The Miserere in C minor was written for women’s choir but was reworked by Hasse himself for mixed chorus. The composition comprises eight contrasting sections which include arias, soloistic ensemble movements, and choruses, expressing comfort, devotion, and mercy. Long, sustained phrases characterize the choruses except for the final chorus. Here, it is essential not to confuse "slow" with "easy": the choral sections can only reveal their effect if the chorus can sustain the arc of tension! In the Allegro assai of the final chorus the trick is not to get faster with the fast tempo and short note values, and nevertheless to maintain the lightness.
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Performers: Johanna Winkel (soprano), Wiebke Lehmkuhl (alto), Colin Balzer (tenore), Michael Volle (basso) – Dresdner Kammerchor, Dresdner Barockorchester – Hans-Christoph Rademann
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- Miserere mei Deus
- Tibi soli peccavi
- Ecce enim
- Libera me
- Quoniam si voluisses
- Benigne fac
- Gloria Patri
- Sicut erat - Amen
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text (without music) for download, html file, Singing text, english translationhtml file, Singing text, english translation (Sample)1. Miserere mei Deus (Coro) Have mercy upon me,
O God, according to thy loving-kindness,
according unto the multitude of thy tender mercies
blot out my transgressions.
Wash me throughly from mine iniquity,
and cleanse me from my sin.
For I acknowledge my transgressions:
and my sin is ever before me.2. Tibi soli peccavi (Basso solo) Against thee, thee only, have I sinned,
and done this evil in thy sight:
that thou mightest be justified when thou speakest,
and be clear when thou judgest.3. Ecce enim (Coro, Soprano solo, Alto solo, Tenore solo) Behold, I was shapen in iniquity;
and in sin did my mother conceive me.
Behold, thou desirest truth in the inward parts:
and in the hidden part
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text (without music) for download, html file, Singing text, German translationhtml file, Singing text, German translation (Sample)
1. Miserere mei Deus (Coro) Erbarme dich, o Gott,
nach deiner Güte,
nach deinem großen Erbarmen
tilge meine Verfehlung.
Wasche mich wohl von meiner Missetat
und reinige mich von meiner Sünde.
Denn ich erkenne meine Missetat,
und meine Sünde ist immer vor mir.2. Tibi soli peccavi (Basso solo) An dir allein habe ich gesündigt
und übel vor dir getan,
auf dass du recht behaltest in Deinen Worten
und rein bleibest, wenn du richtest.3. Ecce enim (Coro, Soprano solo, Alto solo, Tenore solo) Siehe, in Schuld bin ich geboren,
und meine Mutter hat mich in Sünden empfangen.
Siehe, an Wahrheit hast du Gefallen,
tue mir das Verborgene
und Geheimnisvolle deiner Weisheit kund.
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text (without music) for download, html file, Singing text, originalhtml file, Singing text, original (Sample)
1. Miserere mei Deus (Coro) Miserere mei Deus,
secundum magnam misericordiam tuam
et secundum multitudinem miserationum
tuarum dele iniquitatem meam.
Amplius lava me ab iniquitate mea
et a peccato meo munda me.
Quoniam iniquitatem meam ego cognosco,
et peccatum meum contra me est semper.2. Tibi soli peccavi (Basso solo) Tibi soli peccavi, et malum coram te feci,
ut iustificeris in sermonibus tuis,
et vincas, cum iudicaris.3. Ecce enim (Coro, Soprano solo, Alto solo, Tenore solo) Ecce enim in iniquitatibus conceptus sum,
et in peccatis concepit me mater mea.
Ecce enim veritatem dilexisti,
incerta et occulta sapientiae tuae
manifestasti mihi.
Asperges me hyssopo et mundabor,
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text (without music) for download, html file, Introductory text, Frenchhtml file, Introductory text, French (Sample)Text du livret du CD Carus 83.349
Wolfram Hader
Traduction (abrégée) : Sylvie CoquillatJohann Adolf Hasse fut l’un des compositeurs les plus célèbres d’Europe dans le deuxième tiers du 18ème siècle. Il naît en 1699 à Bergedorf près de Hambourg. Après de premiers succès comme chanteur, il se tourne vers la composition et il est l’un des derniers élèves d’Alessandro Scarlatti à Naples. En 1730, il épouse à Venise la célèbre cantatrice Faustina Bordoni avec laquelle il se rend à la cour de Dresde un an plus tard. La représentation de son opéra Cleofide est un triomphe pour le couple. À la mort d’Auguste le Fort en 1733, son fils Frédéric Auguste II engage Hasse comme maître de chapelle à la cour de Dresde.
Pendant ses 30 années de service, il y amène la vie musicale à son apogée. Toute l’Europe regarde avec envie la dynamique vie culturelle et les nombreux chefs-d’œuvre musicaux qui y sont interprétés durant
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text (without music) for download, html file, Introductory text, Englishhtml file, Introductory text, English (Sample)Text from the CD Carus 83.349
Wolfram Hader
Translation (abridged): Elizabeth RobinsonJohann Adolf Hasse was one of the most famous composers in Europe in the second third of the 18th century. Hasse was born in 1699 in Bergedorf near Hamburg. After initial success as a singer, he turned to composition and became one of Alessandro Scarlatti’s last pupils in Naples. In 1730 he married the famous singer Faustina Bordoni in Venice, with whom he came to the Dresden court a year later. The performance of his opera Cleofide was a triumph for the couple. After the death of Augustus the Strong in 1733, his son Frederick Augustus II engaged Hasse as Kapellmeister at the Dresden court.
During the thirty years in his position, he brought musical life there to a magnificent height. All of Europe looked enviously on the active cultural life and the countless musical masterpieces which were
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text (without music) for download, html file, Introductory text, Germanhtml file, Introductory text, German (Sample)Booklet-Text der CD 83.349
Wolfram Hader
Johann Adolf Hasse war im zweiten Drittel des 18. Jahrhunderts einer der berühmtesten Komponisten Europas. Hasse wurde 1699 in Bergedorf bei Hamburg geboren. Nach ersten Erfolgen als Sänger wandte er sich der Komposition zu und wurde in Neapel einer der letzten Schüler von Alessandro Scarlatti. 1730 heiratete er in Venedig die berühmte Sängerin Faustina Bordoni, mit der er ein Jahr später an den Dresdner Hof kam. Die Aufführung seiner Oper Cleofide wurde zum Triumph für das Ehepaar. Nach dem Tod Augusts des Starken 1733 verpflichtete sein Sohn Friedrich August II. Hasse als Kapellmeister an den Dresdner Hof.
Während seiner dreißigjährigen Amtszeit führte Johann Adolf Hasse das dortige Musikleben zu großartiger Blüte: In ganz Europa blickte man neidvoll auf das rege kulturelle Leben und die zahlreichen musikalischen Meisterstücke, die zu Hasses
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Contents
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Composer
Johann Adolf Hasse
| 1699-1783
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Vocal score arranger
Petra Morath-Pusinelli
| 1967
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Choir
Dresdner Kammerchor
DRESDNER KAMMERCHOR Radiant, transparent, homogeneous and flexible: the Dresdner Kammerchor is internationally esteemed for its unique culture of sonority. Its artistic director Hans-Christoph Rademann has shaped this distinctive sound since the choir was founded in 1985, leading it to worldwide renown. The choir’s diverse repertoire has its foundation in Baroque music, with a special focus on Saxon court music. As a cultural ambassador for Dresden and Saxony, the choir keeps the musical heritage of its homeland alive and makes it known to an international audience. A prominent example of this is the world’s first complete Heinrich Schütz recording, which was concluded in 2019, published by Carus-Verlag, and has won several awards: among others, the St. John Passion was awarded the Annual Prize of the German Record Critics in 2016, and the last installment of the edition containing “Psalms and Peace Music” was honored with the Opus Klassik 2020. The choir has also rediscovered, performed anew and recorded on CD numerous works by other Central German masters such as Johann Adolf Hasse, Johann David Heinichen and Jan Dismas Zelenka in collaboration with the Dresden Baroque Orchestra and other musical partners. In addition to symphonic choral works from the Classical and Romantic periods, a further repertoire focus is on challenging a cappella works of the 19th and 20th centuries. This includes music by Johannes Brahms, Max Reger, Olivier Messiaen, Francis Poulenc, Arnold Schoenberg and Herman Berlinski. For years, the Dresdner Kammerchor has been intensively dedicated to modern and contemporary music, with world premieres, first performances and its own commissioned works. This commitment is deepened further by diverse music education and youth projects. In 2009, Hans-Christoph Rademann and the Dresdner Kammerchor initiated the Dresden Choral Workshop for New Music, which took place for the 4th time in 2018. For its services to contemporary choral music, the choir was awarded a Sponsorship Prize by the Ernst von Siemens Music Foundation. The Dresdner Kammerchor gives guest performances in centers of music and at festivals throughout Europe. Tours have taken the singers to Israel, India, Taiwan, China, Mexico, South America, South Africa and the USA. Musical partners to date have included René Jacobs, Sir Roger Norrington, Ádám Fischer, Václav Luks, Stefan Parkman, Trevor Pinnock, Christoph Prégardien, Jos van Immerseel, Herbert Blomstedt, Omer Meir Wellber, Christian Thielemann, Riccardo Chailly and Reinhard Goebel, as well as the Sächsische Staatskapelle Dresden, the Gewandhausorchester Leipzig, the BBC Philharmonic Orchestra, Anima Eterna Brugge, the Akademie für Alte Musik Berlin, and the Bamberg Symphony Orchestra. The choir regularly collaborates with the Wroc"naw Baroque Orchestra. By means of a cooperation with the Dresden University of Music, the Dresdner Kammerchor keeps the connection to its roots alive. Personal details
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Orchestra
Dresdner Barockorchester
One of the distinguishing features of the Dresdner Barockorchester, founded in 1991, is the fact that its membership includes both early music specialists and orchestral musicians drawn from the Dresdner Staatskapelle and the Dresdner Philharmonie. Working together with baroque instruments, with their specific clarity of sound and articulation they achieve a variegated, eloquent music-making in which their different areas of musical experience are combined. The musicians are united in their desire to follow the splendid example set by the Dresden Court Orchestra of Augustus the Strong. The heritage of that era is the music of such conductors and instrumentalists of the Court Orchestra as Hasse, Heinichen, Zelenka, Quantz and Pisendel, whose works have a prominent place in the repertoire of the Dresdner Barockorchester. This repertoire extends from the end of the 17th century through Mozart. The Dresdner Barockorchester works closely with the Dresdner Kammerchor and its conductor Hans- Christoph Rademann. Personal details
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Conductor
Robert Radecke
| 1830-1911
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Soloist - soprano
Johanna Winkel
Johanna Winkel studied singing with Mechthild Böhme and Caroline Thomas, and attended master classes to augment her education. She gave her international debut in 2008 with Peter Neumann and the Concerto Köln in Nantes. She subsequently performed with, among others, the Hamburg Symphony Orchestra, the SWR Vokalensemble Stuttgart and the SWR Symphony Orchestra as well as the NDR Choir. She has sung, for example, at the Musikfest Berlin, the Lucerne Festival and La Folle Journée. Johanna Winkel has won several prizes for opera singing and was awarded first prize in the Cantilena Singing Competition in Bayreuth. Johanna Winkel has performed various operatic roles in historical performance locations such as the Margravial Opera House in Bayreuth and the Ekhof Theater in Gotha. She can be heard on many live recordings as well as on a number of CD recordings. Personal details
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Soloist - alto
Wiebke Lehmkuhl
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Soloist - tenor
Colin Balzer
Canadian born Colin Balzer studied singing with David Meek in Canada and Edith Wiens in Germany. He has participated in master classes given by Helmut Deutsch, Robert Tear, Elly Ameling, Brigitte Fassbaender and Christoph Prégardien. Colin Balzer has won a range of international prizes, and has embarked on a busy international concert schedule with a repertoire ranging from Monteverdi to Penderecki. He has been heard at Festivals in Baden-Baden, Aix-en-Provence and at the Early Music Festivals in Boston and Vancouver, and he regularly performs with various Canadian orchestras. He has also enjoyed considerable success as a lieder singer. He recorded his first CD, Hugo Wolf’s Italienisches Liederbuch, with Hartmut Höll. Personal details
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Soloist - bass
Michael Volle
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