With his Ode for St. Cecilia’s Day (HWV 76) Handel revived the old tradition of a festival on St Cecilia’s Day in 1732. Called the "short" Ode to St Cecilia, the work is a joyful musical song of praise to the power of music. The choir is very effectively used, particularly in the aria with chorus "The Trumpet’s loud clangour". It is essential to practice the short and frequent interjections, coloraturas and rapid articulation of the text, in order to pay full attention to the conductor in rehearsals!
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Performers: Simone Kermes (soprano), Virgil Hartinger (tenore), Konstantin Wolff (basso) – Kölner Kammerchor, Collegium Cartusanium – Peter Neumann
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(12)
- Ouverture – Menuet
- Recitative (Tenore): From harmony, from heav’nly harmony; Accompagnato (Tenore): When nature, underneath a heap
- Chorus: From harmony, from heav’nly harmony
- Air (Soprano): What passion cannot Music raise
- Air (Tenore) and Chorus: The Trumpets loud clangor
- La Marche
- Air (Soprano): The soft complaining Flute
- Air (Tenore): Sharp Violins proclaim
- Air (Soprano): But oh! what art can teach
- Air (Soprano): Orpheus could lead could lead the savage race
- Accompagnato (Soprano): But bright Cecilia rais’d the wonder high’r
- Chorus: As from the pow’r of sacred lays
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text (without music) for download, html file, Singing text, German translationhtml file, Singing text, German translation (Sample)Ouvertüre – Menuett
1. Rezitativ (Tenore) Aus Harmonie, aus heil’ger Harmonie
erwuchs dies Weltall, endlos weit.2. Accompagnato (Tenore) Als formlos die Natur noch war
und ganz verworren lag,
sich selbst noch kaum bewußt,
klang wie Musik des Schöpfers Wort:
„Erstarrte Welt, wach’ auf!“
Da ordneten sich Kalt und Heiss,
und Feucht und Trocken schieden sich,
gehorchend der Musik.3. Chor Aus Harmonie, aus heil’ger Harmonie
erwuchs dies Weltall, endlos weit:
Von Harmonie zu Harmonie
durchlief die Schöpfung aller Töne Klang
zur letzten Stufe, die da war der Mensch.4. Arie (Soprano)
...
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text (without music) for download, html file, Singing text, originalhtml file, Singing text, original (Sample)
Ouverture – Menuet
1. Recitative (Tenore) From harmony, from heav’nly harmony This universal frame began.
2. Accompagnato (Tenore) When nature underneath a heap
of jarring atoms lay,
and could not heave her head,
the tuneful voice was heard from high,
arise ye more than dead.
Then cold, and hot, and moist, and dry,
in order to their stations leap,
and Music’s pow’r obey.3. Chorus From harmony, from heav’nly harmony
this universal frame began:
from harmony to harmony
through all the compasss of the notes it ran,
the diapason closing full in man.4. Air (Soprano)
...
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text (without music) for download, html file, Introductory text, Frenchhtml file, Introductory text, French (Sample)Avant-propos de l’édition Carus 10.372
Markus Schwering>
Traduction : Sylvie CoquillatDepuis le 15ème siècle, sainte Cécile, martyr romaine dès débuts du christianisme, fait l’objet d’un culte, les protestants en faisant même plus tard la protectrice de la musique d’église. D’un point de vue historique, la synthèse religieuse et musicale qu’elle incarne et qui est glorifiée dans la légende n’a aucune substance. Ce qui n’affecte en rien le culte cécilien – depuis des siècles, le 22 novembre fut et est célébré comme jour de sa commémoration par une fête de sainte Cécile accompagnée de prestations musicales. C’est aussi le cas à l’époque de Haendel à Londres. Depuis 1683, une Musical Society organise les festivités correspondantes, qui comprennent chaque fois la représentation d’une œuvre nouvelle avec référence thématique adéquate. Lorsque Haendel compose Alexander’s Feast et l’Ode for St. Cecilia’s Day, il s’inscrit donc dans une
...
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Contents
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Composer
Georg Friedrich Händel
| 1685-1759George Frideric Handel put his exceptionally versatile compositional abilities to the test at an early age. After moving to London in 1712, where he was appointed Composer of Musick for His Majesty’s Chapel Royal in 1723, he wrote numerous masterpieces for the royal court as well as his major opere serie. For many years he enjoyed triumphant successes with his operas, which were sung by outstanding performers, with serenades, and later also with oratorios such as Saul and Israel in Egypt. Over the years Handel’s reputation grew far beyond the city where he worked; some of his choral works, particularly Messiah, have enjoyed a performance tradition which remains unbroken to this day, and are sung by choirs throughout the world. Personal details
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Songwriter / Librettist
John Dryden
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Vocal score arranger
Paul Horn
| 1922-2016Paul Horn war ein deutscher Kirchenmusiker, Organist, Komponist und Musikwissenschaftler. Er studierte Kirchenmusik und Orgel an der Evangelischen Kirchenmusikschule Esslingen am Neckar bei Hans-Arnold Metzger und Musikwissenschaft, Theologie und Geschichte an der Universität Tübingen. Seine berufliche Laufbahn begann als Kantor an der Evangelischen Michaelskirche in Stuttgart-Degerloch. 1954 wurde er Kantor an der Evangelischen Stadtkirche Ravensburg, eine Position, die er bis zu seiner Pensionierung innehatte. Als Musikwissenschaftler arbeitete Horn bis ins hohe Alter eng mit Carus zusammen. So stammen zahlreiche Carus-Klavierauszüge aus seiner Feder. Personal details
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Ensemble
Kölner Kammerchor
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Ensemble
Collegium Cartusianum
The period instrument ensemble Collegium Cartusianum, founded in 1988 as successor to the Barockorchester Koln, has a repertoire ranging from Monteverdi to Brahms. The ensemble’s participation in the complete recording of Wolfgang Amadeus Mozart’s masses conducted by Peter Neumann earned it an outstanding reputation, subsequently confirmed by many concerts, radio broadcasts and CD recordings. As well as collaborating with the Kolner Kammerchor, the Collegium Cartusianum has also received international acclaim for its performances of J. S. Bach’s Orchestral Suites as well as Mozart and Beethoven symphonies. With Mozart’s Il Re Pastore, Mendelssohn’s St. Paul and Elijah, and Dvo?ak’s Requiem the orchestra has extended its repertoire to include opera and romantic works. It has appeared at many leading festivals in Europe and Japan, recently at the Leipzig Bach Festival with a Handel-Bach program, with Handel’s Serenata Aci, Galatea e Polifemo in Krakow and Essen at the second “Fest fur Alte Musik” in Cologne in February 2012. Personal details
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Conductor
Peter Neumann
| 1940In recent years Peter Neumann, born in Karlsruhe, has made a name for himself particularly as a conductor of Handel’s music. This is demonstrated both by the concert series “250 Years Handel Oratorios” which he initiated – performing nine music dramas in accordance with Handel’s concert schedule of 1749–1752 – and by his numerous CD recordings. He has performed masterworks from vocal and orchestral music in the European musical capitals and at many renowned festivals, ranging from Monteverdi’s L’Orfeo and Vespers for the Blessed Virgin (Palais Garnier, Paris) through J. S. Bach’s passions (last in Moscow, Oslo and Versailles) and Mass in B minor (BBC Proms) to Debussy’s Le Martyre de Saint Sébastien at the MusikTriennale in Cologne. 2010, Peter Neumann and his ensembles Kolner Kammerchor and Collegium Cartusianum were guests at the Rheingau Music Festival with Schumann’s Das Paradies und die Peri and at the Schumann Festival in Dusseldorf as well as the Leipzig Bach Festival in 2011. In June 2012 he made his highly acclaimed debut at the Cologne Opera with Handel’s Alcina. As a guest conductor, Neumann has collaborated with, among others, ChorWerkRuhr, the Netherlands Chamber Choir, the SWR Vokalensemble Stuttgart, the NDR Choir, the Schola Cantorum Tokyo, the Concertgebouw Orchestra Amsterdam, the Jerusalem Symphony Orchestra, the Junge Deutsche Philharmonie and Concerto Koln. Highlights of his extensive discography include the complete recording of Mozart’s masses (Gramophone “Crown of Crowns”), Schutz’s Musical Vesper, Schumann’s Missa sacra (Diapason d’Or) and recordings of Bach’s St. John Passion and Handel’s Alexander’s Feast and Brockes Passion (Carus). Personal details
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Soloist - tenor
Konstantin Wolff
Konstantin Wolff studied with Donald Litaker at the Hochschule für Musik in Karlsruhe. He won the Felix Mendelssohn Bartholdy Prize from the Stiftung Preußischer Kulturbesitz, was awarded a scholarship by the German National Academic Foundation and made his opera debut in 2005 at the Opera National de Lyon under William Christie in Monteverdi’s L’incoronazione di Poppea. His concert repertoire ranges from the early baroque to the 20th century. He has performed with conductors including Gerd Albrecht, Alun Francis, Riccardo Chailly, Ton Koopman, René Jacobs, Claudio Abbado, Sir Simon Rattle and Nicholas McGegan. His first solo CD, a recording of Lieder to texts by Victor Hugo, has been enthusiastically received. Personal details
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