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专辑名称: Heinichen: 2 Passion Oratorios
创作艺人: [Michael Alexander Willens, Die Kölner Akademie]
音乐流派: Classical|古典
专辑规格: 1碟30首
出品公司: CPO
发行时间: 2022/5/6
官方标价: £8.59 （会员免费下载）
域名语言: [it] （AI检测）
曲目介绍：
Come? S'imbrune il ciel
E lumi e cor non ha chi lagrimar
Ben ha cor di Giudeo
Mio Gesù, dolce adorato
Che miro?
O qual dura penar!
Genti, genti
Addolorata ed adorate Madre
Madre, non isdegnar
Madre in Amor
Lato, mani, piè forati
O ciel?
Croce mal nata
Qual rigore di padre!
Miseri ch'habbiam fatto?
Mia Sion, che facesti?
Piani popolo mio
Alla croce alme redente
Sinfonia
L'aride tempie ignude
Di mia vittoria su questa tomba
Non dir superbo Gloria dell'armi tue d'un dio la morte
Di Giesù tenere viscere
E non ti sfacci cuor dispietato
Marmi, ch'estino il sommo ben chiudete
Lagrime avventurose
Qual pianta
Erger ti ardisci al favellar di spene
Per accendere altrui del vivo zelo
Quel core sincere sol giunge
详细介绍:
The Passion Music Johann David Heinichen wrote for the Dresden court is a document of cultural and confessional openness of the Saxon residence, and his two Italian oratorios heard here are surrogates of large-scale Passion music.
Come? S%27imbruna il ciel – composed in 1728 – is the latest of the sepolcri, his other Passion L%27aride tempie ignude the first of the sepolcri to survive from Heinichen in Dresden. Both texts are by Stefano Pallavicino, who had been active at the Dresden court since 1719.
In the first-mentioned Passion, the meditation on the Passion event recurs to the experience of the earthquake that, according to biblical accounts, occurred immediately after the death of Jesus. The description of the violent natural events gives Mary the Mother of God, John (Jesus%27 favorite disciple), and Mary Magdalene an opportunity to reflect on their relationship to the Crucified. Different aspects of affection and love are thematized.
The meditation on the Passion event in the second-named Passion is designed as an allegorical play of death (Morte) and hope (Speranza), divine love (Amor divino) and penance (Poenitenza), and follows an easily comprehensible dramaturgy. The affinity to opera seria is evident in both passions not only in the arrangement of the pieces. The keys, gestures and instrumentation also correspond to the models familiar from baroque musical theater. Full of affect! © CPO
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