F. Werner (Erato 10-CD)

Total Page:16

File Type:pdf, Size:1020Kb

F. Werner (Erato 10-CD) Part 1 Editor: Fabian Watkinson Artist: Bach Art Director: feremy Tilston Title: Bach Cantatas Vol.l Cat. No.: 82564 61401 2 l Part 1 Revision: Label: Warners Date & tfpesetter: 7.7.04 I Tina Johann Sebastian Bach ltoss-tzso; The Cantatas, Volume I Heinrich Schütz Choir, Heilbronn Pforzheim Chamber Orchestra Württemberg Chamber Orchestra, Heilbronn (BWV 23, 30,39,72,85,92) Fritz Werner For complete cantata texts please see www.bach-cantatas.com/IndexTexts.htm cD t 70.43 Nun komm, der Heiden Heiland, BWV 61 Come Thou of man the Saviour 'Viens maintenant, Savieur des paiens Domenica I Adventus Christi Cantata for the First Sunday in Advent . Pour le 1"'Dimanche de l'Avent . Am 1. Advent 01 1. Ouverture (Coro): Nun komm, der Heiden Heiland 3.48 Violini, viole, basso continuo 02 2. Recitativo (Tenore): Der Heiland ist gekommen 1.29 Basso continuo 03 3. Aria (Tenore): Komm, )esu, komm zu deiner Kirche 5.27 Violini, viole, basso continuo 04 4. Recitativo (Basso): Siehe, ich stehe vor der Tür 1.15 Violini, viole, basso continuo 05 5. Aria (Soprano): Öffne dich, mein ganzes Herze 3.59 Basso continuo 06 6. [Choral] (Coro): Amen, Amenl komm du schöne Freudenkrone 1.11 Violini, viole, basso continuo Friederike Sailer soprano . Helmut Krebs tenor . Erich Wenk bass 2 Reinhold Barchet violin ' |acoba Muckel cello . Eva Hölderlin organ Producer: Michel Garcin . Recording engineer: Peter Willemoös Recording location: Ilsfeld, Germany, 1 96 1 Darzt ist erschienen der Sohn Gottes, BWV 40 For this there was sent us Christ the Saviour . C'est pour cela que le fik de Dieu est apparu Feria 2 Nativitatis Christi Cantata for the Second Day of Christmas . Pour le 2u'" jour de Noöl . Am 2. Weihnachtstag 07 1. [Coro]: Darzu ist erschienen der Sohn Gottes 4.40 Corni, oboi, violini, viola, basso continuo 08 2. Recitativo (Tenore): Das Wort ward Fleisch 1.28 Basso continuo 09 3. Choral (Coro): Die Sünd macht Leid 0.42 Corno, oboi, violini, viola, basso continuo 10 4. Aria (Basso): Höllische Schlange, wird dir nicht bange? 2.46 Oboi, violini, viola, basso continuo 11 5. Recitativo (Alto): Die Schlange, so im Paradies 1.08 Violini, viola, basso continuo LZ 6. Choral (Coro): Schüttle deinen Kopf und sprich 0.55 Corno, oboi, violini, viola, basso continuo 13 7 . Aria (Tenore): Christenkinder, freuet euch 4.29 Corni, oboi, basso continuo 14 8. Choral (Coro): )esu, nimm dich deiner Glieder l.l2 Corno, oboi, violini, viola, basso continuo Claudia Hellmann alto . Georg Ielden tenor . |akob Stämpfli bass Pierre Pierlot, |acques Chambon oboes . Hermann Baumann, Willy Rütten horns Iacoba Muckel cello . Eva Hölderlin organ Producer: Michel Garcin . Recording engineer: Peter Willemoäs Recording location: Heilbronn, Germany, June 1964 Gottlob! nun geht das |ahr zu Ende, BWV 28 Rejoice! The passing year is ended . Dieu soit louö! Voilä que I'annöe se termine Dominica post Nativitatis Christi Cantata for the Sunday after Christmas 'Pour le Dimanche aprös Noöl Am Sonntag nach Weihnachten 15 1. Aria (Soprano): Gottlobl nun geht das Jahr zu Ende 5-14 Oboi, oboe da caccia, violini, viola, basso continuo 16 2. [Coro]: Nun lob, mein Seel, den Herren 5.20 Cornetto, oboi, oboe da caccia, violini, viola, trombone, basso continuo 17 3. Arioso] (Basso): So spricht der Herr 2.08 [Recitativo - Basso continuo 18 4. Recitativo (Tenore): Gott ist ein Quell, wo lauter Güte fleußt l.l7 Violini, viola, basso continuo t9 5. Aria (Duetto) (Alto, tenore): Gott hat uns im heurigen Jahr gesegnet 2.49 Basso continuo 20 6. Choral (Coro): All solch dein Güt wir preisen 1.00 Cornetto, oboi, oboe da caccia, violini, viola, tromboni, basso continuo Maria Friesenhausen soprano ' Emmy Lisken alto ' Georg Ielden tenor Barry McDaniel bass Pierre Pierlot, |acques Chambon oboes/oboe da caccia Jacoba Muckel cello ' Eva Hölderlin organ/harpsichord Producer: Michel Garcin ' Recording engineer: Peter Willemoös Recording location: Schwaigern, Germany, 1965 Sie werden aus Saba alle kommen, BWV 65 From Sheba shall many men be coming . Ils viendront tous de Saba Festo Epiphanias Cantata for Epiphany . Pour la Föte de l'Epiphanie . Am Fest Epiphanias 21 1. [Coro]: Sie werden aus Saba alle kommen 4.36 Corni, Jlauti dolci, oboi da caccia, violini, viola, basso continuo 22 2. Choral (Coro): Die Kön'ge aus Saba kamen dar 0.59 Flauti dolci, oboi da caccia, violini, viola, basso continuo 23 3. Recitativo (Basso): Was dort Iesaias vorhergesehn 2.29 Basso continuo 24 4. Aria (Basso): Gold aus Ophir ist zu schlecht 2.56 Oboi da caccia, basso continuo 25 5. Recitativo (Tenore): Verschmähe nicht, du, meiner Seele Licht 1.26 Basso continuo 26 6. Aria (Tenore): Nimm mich dir zu eigen hin 4.11 Corni, Jlauti dolci, oboi da caccia, violini, viola, basso continuo 27 7 . Choral (Coro): Ei nun, mein Gott, so fall ich dir 1.39 Corni, flauti dolci, oboi da caccia, uiolini, viola, basso continuo Helmut Krebs tenor . Franz Kelch bass Pierre Pierlot, facques Chambon oboi da caccia.Paul Hongne bassoon facoba Muckel cello . Eva Hölderlin organ/harpsichord Producer: Michel Garcin . Recording engineer: Peter Willemoös Recording location: Ilsfeld, Germany, October 1 959 cD 2 77.r0 Unser Mund seivoll Lachens, BWV 110 Then our mouth filled with laughter ' Que notre bouche s'emplisse de cris de joie Feria Nativitatis Christi Cantata for Christmas Day ' Pour le 1"' jour de Noöl ' Am 1. Weihnachtstag 01 1. Coro (Solo: Soprano, Alto, Tenore, Basso): Unser Mund sei voll Lachens 9'oo Trombe, timpani, oboi, Jlauti traversi, violini, viola, basso continuo 02 2. Aria (Tenore): Ihr Gedanken und ihr Sinnen 4.00 Flauti lraversi, basso continuo 03 3. Recitativo (Basso): Dir, Herr, ist niemand gleich 0.41 Violini, viola, basso continuo 04 4. Aria (Alto): Ach Herr, was ist ein Menschenkind 3.55 Oboe d'amore, basso continuo 05 5. Duetto (Soprano, Tenore):Ehre sei Gott in der Höhe 4-l I Basso continuo 06 6. Aria (Basso): Wacht aufl ihr Adern und ihr Glieder 4-07 Tromba, oboi, oboe da caccia, violini, viola, basso continuo 07 7. Choral (Coro): Alleluja! Gelobt sei Gott! 0.59 Tromba da tirarsi, oboi, oboe da caccia, Jlauti traversi, violini, viola, basso continuo Friederike Sailer soprano . Claudia Hellmann alto . Helmut Krebs tenor . Erich Wenk bass Maxence Larrieu, Hartmut Strebel flutes Pierre Pierlot, |acques Chambon oboes/oboe d'amore ' Paul Hongne bassoon Walter Gleissle trumpet ' Iacoba Muckel cello ' Eva Hölderlin organ Producer: Michel Garcin ' Recording engineer: Peter Willemoös Recording location: Ilsfeld, Germany, 1961 6 Selig ist der Mann (Concerto in Dialogo), BWV 57 Blessed is the man . Bienheureux est l'homme F eria 2 Nativitatis Christi Cantata for the Second Day of Christmas . Pour le 2"'"" jour de Noöl . Am 2. Weihnachtstag 08 l. Aria (Basso/Jesus): Selig ist der Mann 4.40 Oboi, oboe da caccia, violini, viola, basso continuo 09 2. Recitativo (Soprano/Anima):Achl dieser süße Trost 1.34 Basso continuo 10 3. Aria (Soprano): Ich wünschte mir den Tod 4.50 Violini, viola, basso continuo 11 4. Recitativo (Soprano, Basso): Ich reiche dir die Hand 0.37 Basso continuo 12 5. Aria (Basso): fa, ja, ich kann die Feinde schlagen 6.42 Violini, viola, basso continuo 13 6. Recitativo (Soprano, Basso): In meiner Schoß liegt Ruh und Leben 2.06 Basso continuo 14 7 . Aria (Soprano): Ich ende behende mein irdisches Leben 4.33 Vi ol i no, basso cont i n uo 15 8. Choral (Coro): Richte dich, Liebste, nach meinem Gefallen 0.47 Oboi, oboe da caccia, violini, viola, basso continuo Agnes Giebel soprano . BarryMcDaniel bass Pierre Pierlot, |acques Chambon oboes, oboe da caccia György Terebesi violin ' Jacoba Muckel cello ' Eva Hölderlin organ/harpsichord Producer: Michel Garcin . Recording engineer: Peter Willemoös Recording location: Ilsfeld, Germany, June 1 96j Liebster Iesu, mein Verlangen, BWV 32 Dearest Jesu, sore I need Thee' Bien-aimö lösus, objet de mes dösirs Dominica I post Epiphanias . Cantata for the First Sunday after Epiphany Pour le ]"'Dimanche apräs l'Epiphanie Am 1. Sonntag nach EPiPhanias 16 1. Aria (Soprano): Liebster Iesu, mein Verlangen 4'59 Oboe, violini, viola, basso continuo 17 2. Recitativo (Basso): Was ists, daß du mich gesuchet? 0.40 Basso continuo 18 3. Aria (Basso): Hier, in meines Vaters Stätte 8.52 V iol i no, basso con I inuo 19 4. Recitativo (Soprano, Basso): Ach! heiliger und großer Gott 2-51 Violino, viola, basso continuo 20 5. Aria (Duetto: Soprano, Basso): Nun verschwinden alle Plagen 5-52 Oboe, violini, viola, basso continuo 21 6. Choral (Coro): Mein Gott, öffne mir die Pforten l '13 Oboe, violini, viola, basso continuo Agnes Giebel soprano ' Barry McDaniel bass Pierre Pierlot oboe' György Terebesi violin Iacoba Muckel cello ' Eva Hölderlin organ/harpsichord P r o du c er : Mi chel G ar cin' Re c o r di n g en gin e er : P et er W illemo ös Recording location: Ilsfeld, Germany, lune 196j cD 3 77.39 Ich habe genug, BWV 82 I ask for no more . J'ai ce qu'il me faut Festo Purificationis Mariae Cantata for the Feast of the Purification . Pour la FAte de la Purification de Marie Am Feste Mariae Reinigung 01 1. Aria (Basso): Ich habe genug 7.53 Oboe, violini, viola, basso continuo 02 2. Recitativo (Basso): Ich habe genug! Mein Trost ist nur allein l.3l Basso continuo 03 3. Aria (Basso): Schlummert ein, ihr matten Augen 9.59 Violini, viola, basso continuo 04 4. Recitativo (Basso): Mein Gottl wann kommt das schöne: Nun! 1.01 Basso continuo 05 5. Aria (Basso): Ich freue mich auf meinen Tod 4.20 Oboe, violini, viola, basso continuo BarryMcDaniel bass Pierre Pierlot oboe . Jacoba Muckel cello . Eva Hölderlin organ/harpsichord Producer: Michel Garcin .
Recommended publications
  • Music for the Christmas Season by Buxtehude and Friends Musicmusic for for the the Christmas Christmas Season Byby Buxtehude Buxtehude and and Friends Friends
    Music for the Christmas season by Buxtehude and friends MusicMusic for for the the Christmas Christmas season byby Buxtehude Buxtehude and and friends friends Else Torp, soprano ET Kate Browton, soprano KB Kristin Mulders, mezzo-soprano KM Mark Chambers, countertenor MC Johan Linderoth, tenor JL Paul Bentley-Angell, tenor PB Jakob Bloch Jespersen, bass JB Steffen Bruun, bass SB Fredrik From, violin Jesenka Balic Zunic, violin Kanerva Juutilainen, viola Judith-Maria Blomsterberg, cello Mattias Frostenson, violone Jane Gower, bassoon Allan Rasmussen, organ Dacapo is supported by the Cover: Fresco from Elmelunde Church, Møn, Denmark. The Twelfth Night scene, painted by the Elmelunde Master around 1500. The Wise Men presenting gifts to the infant Jesus.. THE ANNUNCIATION & ADVENT THE NATIVITY Heinrich Scheidemann (c. 1595–1663) – Preambulum in F major ������������1:25 Dietrich Buxtehude – Das neugeborne Kindelein ������������������������������������6:24 organ solo (chamber organ) ET, MC, PB, JB | violins, viola, bassoon, violone and organ Christian Geist (c. 1640–1711) – Wie schön leuchtet der Morgenstern ������5:35 Franz Tunder (1614–1667) – Ein kleines Kindelein ��������������������������������������4:09 ET | violins, cello and organ KB | violins, viola, cello, violone and organ Johann Christoph Bach (1642–1703) – Merk auf, mein Herz. 10:07 Dietrich Buxtehude – In dulci jubilo ����������������������������������������������������������5:50 ET, MC, JL, JB (Coro I) ET, MC, JB | violins, cello and organ KB, KM, PB, SB (Coro II) | cello, bassoon, violone and organ Heinrich Scheidemann – Preambulum in D minor. .3:38 Dietrich Buxtehude (c. 1637-1707) – Nun komm der Heiden Heiland. .1:53 organ solo (chamber organ) organ solo (main organ) NEW YEAR, EPIPHANY & ANNUNCIATION THE SHEPHERDS Dietrich Buxtehude – Jesu dulcis memoria ����������������������������������������������8:27 Dietrich Buxtehude – Fürchtet euch nicht.
    [Show full text]
  • Introduction
    Copyright © Thomas Braatz, 20071 Introduction This paper proposes to trace the origin and rather quick demise of the Andreas Stübel Theory, a theory which purportedly attempted to designate a librettist who supplied Johann Sebastian Bach with texts and worked with him when the latter composed the greater portion of the 2nd ‘chorale-cantata’ cycle in Leipzig from 1724 to early 1725. It was Hans- Joachim Schulze who first proposed this theory in 1998 after which it encountered a mixed reception with Christoph Wolff lending it some support in his Bach biography2 and in his notes for the Koopman Bach-Cantata recording series3, but with Martin Geck4 viewing it rather less enthusiastically as a theory that resembled a ball thrown onto the roulette wheel and having the same chance of winning a jackpot. 1 This document may be freely copied and distributed providing that distribution is made in full and the author’s copyright notice is retained. 2 Christoph Wolff, Johann Sebastian Bach: The Learned Musician (Norton, 2000), (first published as a paperback in 2001), p. 278. 3 Christoph Wolff, ‘The Leipzig church cantatas: the chorale cantata cycle (II:1724-1725)’ in The Complete Cantatas volumes 10 and 11 as recorded by Ton Koopman and published by Erato Disques (Paris, France, 2001). 4 Martin Geck, Bach: Leben und Werk, (Hamburg, 2000), p. 400. 1 Andreas Stübel Andreas Stübel (also known as Stiefel = ‘boot’) was born as the son of an innkeeper in Dresden on December 15, 1653. In Dresden he first attended the Latin School located there. Then, in 1668, he attended the Prince’s School (“Fürstenschule”) in Meißen.
    [Show full text]
  • An Introduction to the Annotated Bach Scores - Sacred Cantatas Melvin Unger
    An Introduction to the Annotated Bach Scores - Sacred Cantatas Melvin Unger Abbreviations NBA = Neue Bach Ausgabe (collected edition of Bach works) BC = Bach Compendium by Hans-Joachim Schulze and Christoph Wolff. 4 vols. (Frankfurt: Peters, 1989). Liturgical Occasion (Other Bach cantatas for that occasion listed in chronological order) *Gospel Reading of the Day (in the Lutheran liturgy, before the cantata; see below) *Epistle of the Day (in the Lutheran liturgy, earlier than the Gospel Reading; see below) FP = First Performance Note: Some of the following material is taken from Melvin Unger’s overview of Bach’s sacred cantatas, prepared for Cambridge University Press’s Bach Encyclopedia. Copyright Melvin Unger. That overview (which is available here with the annotated Bach cantata scores) includes a bibliography. Additional, online sources include the Bach cantatas website at https://www.bach-cantatas.com/ and Julian Mincham’s website at http://www.jsbachcantatas.com/. The German Cantata Before Bach In Germany, Lutheran composers adapted the genre that had originated in Italy as a secular work intended for aristocratic chamber settings. Defined loosely as a work for one or more voices with independent instrumental accompaniment, usually in discrete sections, and employing the ‘theatrical’ style of opera, the Italian cantata it was originally modest in scope—usually comprising no more than a couple of recitative-aria pairs, with an accompaniment of basso continuo. By the 1700s, however, it had begun to include other instruments, and had grown to include multiple, contrasting movements. Italian composers occasionally wrote sacred cantatas, though not for liturgical use. In Germany, however, Lutheran composers adapted the genre for use in the main weekly service, where it subsumed musical elements already present: the concerted motet and the chorale.
    [Show full text]
  • The Bible in Music
    The Bible in Music 115_320-Long.indb5_320-Long.indb i 88/3/15/3/15 66:40:40 AAMM 115_320-Long.indb5_320-Long.indb iiii 88/3/15/3/15 66:40:40 AAMM The Bible in Music A Dictionary of Songs, Works, and More Siobhán Dowling Long John F. A. Sawyer ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London 115_320-Long.indb5_320-Long.indb iiiiii 88/3/15/3/15 66:40:40 AAMM Published by Rowman & Littlefield A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4AB Copyright © 2015 by Siobhán Dowling Long and John F. A. Sawyer All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Dowling Long, Siobhán. The Bible in music : a dictionary of songs, works, and more / Siobhán Dowling Long, John F. A. Sawyer. pages cm Includes bibliographical references and index. ISBN 978-0-8108-8451-9 (cloth : alk. paper) — ISBN 978-0-8108-8452-6 (ebook) 1. Bible in music—Dictionaries. 2. Bible—Songs and music–Dictionaries. I. Sawyer, John F. A. II. Title. ML102.C5L66 2015 781.5'9–dc23 2015012867 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992.
    [Show full text]
  • Johann Sebastian Bach's St. John Passion from 1725: a Liturgical Interpretation
    Johann Sebastian Bach’s St. John Passion from 1725: A Liturgical Interpretation MARKUS RATHEY When we listen to Johann Sebastian Bach’s vocal works today, we do this most of the time in a concert. Bach’s passions and his B minor Mass, his cantatas and songs are an integral part of our canon of concert music. Nothing can be said against this practice. The passions and the Mass have been a part of the Western concert repertoire since the 1830s, and there may not have been a “Bach Revival” in the nineteenth century (and no editions of Bach’s works for that matter) without Felix Mendelssohn Bartholdy’s concert performance of the St. Matthew Passion in the Berlin Singakademie in 1829.1 However, the original sitz im leben of both large-scaled works like his passions, and his smaller cantatas, is the liturgy. Most of his vocal works were composed for use during services in the churches of Leipzig. The pieces unfold their meaning in the context of the liturgy. They engage in a complex intertextual relationship with the liturgical texts that frame them, and with the musical (and theological) practices of the liturgical year of which they are a part. The following essay will outline the liturgical context of the second version of the St. John Passion (BWV 245a) Bach performed on Good Friday 1725 in Leipzig. The piece is a revision of the familiar version of the passion Bach had composed the previous year. The 1725 version of the passion was performed by the Yale Schola Cantorum in 2006, and was accompanied by several lectures I gave in New Haven and New York City.
    [Show full text]
  • LUTHERAN Bach Cantata Sunday
    LUTHERAN ACADEMY & FESTIVAL Bach Cantata Sunday The Eighth Sunday after Pentecost | Sunday, 14 July 2013 Service of Holy Communion Bach Cantata Sunday + Eighth Sunday after Pentecost + 14 July 2013 — 10:30AM Lutheran Summer Music Academy and Festival Today’s Texts It is easy to miss the shocking nature of this morning's parable if we think that this story only teaches us to imitate the Samaritan. The parable says so much more about God, our relationship to God, and the lengths to which God will go to reach out to us. Through the image of the Samaritan, Jesus lifts up a surprising rescuer as an image of our God who relentlessly cares for those in need. Could it be that we are meant to identify not with the Samaritan or even the lawyer to whom Jesus speaks the parable, but rather with the man who is hopeless and left for dead? Could it be that Christ is the good Samaritan who embraces us with the tender compassion of God? Jesus is not just giving us a comfortable morality tale reminding us to be nice, helpful, generous people. Instead Jesus is proclaiming the good news of the kingdom. God's grace comes to us through the cross, and our baptism into Jesus' death and resurrection. God's grace comes to us even—and especially—when we are at our worst, left for dead, bleeding and dying in life's many ditches. Even when we cannot or will not cry out, mercy and grace come into our lives through Jesus. This powerful message of Christ's death and resurrection is reinforced in Bach’s Cantata #4, Christ lag in Todesbanden.
    [Show full text]
  • Assemble Your Own All -Transistor
    ASSEMBLE YOUR OWN BACH PASSIONS AND ORATORIOS ALL -TRANSISTOR Continued front preceding page from works other by Bach- principally Part II, it is as though a ray of sunshine Ycit the Trauerode -and fitted to as many had burst through clouds. Both Fritz portions of a libretto of the St. Mark Wunderlich, tenor, and Franz Crass, bass, Passion that Bach is known ELECTRONIC ORGAN to have used are on the same high level as the ladies. but whose music has been lost. The re- Wunderlich sings both the Evangelist's sult is plausible; some of the music, es- recitatives and the tenor arias with an pecially two big choruses from the Trau- unforced lyricism; in the long phrases 3 NEW MODELS erode, is very fine, and we may have of " Frolle Hirten" ( Part he Recital II) holds $1500 here a small portion of a third Passion Consolette Il $850 his own very well with the obbligato Spinet $550 by Bach. The solo singing is good enough, flute. Crass's voice lacks the brass needed but the two great choruses have been bet- for the trumpet aria in Part I but in ter performed on records in their other every other respect his performance is incarnation. entirely satisfactory. Chorus and orches- .St. A Luke Passion attributed to Bach tra are first -rate. Except for the over - is available on Lyrichord 110 or 7110, prominent sopranos in one chorus ( "Ehre This is the all - three discs. in a performance conducted sei Gott." Part II), the balances are just new, all- transis- by George Barati.
    [Show full text]
  • Our Lady of Guadalupe Church 900 West La Habra Boulevard ● La Habra, California 90631
    Our Lady of Guadalupe Church 900 West La Habra Boulevard ● La Habra, California 90631 Sunday Masses / Misas Dominicales Saturday Anticipatory / Sábado Anticipatoria 5:30 p.m.—English 7:00 p.m.—Español Sunday / Domingo: 6:30 a.m.—English 11:15 a.m.—English 7:45 a.m.—Español 1:00 p.m.—Español 9:30 a.m.—English 5:30 p.m.—English (Youth) Weekday Masses / Misas entre Semana: Monday/Lunes: 7:45 a.m.—English 5:30 p.m.—English Tuesday/Martes: 7:45 a.m.—English Wednesday/Miércoles: 7:45 a.m.—English 5:30 p.m.—English Thursday/Jueves: 7:45 a.m.—English Friday/Viernes: 7:45 a.m.—Español 5:30 p.m.—English Confessions / Confesiones: Saturday/Sábado: 4:00 p.m. Monday/Lunes: 8:15 a.m. December 17, 2017 Third Sunday of Advent Parish Staff / Personal Parroquial (562) 691-0533 olglahabra.org Rev. Edward Becker, Pastor Parish Office Hours / Rev. Benjamin Hoang, Parochial Vicar Horario de la Oficina Parroquial: Rev. Ruben Ruiz, Parochial Vicar Monday—Thursday: 8:30 am—7:30 pm Rev. Msgr. Justin MacCarthy, Pastor Emeritus de Lunes a Jueves Deacon José Luís Rodriguez, Deacon Friday & Saturday: 8:30 am—5:30 pm Deacon José Manuel Chavez, Deacon Viernes y Sábado Sunday / Domingo: 8:30 am—1:00 pm Scott Miller, Business Manager Doris von Rotz, Liturgy Director and Communications Adoration of the Blessed Sacrament: Director First weekday of each month Stephanie Ruiz, Director of Faith Formation for Pre- Adoración de la Santísimo Sacramento: school and Elementary Primer día laborable de cada mes Ray Hernandez, Youth Minister and Director of Faith For Baptisms, Weddings, Funerals and other Sacra- Formation for Junior High, High School and Young ments, please check the parish website or call the Adults parish office for more information.
    [Show full text]
  • Anmerkungen Einleitung
    ),- 7dc[hakd][d ;_db[_jkd] 1 Erdmann Neumeister hatte in Leipzig Poetik-Vorlesungen gehalten, die er Hu- nold zur Verfügung stellte, da er sie als Pfarrer nicht selbst publizieren wollte. Hunold bringt diese Poetik unter seinem Pseudonym Menantes 1707 erstmals heraus. Menan- tes: Die Allerneueste Art, zur Reinen und Galanten Poesie zu gelangen. Allen Edlen und die- ser Wissenschafft geneigten Gemühtern, zum vollkommenen Unterricht, mit überaus deutlichen Regeln und angenehmen Exempeln ans Licht gestellet. Hamburg 1728/1707. Siehe das ge- samte Kapitel XIX. Von der Opera. S. 394–414, hier S. 412. Zur Würdigung und Analy- se dieser Poetik siehe Viswanathan, Ute-Maria Suessmuth: Die Poetik Erdmann Neu- meisters und ihre Beziehung zur barocken und galanten Dichtungslehre. University of Pittsburgh 1989, S. 86f. Im Folgenden werden die Quellentexte bei der Erstzitation aus- führlich mit bibliographischen Angaben versehen, danach gibt es Kurztitel. 2 Neumeister hat das Libretto von Thomas Corneille zur Oper Bellerophon Paris 1679 übersetzt. Diese Übersetzung haben Hunold und Barthold Feind rezipiert, die beide zwischen 1702 und 1706 in Hamburg in derselben Wohnung lebten. Zu dieser Zeit war Hunold im Besitz von Neumeisters Manuskript. Vgl. Viswanathan, 1989, S. 92f und FN 108, S. 144. Feind arbeitete Bellerophon um zu einer Huldigungsoper an- lässlich der Hochzeit des preußischen Königs Friedrichs I. mit der Mecklenburgischen Prinzessin Sophie Louise. D-Hs 124 in MS 639/3:7. Vgl. Marx, Hans Joachim; Schrö- der, Dorothea: Die Hamburger Gänsemarkt-Oper. Katalog der Textbücher (1678– 1748). Laaber 1995, S. 80. 3 Vgl. Martens, Wolfgang: Die Botschaft der Tugend. Die Aufklärung im Spiegel der deutschen Moralischen Wochenschriften.
    [Show full text]
  • Johann Kuhnau Complete Sacred Works V Opella Musica · Camerata Lipsiensis Gregor Meyer
    Johann Kuhnau Complete Sacred Works V Opella Musica · camerata lipsiensis Gregor Meyer cpo 555 260_2 Booklettest.indd 1 04.11.2019 08:46:14 Gregor Meyer (© Jens Gerber) cpo 555 260_2 Booklettest.indd 2 04.11.2019 08:46:14 Johann Kuhnau (1660-1722) Die Geistlichen Werke Vol. 5 Complete Sacred Works Vol. 5 Gott sei mir gnädig nach deiner Güte 11'26 [SATB, 2 Vl, 2 Va, Fg, Bc] 1 Gott, sei mir gnädig nach deiner Güte 2'12 2 Wasche mich wohl von meiner Missetat 1'19 3 Denn ich erkenne meine Missetat 0'22 4 An dir allein hab ich gesündiget 2'08 5 Siehe, ich bin aus sündlichem Samen gezeuget 2'40 6 Lass mich hören Freud und Wonne 2'48 Ich habe Lust abzuscheiden [SATB, Ob, Tr, 2 Vl, Va, Fg, Bc] 15'49 7 Ich habe Lust abzuscheiden 3'25 8 Wie drücket mich des kranken Leibes Bürde! 2'00 9 Es ist genug 0'44 10 Gesetzt, ich bin kein alter Simeon 0'48 11 Es ist genug 1'59 cpo 555 260_2 Booklettest.indd 3 04.11.2019 08:46:15 12 Selig sind die Toten 0'49 13 Wie lieblich klingt ihr Sterbe-Glocken 4'04 14 Mit Fried und Freud ich fahr dahin 2'03 Erschrick, mein Herz, vor dir [SATB, 2 Vl, Va, Fg, Bc] 16'26 15 Sonata 1'01 16 Erschrick, mein Herz, vor dir 1'45 17 Ach, ich bin unrein unrein, krank und matt 3'03 18 Doch g’nug, dass mich die Krankheit nicht in Verzweiflung stürzt 1'43 19 Lieber Meister, hilf mir Armen 2'45 20 Gottlob! 1'16 21 Schnöder Undank 1'31 22 Ich aber kehre mit dem Samariter um 1'32 23 Gott, mein Arzt, mein wahres Leben 1'52 Weicht, ihr Sorgen, aus dem Herzen [S, 2 Vl, Va, Bc] 12'44 24 Weicht, ihr Sorgen, aus dem Herzen 2'43 25 Ich bleib
    [Show full text]
  • Expanding the Choral Conductor's Horizon
    ABSTRACT Title of Dissertation: EXPANDING THE CHORAL CONDUCTOR’S HORIZON: THE APPLICATION OF SELECTED LITERARY THEORIES TO THE PROCESS OF CHORAL SCORE STUDY Gary B. Seighman, Doctor of Musical Arts, 2009 Dissertation directed by: Professor Edward Maclary School of Music The main premise of this document is that the various movements associated with literary theory can provide unique interpretative insights for the modern choral conductor during score study. Traditionally, score study involves making performance decisions based upon formal analysis, study of performance practices, examination of historical and stylistic information, and practical ensemble considerations. By adopting a stance that also acknowledges elements offered by literary theory, the conductor can begin to uncover those elements in the music that maximize the potential for the singer to have a meaningful musical experience. Literary theory deals critically with the process of interpretation and focuses especially on the relationship between the literary text and the reader. On one end of the literary theory spectrum, formalist studies of interpretation place value only on the words and notes and their grammatical relationship with one another while ignoring historical information as a determinant source for meaning. On the other end, Reader-Response Criticism focuses on the attributes of the reader, understood as part of the culture he belongs to, and through his personal background and experiences. Many branches of theory are located in the middle and consider how the properties of a text fuse with a reader’s expectations and guide him to a particular interpretation. The adaptation of these theories to music is not new, as shown by the sizeable corpus of books and articles devoted to musico-literary studies.
    [Show full text]
  • 5178 Bookl:Layout 1 06.05.2013 12:03 Uhr Seite 1 5178 Bookl:Layout 1 06.05.2013 12:03 Uhr Seite 2
    5178 bookl:Layout 1 06.05.2013 12:03 Uhr Seite 1 5178 bookl:Layout 1 06.05.2013 12:03 Uhr Seite 2 FRANZ SCHREKER (1878-1934) DER FERNE KLANG Oper in drei Aufzügen / Opera in 3 Acts Text: Franz Schreker - Gesamtaufnahme / Complete Recording - Grete GABRIELE SCHNAUT Fritz THOMAS MOSER Der alte Graumann VICTOR VON HALEM Frau Graumann BARBARA SCHERLER Der Wirt JOHANN WERNER PREIN Altes Weib JULIA JUON Ein Schauspieler HANS HELM Dr. Vigelius SIEGMUND NIMSGERN Milli / Kellnerin: Barbara Hahn · Mizzi / Ein Mädchen: Gudrun Sieber · Mary / Choristin: Gertrud Ottenthal Ein Individuum: Rolf Appel · Erster Chorist: Peter Haage · Der Graf: Roland Hermann Der Chevalier: Robert Wörle · Der Baron / Zweiter Chorist / Der Polizist: Gidon Saks · Rudolf: Claudio Otelli RIAS KAMMERCHOR · RUNDFUNKCHOR BERLIN (Einstudierung / Chorus Master: Dietrich Knothe) RADIO-SYMPHONIE-ORCHESTER BERLIN GERD ALBRECHT (Dirigent / conductor) Co-Produktion: RIAS Berlin - CAPRICCIO ©+P 1991 / 2013 CAPRICCIO, 1010 Vienna, Austria Made in Austria www.capriccio.at 3 5178 bookl:Layout 1 06.05.2013 12:03 Uhr Seite 3 CD 1 ERSTER AUFZUG / ACT ONE [1] Vorspiel …………………………………………………………………………………………………………. 4:02 1. SZENE / SCENE 1 [2] „Du willst wirklich fort, Fritz“ (Grete, Fritz) …………………………………………………………………. 2:10 [3] „Ein hohes, hehres Ziel schwebt mir vor Augen“ (Grete, Fritz) …………………………………………. 5:37 [4] „Hörst du, wie sie toben“ (Grete, Fritz) …………………………………………………………………….. 2:06 2. SZENE / SCENE 2 [5] „Frau Mama zu Hause?“ (Die Alte, Grete) ………………………………………………………………… 2:10 3. SZENE / SCENE 3 [6] „Was weinst denn?“ (Mutter, Grete) ………………………………………………………………………. 1:36 4. SZENE / SCENE 4 [7] „Nur herein, meine Herren“ ………………………………………………………………………………….. 7:23 (Graumann, Wirt, Schauspieler, Grete, Vigelius, Mutter, Chor) 5. SZENE / SCENE 5 [8] „Fräulein sollten sich‘s überlegen“ (Wirt, Mutter, Grete) ………………………………………………….
    [Show full text]