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Preußens Hofmusik 1, Saison 2020/21 450 JAHRE STAATSKAPELLE BERLIN 1570 — 2020 PREUSSENS HOFMUSIK I WERKE VON Carl Heinrich und Johann Gottlieb Graun Mitglieder des Internationalen Opernstudios MUSIKALISCHE LEITUNG ..................... Matthias Wilke PREUSSENS HOFMUSIK Fr 16. Oktober 2020 20.00 STAATSOPER UNTER DEN LINDEN PROGRAMM Johann Gottlieb Graun (1703–1771) OUVERTÜRE D-DUR Das heutige Konzert im Großen Saal der Staatsoper GRAUNWV A:XI:7 Unter den Linden ist Teil der Jubiläumsfeier zum 450. Jahres- tag der Staatskapelle Berlin – mit den Brüdern Carl Heinrich Carl Heinrich Graun (1704–1759) TE DEUM und Johann Gottlieb Graun werden der Kapellmeister und der für Solisten, Chor und Instrumente Konzertmeister der Königlich Preußischen Hofkapelle, so wie I. Te Deum laudamus sie ab 1740 unter der Regentschaft von Friedrich II. wieder II. Te gloriosus in Berlin bestand, gewürdigt, zwei zentrale Protagonisten III. Tu per orbem der Kapellgeschichte im 18. Jahrhundert und darüber hinaus. IV. Tu Rex gloriae V. Tu, ad liberandum Besuchen Sie die Ausstellung 450 JAHRE STAATS- VI. Tu ad dexteram Dei KAPELLE BERLIN, die bis eine Stunde nach dem Konzert VII. Te ergo quaesumus geöffnet ist! VIII. Salvum fac IX. Et rege eos X. Dignare, Domine XI. In te, Domine, speravi Carl Heinrich Graun VI. CHOR VI. CHOR Tu ad dexteram Dei sedes Du sitzest zur Rechten Gottes in gloria Patris. in deines Vaters Herrlichkeit. TE DEUM Judex crederis Als Richter, so glauben wir, esse venturus. kehrst du einst wieder. I. CHOR UND SOLI I. CHOR UND SOLI VII. ALT SOLO, TENOR SOLO VII. ALT SOLO, TENOR SOLO Te Deum laudamus: Dich, Gott, loben wir, Te ergo quaesumus, Dich bitten wir denn, te Dominum confitemur. dich, Herr, preisen wir. tuis famulis subveni, komm deinen Dienern zur Hilfe, Te aeternum Patrem, omnis terra veneratur. Dir, dem ewigen Vater, huldigt das Erdenrund. quos pretioso sanguine redemisti. die du erlöst mit kostbarem Blut. Tibi omnes angeli, tibi caeli Dir rufen die Engel alle, Aeterna fac cum sanctis tuis In der ewigen Herrlichkeit et universae potestates: dir Himmel und Mächte insgesamt, in gloria numerari. zähle uns deinen Heiligen zu. tibi Cerubim et Seraphim incessabili die Cherubim dir und die Seraphim, voce proclamant: mit niemals endender Stimme zu: VIII. BASS SOLO VIII. BASS SOLO Sanctus, Sanctus, Sanctus Heilig, heilig, heilig Salvum fac populum tuum, Domine, Rette dein Volk, o Herr, Dominus Deus Sabaoth. der Herr, der Gott der Scharen! et benedic hereditati tuae. und segne dein Erbe. Pleni sunt caeli et terra Voll sind Himmel und Erde maiestatis gloriae tuae. von deiner hohen Herrlichkeit. IX. CHOR UND SOLI IX. CHOR UND SOLI Et rege eos, Und führe sie II. CHOR UND SOLI II. CHOR UND SOLI et extolle illos usque in aeternum. und erhebe sie bis in Ewigkeit. Te gloriosus apostolorum chorus, Dich preist der glorreiche Chor der Apostel; Per singulos dies benedicimus te; An jedem Tag benedeien wir dich te prophetarum laudabilis numerus, dich der Propheten lobwürdige Zahl; et laudamus nomen tuum in saeculum, und loben in Ewigkeit deinen Namen, te martyrum candidatus laudat exercitus. dich der Märtyrer leuchtendes Heer; et in saeculum saeculi. ja, in der ewigen Ewigkeit. III. TENOR SOLO III. TENOR SOLO X. SOPRAN SOLO X. SOPRAN SOLO Te per orbem terrarum dich preist über das Erdenrund Dignare, Domine, die isto In Gnaden wolltest du, Herr, an diesem Tag sancta confitetur Ecclesia, die heilige Kirche; sine peccato nos custodire. uns ohne Schuld bewahren. Patrem immensae maiestatis; dich, den Vater unermessbarer Majestät; Miserere nostri, Domine, miserere nostri. Erbarme dich unser, o Herr, erbarme dich unser. venerandum tuum verum et unicum Filium; deinen wahren und einzigen Sohn; Fiat misericordia tua, Domine, super nos, Lass über uns dein Erbarmen geschehen, Sanctum quoque Paraclitum Spiritum. und den Heiligen Fürsprecher Geist. quemadmodum speravimus in te. wie wir auf dich gehofft haben. IV. CHOR IV. CHOR XI. CHOR XI. CHOR Tu Rex gloriae, Christe. Du König der Herrlichkeit, Christus. In te, Domine, speravi: Auf dich, o Herr, Tu Patris sempiternus es Filius. Du bist des Vaters allewiger Sohn. non confundar in aeternum. habe ich meine Hoffnung gesetzt. In Ewigkeit werde ich nicht zuschanden. V. SOPRAN SOLO V. SOPRAN SOLO Tu, ad liberandum suscepturus hominem, Du hast der Jungfrau Schoß nicht verschmäht non horruisti Virginis uterum. bist Mensch geworden, den Menschen zu befreien. Tu, devicto mortis aculeo, aperuisti Du hast bezwungen des Todes Stachel und denen, credentibus regna caelorum. die glauben, die Reiche der Himmel aufgetan. DIE BRÜDER GRAUN UND DIE BERLINER HOFKAPELLE TEXT VON Detlef Giese Unter den preußischen Königen war Friedrich II. (1712–1786) gewiss derjenige, der die größten musikalischen Neigungen besaß. Dass er auf einem zumindest semiprofes- sionellen Niveau Flöte spielte, ist allgemein bekannt, dass er darüber hinaus auch in ansprechender Weise zu komponieren verstand, ebenso. Eine würdige, künstlerisch hochstehende Hofmusik war sein Ziel – nicht umsonst investierte er viel in den Aufbau einer leistungsfähigen Kapelle, in die Verpflich- tung hervorragender Komponisten und Musiker sowie in die Errichtung eines Opernhauses, mit dem sich Berlin schmücken konnte. Hatten die Schönen Künste – und die Musik im Speziellen – unter der Regentschaft seines gestrengen Vaters Friedrich Wilhelm I., dem sogenannten »Soldatenkönig«, an Spree und Havel kaum eine Chance zur Entfaltung, so änderte sich die Situation mit der Thronbesteigung Fried- richs im Jahre 1740. Zu den ersten Aktivitäten des jungen Königs zählte der Auftrag an den Architekten Georg Wen- zeslaus von Knobelsdorff, an der neuen Prachtstraße Unter den Linden mit dem Bau eines Opernhauses zu beginnen. Die eher beschauliche preußische Residenzstadt, die zu dieser Zeit über ca. 100.000 Einwohner verfügte, sollte ein Gebäude und eine Institution von überregionaler Ausstrah- lung erhalten. Mit seinem »Zauberschloss« strebte Friedrich an, alteingesessenen Opernzentren des Deutschen Reiches wie Dresden, München, Hamburg oder Wien Konkurrenz Orien tierung an aktuellen musikalischen Entwicklungen – zu machen. Erstklassige italienische Sängerinnen und Sän- die Hofmusik bekam wieder einen merkwürdig provinziellen ger wurden verpflichtet, um sofort gehobene künstlerische Charakter, während die neuen Tendenzen zunehmend im Qualitätsstandards zu erreichen, auch konnte der Monarch »bürgerlichen« Berlin Fuß fassten und sich verstärkt in dieser auf jene Komponisten und Instrumentalisten bauen, die er Sphäre entfalteten. bereits vor seinem Regierungsantritt um sich gesammelt Um die Mitte des 18. Jahrhunderts kam indes hatte. Während seiner Kronprinzenzeit hatte Friedrich in der Hofmusik die führende Rolle zu. Erklärter Favorit des Ruppin und Rheinsberg, zumeist noch recht junge Musiker Königs war Carl Heinrich Graun, der mit seinen insge- zu einem hochwertigen Ensemble zusammengeführt – der- samt 27 italienischen Opern, die er für Berlin schrieb, auch weil in Berlin die immerhin schon seit dem 16. Jahrhundert rein quantitativ an der Spitze stand. Noch bevor das Haus bestehende Hofkapelle von dem weit weniger kunstsinnigen Unter den Linden vollends fertiggestellt war, wurde es im »Soldatenkönig« weitgehend aufgelöst worden war – lediglich Dezember 1742 eingeweiht: Hofkapellmeister Graun hatte für die Militärmusik wurden noch Mittel und Personen bereit- zu diesem Zweck die Oper seria »Cesare e Cleopatra« kom- gestellt, nicht aber für Opern- und Konzertaufführungen oder poniert. Offenbar entsprach seine lyrisch-empfindsame, das gesellige Musizieren bei Hof und in der Öffentlichkeit. gleichermaßen elegante wie mit einem besonderen Sinn für Unter den Musikern, die Friedrich aus der bran- theatralische Vorgänge aufwartende Musik in hohem Maße denburgischen Provinz nach Berlin bzw. Potsdam gefolgt dem Geschmack des Monarchen, anders sind die zahlreichen, waren, befanden sich neben seinem langjährigen Flötenlehrer jährlich anfallenden Opernaufträge nicht zu verstehen. Und Johann Joachim Quantz nachmals so bekannte Künstler wie auch der Aufstieg Grauns aus kleinen Verhältnissen zu einem Carl Heinrich und Johann Gottlieb Graun, Franz Benda oder der wichtigsten Repräsentanten der italienischen Oper im Carl Philipp Emanuel Bach. In verschiedenen Funktionen – als 18. Jahrhundert und zu einem wohlsituierten Komponisten Kapell- und Konzertmeister, als Cembalisten sowie vor allem und Kapellmeister am Hofe einer europäischen Großmacht als Komponisten – trugen sie maßgeblich zum Aufschwung ist bemerkenswert genug. und zu einer vormals nicht geahnten Blüte der Musikkultur Der aus dem sächsischen Wahrenbrück im Kreis in der preußischen Kapitale bei. Liebenwerda stammende und an der traditionsreichen Dresd- Dass auch abseits dieser »großen Namen« eine ner Kreuzschule umfassend ausgebildete Graun stieß 1736 zu ganze Reihe von originellen Künstlern zu finden waren, die Friedrichs Kapelle, die zu dieser Zeit noch außerhalb Berlins sowohl am Hof als auch in den Adels- und Bürgerhäusern residierte. Er folgte seinem älteren Bruder Johann Gottlieb, der Stadt wirkten, spricht für den allgemein hohen Stand der der als Konzertmeister bereits seit 1732 diesem Ensemble Musikpflege, die – zumindest bis zum Ausbruch des Sieben- angehörte und sich auch als formidabler Komponist erwiesen jährigen Krieges 1756 – das friderizianische Berlin zu einem hatte. Carl Heinrich hatte zuvor am Hof von Herzog August neuen musikalischen Zentrum aufsteigen ließ. Danach jedoch Wilhelm in Braunschweig und Wolfenbüttel gewirkt: Dort war eine gewisse Stagnation zu beobachten:
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  • Finale 2006C
    6 Introduction Johann Gottlieb Graun was born in the small Saxon town of Wahrenbrück in 1702 or 1703, the second of three brothers, each of whom was to become a distinguished musician. He counted among his ancestors an organist and several generations of Protestant pastors, but his father August served a more materialistic cause: he was a tax collec- tor and brewer. Educational possibilities in Wahrenbrück were limited, and all three brothers were sent elsewhere for further education. The eldest, August Friedrich (1698/99-1765) went to Grimma in 1711, at which point he may be allowed to depart from this biographical sketch. Johann Gottlieb and his younger brother Carl Heinrich (1703/4- 1759) remained together, a situation which pertained throughout much of their lives, and which has ever since cau- sed considerable confusion and difficulty in attribution of much of their music. Johann Gottlieb went to the Kreuzschule in Dresden in 1713, and Carl Heinrich followed him there in 1714. This excellent school offered general education with an emphasis on music. It was associated with the Dresden Kreuzkirche, and trained singers for its choir, the Kreuzchor. During his time at the Kreuzschule Graun would have come in contact with the fine musicians of the Dresden court, as well as visitors such as Telemann and J. S. Bach. The Saxon capital was a major political and cultural centre, and its court orchestra was widely admired. Among its finest younger virtuosi was the violinist Johann Georg Pisendel (1687-1755), who was appointed in 1712 and took over as Konzertmeister in 1728.
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