In his Passion oratorio Christus am Ölberge [The Mount of Olives], Beethoven succeeded firstly in building on an 18th century tradition, but also in putting his own personal stamp on the nascent genre of German-language oratorio. In his composition he looked towards contemporary opera. Christus am Ölberge is therefore characterized less by religious devotion and much more by the dramatic realization of a specific situation in the Passion story in deeply-felt musical scenes.
Experience of singing Bach’s Passions only helps with this work to a limited extent: instead of chorales, here there are choruses of warriors and youths who interact in a dramatic scene; later there is a chorus of angels who rejoice, and as well as this, the text is new – let’s turn to the music, there is a lot to get to grips with!
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Performers: Maria Venuti (soprano), Keith Lewis (tenore), Michel Brodard (basso) – Gaechinger Cantorey Stuttgart, Bach-Collegium Stuttgart – Helmuth Rilling
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Composer
Ludwig van Beethoven
| 1770-1827Ludwig van Beethoven was without doubt one of the most influential composers in the history of music. His works formed the culmination of many genres – particularly instrumental – of Viennese classicism, and laid the foundation for the following decades. But Beethoven’s vocal works set standards too: the late Missa Solemnis is one of the most impressive choral works of its time; but his earlier Mass in C also opens up new worlds of expression for the liturgical text, and set the benchmark for the further development in the composition of the mass. And with the final chorus of the Ninth Symphony, the setting of Schiller’s Ode to Joy, Beethoven created one of the most frequently-performed and best known choral pieces of all, writing a timeless musical memorial to himself. Personal details
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Songwriter / Librettist
Franz Xaver Huber
| 1755-1814
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Translator
John Troutbeck
| 1832-1899
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Ensemble
Gächinger Kantorei Stuttgart
Since August 2013, the Gächinger Kantorei Stuttgart has been under the artistic direction of Hans-Christoph Rademann, the director of the Internationale Bachakademie Stuttgart. Under the patronage of the Bachakademie, the choir plays a decisive role in a wide range of concerts, guest performances and recordings for both radio and CD. The center of the choir’s activities consists, in addition to its manifold activities in the MUSI KFEST UTT GART , of a large concert series with oratorio programs ranging from Schütz to commissioned contemporary works. The interpretation of vocal works by Johann Sebastian Bach has always been a special focus of the choir. The Gächinger Kantorei Stuttgart, which is named after a small village in the Swabian Alb and was founded by Helmuth Rilling in 1954, has ranked as one of the outstanding concert choirs of the world for decades. In addition to regular performances with its partner ensemble, the Bach-Collegium Stuttgart, the choir frequently works together with orchestras such as the Vienna Philharmonic, the New York Philharmonic and the Israel Philharmonic. It also has a particularly close relationship with the Stuttgart Radio Symphony Orchestra of the SWR. The choir is regularly conducted by guest conductors such as Masaaki Suzuki, Krzysztof Penderecki, Alexander Liebreich and Sir Roger Norrington. Guest performances have led the ensemble to, among others, China and Latin America, as well as to the large festivals Salzburg, Lucerne, Prague, New York, Paris, London, Vienna and Seoul. The choir has recorded hundreds of CDs which include Bach’s complete vocal works, diverse 18th century oratorios as well as several world premieres including works by Penderecki, Pärt and Rihm. Personal details
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Ensemble
Bach-Collegium Stuttgart
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Conductor
Helmuth Rilling
| 1933