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바흐: 요한 수난곡
Johann Sebastian Bach (1685-1750)
1. (Nr.1: Chor) Herr, unser Herrscher
Album Title: Bach: Johannes-Passion
Composer: Johann Sebastian Bach (1685-1750)
Conductor: Karl Forster
Performer: Tenor Evangelist: Fritz Wunderlich 프리츠 분더리히
Bass Jesus: Dietrich Fischer-Dieskau 디트리히 피셔 디스카우
Soprano Arias: Elisabeth Grümmer
Contralto Arias: Christa Ludwig 크리스타 루드비히
Tenor Arias: Josef Traxel
Bass Pilatus & Petrus, Arias: Karl Christian Kohn
Soprano Maid: Lisa Otto 리사 오토
Tenor Servant: Horst Schäfertöns
Chor: Chor der St. Hedwigs-Kathedrale Berlin
Orchestra: Berliner Symphoniker
Audio CD (March 5. 1992)
Number of Discs: 2
Spars Code: ADD/n/a
Recorded in: Stereo
Recording Data: Jun 7, 12, 24 & 25, 1961; Oct 1961
Recorded at Grunewaldkirche, Berlin, Germany.
Label: EMI Classics Germany
Copyright: (C) 1992 EMI MUSIC GERMANY GmbH & Co. KGThis label copy information is the subject of copyright protection. All rights reserved.(C) EMI MUSIC GERMANY GmbH & Co. KG
The DCD was released by Emi Classics, P 1962/C 1992.
Total Length: 1:57:41
Genres: Christian & Gospel, Classical
Saint John Passion, BWV 245
Comporser Johann Sebastian Bach (1685 - 1750)
Conductor Karl Forster
Performer Josef Traxel (Tenor)
Christa Ludwig (Mezzo Soprano)
Lisa Otto (Soprano)
Elisabeth Grümmer (Soprano)
Dietrich Fischer-Dieskau (Baritone)
Fritz Wunderlich (Tenor)
Karl [bass baritone] Kohn (Bass)
Ensemble St. Hedwig's Cathedral Choir
Orchestra Berlin Symphony Orchestra
Period Baroque
Written 1724; Leipzig, Germany
Language German
Disc 1
Part I
1. (Nr.1: Chor) Herr, unser Herrscher (10'19")
2. (Nr.2: Evangelist, Jesus) Jesus ging mit seinen Jüngern (1'16")
3. (Nr.3: Chor) Jesum von Nazareth (0'12")
4. (Nr.4: Evangelist, Jesus) Jesus spricht mit ihnen (0'43")
5. (Nr.5: Chor) Jesum von Nazareth (0'11)
6. (Nr.6: Evangelist, Jesus) Jesus antwortete: Ich hab's euch gesagt (0'31")
7. (Nr.7: Choral) O große Lieb (0'57")
8. (Nr.8: Evangelist, Jesus) Auf daß das Wort erfüllet würde (1'25")
9. (Nr.9: Choral) Dein Will' gescheh' (0'52")
10. (Nr.10: Evangelist) Die Schar aber und der Oberhauptmann (0'51")
11. (Nr.11: Aria - Alto) Von den Stricken meiner Sünden (5'36")
12. (Nr.12: Evangelist) Simon Petrus aber folgete Jesus nach (0'18")
13. (Nr.13: Aria - Soprano) Ich folge dir gleichfalls mit freudigen Schritten (3'58")
14. (Nr.14: Evangelist, Ancilla, Petrus, Jesus, Servus) Derselbige Jünger war dem Hohenpriester bekannt (3'53")
15. (Nr.15: Choral) Wer hat dich so geschlagen (1'53")
16. (Nr.16: Evangelist) Und Hannas sandte ihn gebunden (0'19")
17. (Nr.17: Chor) Bist du nicht seiner Jünger einer? (0'29")
18. (Nr.18: Evangelist, Petrus, Servus) Er leugnete aber und sprach (1'44")
19. (Nr.19: Aria - Tenor) Ach, mein Sinn, wo willst du endlich hin (3'18")
20. (Nr.20: Choral) Petrus, der nicht denkt zurück (1'22")
Part II
21. (Nr.21: Choral) Christus, der uns selig macht (1'06")
22. (Nr.22: Evangelist) Da führeten sie Jesum (0'42")
23. (Nr.23: Chor) Wäre dieser nicht ein Übeltäter (1'01")
24. (Nr.24: Evangelist, Pilatus) Da sprach Pilatus zu ihnen (0'14")
25. (Nr.25: Chor) Wir dürfen niemanden töten (0'39")
26. (Nr.26: Evangelist, Pilatus, Jesus) Auf daß erfüllet würde das Wort Jesu (2'15")
27. (Nr.27: Choral) Ach, großer König (1'26")
28. (Nr.28: Evangelist, Pilatus, Jesus) Da sprach Pilatus zu ihm (1'38")
29. (Nr.29: Chor) Nicht diesen, sondern Barrabam! (0'11")
30. (Nr.30: Evangelist) Barrabas aber war ein Mörder (0'29")
31. (Nr.31: Arioso - Bass) Betrachte, meine Seel', mit ängstlichem Vergnügen (2:10)
32. (Nr.32: Aria - Tenor) Erwäge, wie sein blutgefärbter Rücken (8'11")
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Disc 2
1. (Nr.33: Evangelist) Und die Kriegsknechte flochten (0'18")
2. (Nr.34: Chor) Sei gegrüßet, lieber Judenkönig (0'37")
3. (Nr.35: Evangelist, Pilatus) Und gaben ihm Backenstreiche (1'00")
4. (Nr.36: Chor) Kreizige, kreuzige! (0'53")
5. (Nr.37: Evangelist, Pilatus) Pilatus sprach zu ihnen (0'18")
6. (Nr.38: Chor) Wir haben ein Gesetz (1'21")
7. (Nr.39: Evangelist, Pilatus, Jesus) Da Pilatus das Wort hörete (1'31")
8. (Nr.40: Choral) Durch dein Gefängnis, Gottes Sohn (0'58")
9. (Nr.41: Evangelist) Die Juden aber schrieen (0'05")
10. (Nr.42: Chor) Lässest du diesen los (1'10")
11. (Nr.43: Evangelist, Pilatus) Da Pilatus das Wort hörete (0'48")
12. (Nr.44: Chor) Weg, weg mit dem, kreuzige ihn! (0'57")
13. (Nr.45: Evangelist) Spricht Pilatus zu ihnen (0'16")
14. (Nr.46: Chor) Wir haben keinen König denn den Kaiser (0'13")
15. (Nr.47: Evangelist) Da überantwortete er ihn ((0'56")
16. (Nr.48: Aria - Bass mit Chor) Eilet, ihr angefocht'nen Seelen - Wohin? (4'46")
17. (Nr.49: Evangelist) Allda kreuzigten sie ihn (1'27")
18. (Nr.50: Chor) Schreibe nicht: der Juden König (0'36")
19. (Nr.51: Evangelist, Pilatus) Pilatus antwortet: Was ich geschrieben habe (0'17")
20. (Nr.52: Choral) In meines Herzens Grunde (0'57")
21. (Nr.53: Evangelist) Die Kriegsknechte aber (0'36")
22. (Nr.54: Chor) Lasset uns den nicht zerteilen (2'00")
23. (Nr.55: Evangelist, Jesus) Auf daß erfüllet würde die Schrift (1'52")
24. (Nr.56: Choral) Er nahm alles wohl in acht (1'07")
25. (Nr.57: Evangelist, Jesus) Und von Stund' an nahm sie der Jünger zu sich (1'30")
26. (Nr.58: Aria - Alt) Es ist vollbracht! - der Held aus Juda (6'13")
27. (Nr.59: Evangelist) Und neigte das Haupt und verschied (0'29")
28. (Nr.60: Aria - Bass mit Chor) Mein teurer Heiland, laß dich fragen - Jesu, der du warest tot (4'35")
29. (Nr.61: Evangelist) Und siehe da, der Vorhang im Tempel zerriß (0'30")
30. (Nr.62: Arioso - Tenor) Mein Herz, in dem die ganze Welt (1'04")
31. (Nr.63: Aria - Soprano) Zerfließe, meine Herze (6'32")
32. (Nr.64: Evangelist) Die Juden aber, dieweil es der Rüsttag war (2'26")
33. (Nr.65: Choral) O hilf, Christe, Gottes Sohn (1'08")
34. (Nr.66: Evangelist) Darnach bat Pilatum Joseph von Arimathia (2'36")
35. (Nr.67: Chor) Ruht wohl, ihr heiligen Gebeine (7'26")
36. (Nr.68: Choral) Ach Herr, laß dein lieb' Engelein (2'13")
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Karl Forster
"Born: August 1, 1904 - Grossklenau near Tirschenreuth, Germany
Died: August 13, 1963 - Tirschenreuth, Germany"
The German choir conductor, cathedral kapellmeister and composer, Karl Forster. studied from 1915 to 1923 at Humanisti High School of the Benediktinerklosters Metten. From 1923 to 1928 he attended philosophical-theological studies in Regensburg, 1928 Priest award, 1928-29 Kaplan in Kulmain. From 1929 to 1933 he studied at the State Academy of Fine Arts and at the Ludwig Maximilian’s University Munich: Church music (Ludwig Berberich), composition (Joseph Haas), music science (Gustav Friedrich Schmidt, R. Ficker), 1933 graduation, 1933-34 Präfekt and lecturer at the Church School of music Regensburg.
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Karl Forster led the Chor der St. Hedwigs-Kathedrale Berlin (Choir of the of St. Hedwig’s Cathedral Berlin) from 1934 to 1963 as a cathedral kapellmeister. Forster became in 1951 papal secret treasurer and in 1961 papal Hausprälat. From 1952 to 1963 he was director of music studies at the Free and Technical University of Berlin and directed the College of Music there. Forster received the music prize of the city Berlin in 1953 - already after few years.
Karl Forster could present the newly formed boy choir of the St. Hedwig’s Cathedral in the considerable strength of almost 60 boys of the public. He gave it gradually occupation conditions, which distinguished its performances later. Besides, the mixed choir continued to exist, which had at that time about 35 members. Both choirs became detached in the service at the cathedral, and to the big concert meetings in the Philharmonic Concert Hall. At that time both groups of choirs united to impressive performances - the work with the Chor der St. Hedwigs-Kathedrale Berlin meant even in hard time everything for Forster. It was his life's work. The members of the choir sacrificed all their strength, for he used them regardless of the ever more unfavorably becoming layer even of this singing community. From the effects of the National Socialist policy and finally the war suffered above all the boy choir, in 1943 it was forbidden by the ruling powers. The final end came in 1943 with the destruction of the St. Hedwig’s Cathedral.
In July 1945 the choir could sing its first performance in the new Berlin’s broadcast, in September 1945 the already formed choir gave again its first a-cappella-concert. The Chor der St. Hedwigs-Kathedrale Berlin closed up almost like naturally in destroyed Berlin representative functions: As only intact choir of the post-war period it sang in services and concerts the great works of the choir literature and became in the simple sense of the word an Berlin’s Ambassador of the spirit - with the establishment of the GDR the St. Hedwig’s Cathedral fell to the East sector, when Berlin became the ‘four-sector city’. The choir was attached now the Johannes-Basilika in Kreuzberg; the rehearsals took place in the hall of the St. Clemens Church. The choirists originating from the East sector became however in the course of the years ever more with difficulty, after 13 August 1961 not possibly to come to rehearsals and performances to West Berlin - hardly surveyable is the abundance of its broadcasting, its concert tours and above all its records, which belonged to the highest level of performance and production at that time and praised in the whole world the name of Berlin. The concerts of the Chor der St. Hedwigs-Kathedrale became permanent constituent of the Berlin’s music life, because its repertoire was large enough, from the old masters over the classical authors up to the modern ones like Igor Stravinsky, Arnold Schoenberg, Paul Hindemith, Luigi Dallapiccola, Blacher and Benjamin Britten.
The criticism particularly emphasizes that it by its strict, conscious the contribution to the style development by their musical interpretation of Bach’s programmes. on the basis of the a-cappella-singing Forster developed a choir style, which is characterized by stimulous gloss, distinct well-being sound and great objectivity of the lecture - the actual creative abundance got its working by the extremely lucky connection of the artist, humans and the priest Forster his artistic inspiration originated directly from the faith, which it served as a priest. So he knew the liturgical character of its office and its choir transferred to the concert hall. The gloss-full high point of the tours was a concert, which the choir was allowed to give in May 1961 in a private audience for Pope Johannes XXIII. For the Renaissance it was the first time that a concert in the private room of the Vatican took place.
Karl Forster's work for the modern media of broadcast and record production determined a further page of its work. Particularly in recordings, for which he had responsibility ever more frequently not only than choir conductor, but also the comprehensive conductor, he interpreted the great works of sacred music yardstick-setting. - the stylistic periphery, which Forster with his choir paced down, covered an amazing abundance of contrasts. His mental homeland was beside the Gregorian and the Netherlands poliphony, the world of Bruckner. However Forster had to fulfill the most difficult functions with eorks of the contemporary music, from Edward Elgar's Dream of the Gerontius, through I. Stravinsky's Symphony of Psalms and Béla Bartók's Cantata Profana Die Zauberhirsche, up to Luigi Dallapiccola’s Canti di Prigionia. |
 잘생긴 꾀꼬리 꽃미남 리차드강 어리버리 돈키호테.
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