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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text (without music) for download, html file, Singing text, english translationhtml file, Singing text, english translation (Sample)1a Introduzione
1b Recitativo Christus
My Father, O my Father, be Thou my comfort,
give me strength to bear!
Now is the hour approaching,
when I suffer.
I chose to meet this hour,
before the world, at Thy command,
in order newly stood.
I hearken to the voices of Thy seraphs;
they cry aloud,
who will, in place of man,
before Thy judgmentseat appear?
O Father! I appear at this their call.
A Saviour will I be,
atoning, I alone, for all mankind.
How could this feeble race,
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text (without music) for download, html file, Singing text, originalhtml file, Singing text, original (Sample)
1a Introduzione
1b Recitativo Christus
Jehova, du, mein Vater!
O sende Trost und Kraft und Stärke mir!
Sie nahet nun, die Stunde meiner Leiden,
von mir erkoren schon,
noch eh die Welt auf dein Geheiß
dem Chaos sich entwand.
Ich höre deines Seraphs Donnerstimme.
Sie fordert auf,
wer statt der Menschen sich
vor dein Gericht jetzt stellen will.
O Vater!
Ich erschein auf diesen Ruf.
Vermittler will ich sein,
ich büße, ich allein,
der Menschen Schuld.
Wie könnte dies Geschlecht,
aus Staub gebildet,
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text (without music) for download, html file, Introductory text, Englishhtml file, Introductory text, English (Sample)Foreword of the edition Carus 23.020
Clemens Harasim
Translation: Gudrun and David KosvinerWith the formal structure of his only oratorio Christus am Ölberge (The Mount of Olives) Ludwig van Beethoven consciously continued the tradition of the Italian Passion oratorio of the 18th century. At the same time, it is unmistakable that Beethoven was striving to make his personal mark on the genre of the German-language oratorio, which was flourishing as a result of the successful Viennese performances of Joseph Haydn’s The Creation and The Seasons which had taken place shortly before. In addition, the work is oriented towards contemporary opera, a fact that is also reflected in the circumstances of its creation and in the libretto.
Creation of the First Version and LibrettoAt the beginning of 1803, Beethoven was appointed house composer of the Theater an der Wien, which had only been opened in June 1801 by Emanuel Schikaneder. He was even given official lodgings in the theater, where he lived together with his brother Karl. In addition to conducting the orchestra, this obligation also included the possibility of organizing concerts of his own. Since opera performances were traditionally not
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text (without music) for download, html file, Introductory text, Germanhtml file, Introductory text, German (Sample)Vorwort der Ausgabe Carus 23.020
Clemens Harasim
Mit der formalen Gliederung seines einzigen Oratoriums Christus am Ölberge knüpfte Ludwig van Beethoven bewusst an die Tradition des italienischen Passionsoratoriums des 18. Jahrhunderts an. Zugleich ist das Bestreben unüberhörbar, der durch die erfolgreichen, kurz zuvor stattgefundenen Wiener Aufführungen der Schöpfung und der Jahreszeiten von Joseph Haydn aufblühenden Gattung des deutschsprachigen Oratoriums einen persönlichen Stempel aufzudrücken. Außerdem orientiert sich das Werk an der zeitgenössischen Oper, was sich auch in den Umständen der Entstehung und im Libretto niederschlägt.
Entehung der Erstfassung und LibrettoAnfang des Jahres 1803 war Beethoven zum Hauskomponisten des erst im Juni 1801 durch Emanuel Schikaneder eröffneten Theaters an der Wien ernannt worden. Er bewohnte dort seitdem sogar eine Dienstwohnung zusammen mit seinem Bruder Karl. Neben der Leitung des Orchesters beinhaltete diese Verpflichtung auch die Möglichkeit, eigene Konzerte zu veranstalten. Da in der unmittelbar folgenden Fasten- und Passionszeit (tempora sacrata) traditionellerweise
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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
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