann Max directs an emotionally committed performance with good if not always entirely exhilarating instrumental playing. The solo chalumeau is certainly too shy and occasionally the other soloists, too, are not always precisely spotlit by the recording engineers. The vocal soloists are more rewarding, though for all her dramatic energy Ingrid Schmithusen makes for a rather shrill Virgin Mary (and she bends her vowels something rotten). Kai Wessel really enjoys himself in a particularly fine 'rage' aria for St John, and both here and elsewhere da capos are modestly but effectively ornamented. This is rich and wonderful music which has been silent for too long. It's a shame about the lack of an English translation, but otherwise this première recording deserves a very warm welcome indeed.–Simon Heighes
Performer:
Gesù – David Cordier
Maria Vergine – Ingrid Schmithüsen
Maria Maddalena – Larissa Malikowa
Maria Cleofe – Lena Susanne Norin
San Giovanni – Kai Wessel
Rheinische Kantorei
Leitung – Hermann Max
Tracklist:
Jan Dismas Zelenka (1679-1745)
Gesù al Calvario, ZWV 62
CD1:
01. No.1 Introduzione
02. No.2 Recitativo 'O figlie di Sionne' (Maria Vergine)
03. No.3 Coro 'Misera Madre' (Soprano, Alto I e II coro e solo)
04. No.4 Recitativo 'Fiero dolor' (San Giovanni)
05. No.5 Aria 'Se in te fosse' (San Giovanni)
06. No.6 Recitativo 'Madre! Figlio!' (Gesù, Maria Vergine)
07. No.7 Aria 'Ah! se tu costi' (Maria Vergine)
08. No.8 Recitativo 'Tanto amor che ti giova' (San Giovanni, Gesù, Maria Vergine)
09. No.9 Aria 'A che riserbano i cieli' (San Giovanni)
10. No.10 Recitativo 'Ed io, Signor' (Maria Maddalena, Maria Cleofe)
11. No.11 Aria 'Si la morte' (Maria Cleofe)
12. No.12 Recitativo accompagnato 'Smanie di dolci affetti' (Gesu)
13. No.13 Aria 'S'una sol lagrima' (Gesù)
14. No.14 Coro di Giudei 'Si crocifigga il Nazareno' (Coro)
CD2:
01. No.15 Recitativo 'Spasimi del cor mio' (Maria Vergine, San Giovanni, Maria Maddalena)
02. No.16 Aria 'Se ingrato e ribelle' (Maria Maddalena)
03. No.17 Recitativo 'Alzate pur il gran trofeo' (Gesù, Maria Vergine, Maria Maddalena)
04. No.18 Duetto 'Santo amor, che tanto peni' (Maria Maddalena, Maria Cleofe)
05. No.19 Recitativo 'Vinto da tanto amor' (Gesù, Maria Vergine, Maria Maddalena, Maria Cleofe, San Giovanni)
06. No.20 Aria 'Che fiero martire' (Maria Vergine)
07. No.21 Recitativo accompagnato 'Ma di tragica scena' (San Giovanni)
08. No.22 Coro 'Questo è il monte salutare' (Coro)
Exact Audio Copy V1.6 from 23. October 2020
EAC extraction logfile from 25. October 2022, 19:07
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==== Log checksum 35A8B62E439405EB79A5AA745038B6372BF77D17F052C100BAD9849AEC258658 ====
Exact Audio Copy V1.6 from 23. October 2020
EAC extraction logfile from 25. October 2022, 19:59
Hermann Max, Das Kleine Konzert, Rheinische Kantorei / Zelenka: Gesù al Calvario CD2
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Utilize accurate stream : Yes
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Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Used output format : User Defined Encoder
Selected bitrate : 768 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\Exact Audio Copy\FLAC\FLAC.EXE
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==== Log checksum EFAEF51C7C3FEBAD4505BAEBD1D9EABB3E9C052AB9B817272EC33EFBDDB83188 ====
Hermann Max, Rheinische Kantorei - Jan Dismas Zelenka: Gesù al Calvario (2001)
