The present recording of Christoph Graupner's Passion Cycle of 1741 concludes on Vol. 4 with the highly expressive cantata for Laetare Sunday GWV 1123-41. Laetare Sunday ("Joy" or "Refreshment" Sunday), the fourth Lenten Sunday, actually assumes a certain special positive status with it's central focus on God's action, which alone can rid human beings of their failings. However, Johann Conrad Lichtenberg, the author of the text, had a different view: here the dominant theme is the inequity of the rulers and judges who pronounce on Jesus while he bears everything with patience. In the end the verdict concerns the collective guilt of humankind, for which there initially seems to be no remedy. Here two things stand out: the decision in favor of two duets (instead of two arias) and the instrumentation of the cantata as a whole. The blend of instrumental color renders audible what is a direct musical realization of the textual content. The selection of chorales from Graupner's oeuvre between 1713 and 1751 illustrates the extraordinary variety of his compositional production, and the constantly changing coloration brought about by the nuanced instrumentation conveys this to the listener with special clarity. "The Baroque boom - here it in fact has brought new gems to light" (klassik-heute. Com of Vol. 3).
The present recording of Christoph Graupner's Passion Cycle of 1741 concludes on Vol. 4 with the highly expressive cantata for Laetare Sunday GWV 1123-41. Laetare Sunday ("Joy" or "Refreshment" Sunday), the fourth Lenten Sunday, actually assumes a certain special positive status with it's central focus on God's action, which alone can rid human beings of their failings. However, Johann Conrad Lichtenberg, the author of the text, had a different view: here the dominant theme is the inequity of the rulers and judges who pronounce on Jesus while he bears everything with patience. In the end the verdict concerns the collective guilt of humankind, for which there initially seems to be no remedy. Here two things stand out: the decision in favor of two duets (instead of two arias) and the instrumentation of the cantata as a whole. The blend of instrumental color renders audible what is a direct musical realization of the textual content. The selection of chorales from Graupner's oeuvre between 1713 and 1751 illustrates the extraordinary variety of his compositional production, and the constantly changing coloration brought about by the nuanced instrumentation conveys this to the listener with special clarity. "The Baroque boom - here it in fact has brought new gems to light" (klassik-heute. Com of Vol. 3).
761203534821

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Format: CD
Label: CPO RECORDS
Rel. Date: 07/10/2020
UPC: 761203534821

Passion Cantats 4
Artist: Ex Tempore
Format: CD
New: in stock 14.99
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1. Die Gewaltigen Raten, Gwv 1123/41 (Das Leiden Jesu Vor Dem Geist Und Weltlichen Gericht): No. 1, Die Gewaltigen Raten Nach Ihrem
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2. Die Gewaltigen Raten, Gwv 1123/41 (Das Leiden Jesu Vor Dem Geist Und Weltlichen Gericht): No. 2, Dies Trifft Bei Jesus Ritern Ei
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3. Die Gewaltigen Raten, Gwv 1123/41 (Das Leiden Jesu Vor Dem Geist Und Weltlichen Gericht): No. 3, Ach Jesu, Was Musst Du Ertragen
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4. Die Gewaltigen Raten, Gwv 1123/41 (Das Leiden Jesu Vor Dem Geist Und Weltlichen Gericht): No. 4, So Büßt Mein Jesus F
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5. Die Gewaltigen Raten, Gwv 1123/41 (Das Leiden Jesu Vor Dem Geist Und Weltlichen Gericht): No. 5, Bedenk's, Mein Herz
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6. Die Gewaltigen Raten, Gwv 1123/41 (Das Leiden Jesu Vor Dem Geist Und Weltlichen Gericht): No. 6, Ein Heide Sieht Die Unschuld Je
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7. Die Gewaltigen Raten, Gwv 1123/41 (Das Leiden Jesu Vor Dem Geist Und Weltlichen Gericht): No. 7, Was Ist Die Ursach' Aller S
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8. Kommt Lasst Uns Mit Jesu Gehen, Gwv 1119/22: Hab Ich Dich In Meinem Herzen
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9. Ach Lass Dich Unsers Elends Jammern, Gwv 1119/37: Alsdann So Wird Ich Deine Huld Betrachten
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10. Wo Gehet Jesus Hin, Gwv 1119/39 (Excerpts): No. 3, Herzliebster Jesu, Was Hast Du Verbrochen
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11. Wo Gehet Jesus Hin, Gwv 1119/39 (Excerpts): No. 7, Dies Alles, Obs Für Schlecht Zwar Ist Zu Schätzen
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12. Wer Unter Dem Schirm Des Höchsten, Gwv 1120/51: No. 7, Trotz Dem Alten Drachen
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13. Dennoch Bleib Ich Stets An Dir, Gwv 1121/34: No. 6, Hoff, O Du Arme Seele
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14. Befiehl Dem Herrn Deine Wege, Gwv 1123/36 (Excerpts): Ertöt Uns Druch Dein Güte
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15. Befiehl Dem Herrn Deine Wege, Gwv 1123/36 (Excerpts): Befiehl Du Deine Wege
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16. Ach Gott Vom Himmel Sieh Darein, Gwv 1124/37: No. 1, Ach Gott, Vom Himmel Sieh' Darin
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17. Ich Habe Mir Vorgesetzt, Gwv 1124/38: Gott Ist Gerecht Und Allzeit Gut
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18. Die Wahrheit Findet Keinen Glauben, Gwv 1124/44: Sie Wüten Fast Und Fahren Her
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19. Jesus Stirbt Ach Soll Ich Leben, Gwv 1125/13 (Excerpts): Jesus Stirbt Ach Soll Ich Leben
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20. Jesus Stirbt Ach Soll Ich Leben, Gwv 1125/13 (Excerpts): Jesus Stirbt Ach Bittres Sterben
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More Info:

The present recording of Christoph Graupner's Passion Cycle of 1741 concludes on Vol. 4 with the highly expressive cantata for Laetare Sunday GWV 1123-41. Laetare Sunday ("Joy" or "Refreshment" Sunday), the fourth Lenten Sunday, actually assumes a certain special positive status with it's central focus on God's action, which alone can rid human beings of their failings. However, Johann Conrad Lichtenberg, the author of the text, had a different view: here the dominant theme is the inequity of the rulers and judges who pronounce on Jesus while he bears everything with patience. In the end the verdict concerns the collective guilt of humankind, for which there initially seems to be no remedy. Here two things stand out: the decision in favor of two duets (instead of two arias) and the instrumentation of the cantata as a whole. The blend of instrumental color renders audible what is a direct musical realization of the textual content. The selection of chorales from Graupner's oeuvre between 1713 and 1751 illustrates the extraordinary variety of his compositional production, and the constantly changing coloration brought about by the nuanced instrumentation conveys this to the listener with special clarity. "The Baroque boom - here it in fact has brought new gems to light" (klassik-heute. Com of Vol. 3).