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April 22 2011

02mydafsoup-01

Good Friday - Karfreitag: Programme on BR classic (Bavarian broadcasting corporation - classic channel)


BR-KLASSIK
- Karfreitag-Programm | Program for Good Friday (CEST - UTC+2 - in DE)

audio-stream links

Modem (56 kbps): MP3-Stream starten
Breitband (128 kbps): MP3-Stream starten
 
Modem (48 kbps): Windows Media Player starten
Breitband (128 kbsp): Windows Media Player starten



15:30 Uhr

Joseph Haydn: "Die sieben letzten Worte unseres Erlösers am Kreuze"

Leipziger Streichquartett

16:40 Uhr

Intermezzo

Joseph Haydn: Divertimento D-dur, Hob. X/1 (Combattimento Consort Amsterdam: Jan Willem de Vriend)

17:00 Uhr

Nachrichten, Wetter

17:05 Uhr

Johann Sebastian Bach: "Matthäus-Passion"

Barbara Bonney, Gill Ross, Ruth Holton, Ann Monoyios, Sopran; Anne Sofie von Otter, Mezzosopran; Michael Chance, Countertenor; Anthony Rolfe Johnson, Howard Crook, Tenor; Andreas Schmidt, Olaf Bär, Bariton; Cornelius Hauptmann, Bass; Monteverdi Choir London; English Baroque Soloists: John Eliot Gardiner

20:00 Uhr

Nachrichten, Wetter

20:05 Uhr

Konzert der Berliner Philharmoniker

Leitung: Andris Nelsons
Solistin: Baiba Skride, Violine
Alban Berg: Violinkonzert - "Dem Andenken eines Engels"; Dmitrij Schostakowitsch: Symphonie Nr. 8 c-moll
Aufnahme vom 14. Oktober 2010 in der Berliner Philharmonie

21:42 Uhr

Calliope Tsoupaki: "Lukas-Passion"

Marcel Beekman, Tenor; Raneen Hanna, Ioannis Arvanitis, Gesang; Neva Özgen, Kemance; Harris Labrakis, Ney; Bassem Alkhouri, Qanun; Mitglieder des Egidius Kwartet und des Ioannis Arvanitis Byzantinischen Chors; Nieuw Ensemble: Ed Spanjaard






======================================


Good Friday - Karfreitag: Die sieben letzten Worte unseres Erlösers am Kreuze - The Seven Last Words of  Christ - setting for string quartet - Streichquartettfassung ||  Joseph Haydn 1732-1809


air time / Sendezeit: 2011-04-22 - CEST 15.30 / UTC+2 13.30

Joseph Haydn: "Die sieben letzten Worte unseres Erlösers am Kreuze"

Leipziger Streichquartet | Leipzig String Quartet

--------------------------------------------------------------

Die sieben letzten Worte unseres Erlösers am Kreuze | Wikipedia - Joseph Haydn 1732-1809

(ursprünglich: Instrumentalmusik über die sieben letzten Worte unseres Erlösers am Kreuze Hob. XX/1:A) ist ein musikalisches Werk von Joseph Haydn aus dem Jahre 1785. Bei der Komposition, die mehrere Bearbeitungen erfuhr, handelte es sich ursprünglich um eine Passionsmusik für Orchester. Thematisch bezieht sich das Werk auf die Sieben letzten Worte Christi. Haydn fertigte später eine Bearbeitung für Streichquartett (Hob. XX/1:B = Hob. III:50–56), für Klavier solo (Hob. XX/1:C), sowie ein auf der Komposition basierendes Oratorium (Hob. XX/2) an.


The Seven Last Words of  Christ
| Wikipedia - Joseph Haydn 1732-1809

"The Seven Last Words of Our Saviour on the Cross") is a composition by Joseph Haydn, featuring seven meditations on the last words of Jesus Christ, commissioned in 1786 for the Good Friday service at the Grotto Santa Cueva near Cádiz in southern Spain. The work exists in several versions, including the original for orchestra, an oratorio with both solo and choral vocal forces, and reduced versions for string quartet and solo clavier.

April 20 2011

02mydafsoup-01
Georg Friedrich Händel
JEPHTHA
(1752)

An Oratorio; or Sacred Drama
Words by Thomas Morell

Video playlist in 12 parts from yt-account: 400KJV


(no information about this interpretation is available - it seems to be recorded in the late 50ies - may be that David Willcocks is the conductor. )


The interpretation as such is imho inspite of the relative weak recording quality stunning - thanks to Youtube its the first time I have had the chance to listen to it.


The libretto may be followed on the video screen. The complete libretto is available on opera.stanford.edu .

April 19 2011

02mydafsoup-01
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G.F. Handel - Ouverture from the sacred Drama and Oratorio Jephtha

YouTube: permalink
yt-account: gianm73yout

Akademie für Alte Music Berlin
Marcus Creed

April 13 2011

02mydafsoup-01

yt-account: 400KJV


Georg Friedrich Händel
JEPHTHA
(1752)
An Oratorio; or Sacred Drama
Words by Thomas Morell

(no information about this interpretation is available - it seems to be recorded in the late 50ies - may be that David Willcocks is the conductor. The whole oratorium from this recording is online on youtube)


The interpretation as such is imho inspite of the relative weak recording quality absolute stunning - on Youtube its the first time I have had the chance to listen to it.

The chosen successional parts 45-53 have a duration of ~35 min.



(The libretto may be also followed on the video screen.)

------------------------------------------------

ACT TWO


[...]

Scene 3

 
[...]

44. Quartet Zebul
Oh, spare your daughter,

Storgè
Spare my child,

Hamor
My love!

Jephtha
Recorded stands my vow in Heav'n above.

Storgè
Recall the impious vow, ere 'tis too late.

Jephtha
I'll hear no more, her doom is fix'd as fate!

Hamor, Zebul, Storgè
And think not Heav'n delights
In Moloch's horrid rites.

Scene 4

Enter Iphis.

45. Accompagnato

Iphis
Such news flies swift. I've heard the mournful cause
Of all your sorrows. Of my father's vow
Heav'n spoke its approbation by success.
Jephtha has triumph'd, Israel is free.
For joys so vast too little is the price
Of one poor life. But oh, accept it, Heav'n,
A grateful victim, and thy blessing still
Pour on my country, friends, and dearest father!

46. Air

Iphis
Happy they! This vital breath
With content I shall resign,
And not murmur or repine,
Sinking in the arms of death.
Happy they. . . da capo

47. Accompagnato

Jephtha
Deeper, and deeper still, thy goodness, child,
Pierceth a father's bleeding heart, and checks
The cruel sentence on my falt'ring tongue.
Oh, let me whisper it to the raging winds,
Or howling deserts; for the ears of men
It is too shocking. Yet have I not vow'd?
And can I think the great Jehovah sleeps,
Like Chemosh and such fabled deities?
Ah no; Heav'n heard my thoughts, and wrote them down;
It must be so. 'Tis this that racks my brain,
And pours into my breast a thousand pangs
That lash me into madness. Horrid thought!
My only daughter, so dear a child,
Doom'd by a father! Yes, the vow is past,
And Gilead hath triumph'd o'er his foes.
Therefore, tomorrow's dawn... I can no more.

48. Chorus

How dark, O Lord, are Thy decrees,
All hid from mortal sight,
All our joys to sorrow turning,
And our triumphs into mourning,
As the night succeeds the day.
No certain bliss,
No solid peace,
We mortals know
On earth below,
Yet on this maxim still obey:
"Whatever is, is right."

 

ACT THREE

 

Scene 1

Jephtha, Iphis, Priests and Chorus.

49. Accompagnato

Jephtha
Hide thou thy hated beams, O sun, in clouds
And darkness, deep as is a father's woe;
A father, off'ring up his only child
In vow'd return for victory and peace.

50. Air

Jephtha
Waft her, angels, through the skies,
Far above yon azure plain,
Glorious there, like you, to rise,
There, like you, for ever reign.
Waft her. . . da capo

51. Recitative

Iphis
Ye sacred priests, whose hands ne'er yet were stain'd
With human blood, why are ye thus afraid
To execute my father's will? The call of Heav'n
With humble resignation I obey.

52. Air

Iphis
Farewell, ye limpid springs and floods,
Ye flow'ry meads and leafy woods;
Farewell, thou busy world where reign
Short hours of joy and years of pain.
Brighter scenes I seek above
In the realms of peace and love.

53. Chorus of Priests

Doubtful fear and rev'rent awe
Strike us, Lord, while here we bow,
Check'd by Thy all-sacred law,
Yet commanded by the vow.
Hear our pray'r in this distress,
And Thy determin'd will declare.


[...]

  
-----------------------------------------------------------------------

complete libretto from Handel's Sacred Drama or Oratorio Jephta

April 12 2011

02mydafsoup-01
Youtube Permalink
yt-account: iforgeti

from Handel's Sacred Drama or Oratorio Jephta


"In honour of Stuart Burrows' () here is his moving rendition of "Deeper, and deeper still....Waft her, angels.." from Handel's Jephtha (available on the Decca label)." rec ~1960ies

(the piano part is not mentioned)

----------------------------------------------------------------------


ACT TWO

 
[...]

Scene 4

[...]

47. Accompagnato Jephtha
Deeper, and deeper still, thy goodness, child,
Pierceth a father's bleeding heart, and checks
The cruel sentence on my falt'ring tongue.
Oh, let me whisper it to the raging winds,
Or howling deserts; for the ears of men
It is too shocking. Yet have I not vow'd?
And can I think the great Jehovah sleeps,
Like Chemosh and such fabled deities?
Ah no; Heav'n heard my thoughts, and wrote them down;
It must be so. 'Tis this that racks my brain,
And pours into my breast a thousand pangs
That lash me into madness. Horrid thought!
My only daughter, so dear a child,
Doom'd by a father! Yes, the vow is past,
And Gilead hath triumph'd o'er his foes.
Therefore, tomorrow's dawn... I can no more.

[...]

ACT THREE

 

Scene 1

Jephtha, Iphis, Priests and Chorus.


[...]


50. Air Jephtha
Waft her, angels, through the skies,
Far above yon azure plain,
Glorious there, like you, to rise,
There, like you, for ever reign.
Waft her. . . da capo

[...]


-----------------------------------------------------------------------

complete libretto from Handel's Sacred Drama or Oratorio Jephta






April 10 2011

02mydafsoup-01
Play fullscreen
Kathleen Ferrier & Bruno Walter - Kindertotenlieder 4
- Oft denk' ich, sie sind nur ausgegangen - rec ~1949

YouTube - permalink
yt-account: violinthief


Kathleen Ferrier & Bruno Walter - Kindertotenlieder 4 - Oft denk' ich

Oft denk' ich, sie sind nur ausgegangen!
Bald werden sie wieder nach Hause gelangen!
Der Tag ist schön! O sei nicht bang!
Sie machen nur einen weiten Gang!

Jawohl, sie sind nur ausgegangen
Und werden jetzt nach Hause gelangen!
O, sei nicht bang, der Tag is schön!
Sie machen nur den Gang zu jenen Höh'n!

Sie sind uns nur vorausgegangen
Und werden nicht wieder nach Hause verlangen!
Wir holen sie ein auf jenen Höh'n
Im Sonnenschein!
Der Tag is schön auf jenen Höh'n!
___________________________________________

Often I think that they have only stepped out -
and that soon they will reach home again!
The day is fair - O don't be afraid!
They are only taking a long walk.

Yes: they have only stepped out
and will now return home!
O don't be anxious - the day is fair!
They are only taking a walk to those hills.

They have simply gone on ahead:
they will not wish to return home.
We'll catch up to them on those hills
in the sunshine!
The day is fair on those hills

April 09 2011

02mydafsoup-01
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Cristóbal de Morales "Manus Tuas" (Instrumental flûtes)

YouTube - Permalink
yt-account: AfrikiSun


From the album "Office des ténèbres/Doulce mémoire/Denis Raisin Dadre)(2002)

Lamentations pour le samedi saint/Lamentations for holy saturday
Jérémie Papasergio/Marie-noëlle Visse/Denis Raisin Dadre/Francis Mercet/Johanne Maître-Flûtes

02mydafsoup-01
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Westminster Cathedral Choir -  Dir.: James O'Donnell
O sacrum conviviumChristobal de Morales (1500-1553)

YouTube - permalink
yt-account: treblechoir99

April 05 2011

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YouTube - permalink
yt-account:: A60stock

Gibbons Almighty and Everlasting God Choir of Kings College Cambridge

"This is an extract from a 1954 recording of Gibbons Anthems in which the Choir of Kings College Cambridge is directed by Boris Ord. This anthem plus four others can be downloaded as high quality Mp3 files (320 Kb/s) at http://www.eavb.co.uk/lp/extragibbons.html "
02mydafsoup-01
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YouTube - permalink
yt-account: ernststolz


In Nomine a 4 by Orlando Gibbons
played by Ernst Stolz (in playback?)


"free score (serpent publications):
http://serpentpublications.org/music/gibbons/nomine/allparts.pdf
In Nomine is a title given to a large number of pieces of English polyphonic, predominantly instrumental music, first composed during the 16th century.
more at Wiki:
http://en.wikipedia.org/wiki/In_nomine

Ernst Stolz Viols"
02mydafsoup-01
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Myra Hess plays Brahms Intermezzo opus 117 no. 1 (rec 1941)
   

YouTube - permalink
yt-account: pianopera


Johannes Brahms (1833-1897):

from Drei Intermezzi opus 117 (1892),
1. Andante moderato in E flat major.

Played by Myra Hess (recorded in 1941). She plays it with tenderness, expression, spirituality, purity and simplicity, but without eroticism, narcissism, mannerism or sentimentality.

"On a smaller and more intimate scale than the surrounding sets of Op. 116, Op. 118 and Op. 119, the composer described these pieces as "lullabies to my sorrows". Here we find Brahms at his most tender and introspective, with only one outburst (in the third Intermezzo) of the characteristic Brahmsian fieryness. The Intermezzi were inspired by a Scottish poem from Herder's Volkslieder, and bear this inscription:

Schlaf sanft mein Kind, schlaf sanft und Schön !
Mich dauert's sehr, dich weinen sehn.

(Sleep softly my child, sleep softly and well !
It hurts my heart to see you weeping.)"

Piano Society.

Painting by Berthe Morisot (1841-1895)



April 04 2011

02mydafsoup-01
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Brahms, Vier ernste Gesänge (1/2)
(Quatre chants sérieux-four serious songs) op. 121,

Hans Hotter & Gerald Moore Piano,
rec, 11 & 12-11 1951, London.

I: Denn es gehet dem menschen,
II: ich wandte mich um und sahe an alle,

-------------------------------------

Youtube permalink
yt-account: jacquesurlus
02mydafsoup-01

Text DE & EN - Brahms - Vier ernste Gesänge, op. 121

German - Luther translation
English: James Bible 2000

===================================

1.Lied | 1st song - Ecclesiastes 3, 19-22

Denn es gehet dem Menschen wie dem Vieh;
wie dies stirbt, so stirbt er auch;
und haben alle einerlei Odem;
und der Mensch hat nichts mehr denn das Vieh:
denn es ist alles eitel.


Es fährt alles an einem Ort;
es ist alles von Staub gemacht,
und wird wieder zu Staub.
Wer weiß, ob der Geist des Menschen
aufwärts fahre,
und der Odem des Viehes unterwärts unter
die Erde fahre?

Darum sahe ich, daß nichts bessers ist,
denn daß der Mensch fröhlich sei in seiner Arbeit,
denn das ist sein Teil.
Denn wer will ihn dahin bringen,
daß er sehe, was nach ihm geschehen wird?

------------------------------------------

19  For that which befalleth the sons of men befalleth beasts; even one thing befalleth them: as the one dieth, so dieth the other; yea, they have all one breath; so that a man hath no preeminence above a beast: for all is vanity.
20  All go unto one place; all are of the dust, and all turn to dust again.
21  Who knoweth the spirit of man that goeth upward, and the spirit of the beast that goeth downward to the earth?
22  Wherefore I perceive that there is nothing better, than that a man should rejoice in his own works; for that is his portion: for who shall bring him to see what shall be after him?
===================================

2. Lied | 2nd song  - Ecclesiastes 4, 1-3

Ich wandte mich und sahe an
Alle, die Unrecht leiden unter der Sonne;
Und siehe, da waren Tränen derer,
Die Unrecht litten und hatten keinen Tröster;
Und die ihnen Unrecht täten, waren zu mächtig,
Daß sie keinen Tröster haben konnten.

Da lobte ich die Toten,
Die schon gestorben waren
Mehr als die Lebendigen,
Die noch das Leben hatten;
Und der noch nicht ist, ist besser, als alle beide,
Und des Bösen nicht inne wird,
Welches unter der Sonne geschieht.

-----------------------------------------------

1  So I returned, and considered all the oppressions that are done under the sun: and behold the tears of such as were oppressed, and they had no comforter; and on the side of their oppressors there was power; but they had no comforter.
2  Wherefore I praised the dead which are already dead, more than the living which are yet alive.
3  Yea, better is he than both they, which hath not yet been, who hath not seen the evil work that is done under the sun.



02mydafsoup-01

Vier ernste Gesänge - Four Serious Songs, for voice & piano - Johannes Brahms, op. 121 | Information from Answers.com

   
On March 26, 1896, Brahms' lifelong friend and champion, Clara Schumann, suffered a stroke. Brahms, who considered Clara to be the "greatest wealth" in his life, was deeply shocked and forced to confront the fact that she might soon die. To cope, he immersed himself in work, completing the Vier ernste Gesänge (Four Serious Songs), Op. 121, by his birthday, May 7, 1896.

Brahms compiled the texts for the Vier ernste Gesänge from Martin Luther's translation of the Bible -- mostly passages from the apocryphon, Ecclesiastes. The four songs represent a progression of thought about, and reaction to, death, and by virtue of their subject hardly require the adjective, "serious." Appearing after a decade in which the composer wrote no original songs, these four songs are truly unique in Brahms' output: they show no trace of folksong influence, they are not in strophic form, and they occasionally adopt a harsh, dramatic quality that is quite beyond his other songs. Brahms refused to have them performed, suggesting that they were of great personal importance to him.

"Denn es gehet dem Menschen" (It is for a person [as it is for an animal]), from Ecclesiastes 3:19-22, focuses on the transience of life. The text notes that people, just like animals, must die. In D minor, Brahms' setting conveys this transience through changes in tempo, meter and texture. The song proceeds with a turning melody, never leaving D minor; a quiet shift to a 3/4 meter and Allegro tempo bring with it denser and more complex harmonies, climaxing with the appearance of a new texture and the question, "Who knows if the soul of a person rises upward?". "Ich wandte mich und sahe an alle" (I turned and looked upon everyone), sets Ecclesiastes 4:1-3. The opening notes, over a stumbling accompaniment, anticipate the beginning of the next song. This is the most recitative-like of the four songs.

The text for "O Tod, o Tod, wie bitter bist du" comes from Ecclesiastes 41:1-2; Brahms alters the opening text, "O Tod, wie bitter bist du" (O death, how bitter you are) to "O Tod, wie wohl tust du dem Dürftigen" (O death, how good you are to the poor) when it returns for the second time. A musical metamorphosis accompanies this textual one, reflecting a shift in attitude from the bleak to the reassuring. Death, although final, alleviates suffering. The fourth and final song, "Wenn ich mit Menschen- und mit Engelzungen redete" (If I speak with the tongues of humans of angels), is drawn from 1 Corinthians 13; it is both a paean to, and a eulogy for, love. ~ John Palmer, Rovi

April 01 2011

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YouTube - permalink
yt-account - luisalgimia


"Banchetto Musicale"
de J. H. Schein (1586-1630)

"Un video del grupo musical "Flanders recorder quartet" que me encanta. Está tocada por dos flautas bajo, una grán bajo y una contrabajo."



    No. 20, Suite a 5 in E minor
  1. Padouana
  2. Gagliarda
  3. Corente
  4. Allemande (attacca) - Tripla

March 31 2011

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YouTube - permalink
yt-account: Francis1930

Madrigal: What is our life? - Orlando Gibbons (1583 - 1625)

"Gibbons taste whilst composing his madrigals was for English poetry. What is our life is a fine example it is believed to have been written by Sir Walter Raleigh on the eve of his execution in 1618, a parody of words on the play of life before that which must end all life."
02mydafsoup-01
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yt-account: davekly

Pavan of Lord Salisbury, by Orlando Gibbons

"This consort music is 'Pavan of Lord Salisbury', by the late Elizabethan and early Jacobean composer and keyboard player Orlando Gibbons. Played by the viol consort called 'Phantasm'."
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yt-account Trinitrotolaissance

------------------------------------------------------------------------

"The lord of salisbury his pavan and galliard - Composed by: Orlando Gibbons (1583-1625)"

Played by: Timothy Roberts

March 30 2011

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yt-account: ernststolz

- Two Chorales a) from the St. Matthew and b) St. John Passion by J.S.Bach in a setting for viol consort - Ernst Stolz plays the viol (viola da gamba) - in playback?



-------------------------------------------------------------------


The melody of the 1st chorale "O Welt, ich muss dich lassen" is a loan from Heinrich Isaac's  "Innsbruck ich muss dich lassen".


[...]

This famous melody was most likely composed by Heinrich Isaac from whose pen we have two 4-pt settings, the earliest with the melody in the tenor, the latest with the melody in the soprano part (it has not been definitely established, however, which version came first.) In any case, the earliest appearance of this melody as used by Isaac dates roughly from about 1490. The text used by Isaac is secular in nature and reflects the poet’s/singers’ sadness and reluctance in departing from the city where he will leave behind him his beloved as he sets forth to go elsewhere in the world. Without being able to provide clear evidence for their suppositions, musicologists have surmised that Isaac may have derived/taken the melody from a 15th-century folksong or frottola, but the majority of musicologists believe that it might be Isaac’s own melody. Certainly the excellence of his settings aided in the quick dissemination of this melody so that was already being used for sacred songs as early as 1505. In 1550 it was used as the basis of the CM for the CT Du Friedefürst, Herr Jesu Christ (see: CM Du Friedefürst, Herr Jesu Christ)

[...]

cf.: bach-cantatas.com/  --  Chorale Melodies used in Bach's Vocal Works
O Welt, ich muß dich lassen / Nun ruhen alle Wälder

March 28 2011

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YouTube - Heinrich Isaac - Innsbruck, Ich muss dich lassen [Version: Diskantlied]

Heinrich Isaac (also known as Ysaac, Henricus, Arrigo d'Ugo, and Arrigo il Tedesco Tedesco meaning "Flemish" or "German" in Italian) (around 1450-55 March 26, 1517) was a Franco-Flemish composer of the Renaissance, of south Netherlandish origin. He is regarded as one of the most significant contemporaries of Josquin des Prez, and had an especially large influence on the subsequent development of music in Germany.

Sex Chordae Consort Of Viols
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