This chorale cantata was probably inspired by Mendelssohn’s performance of Bach's St Matthew Passion. Although the themes of the opening chorus are well-known from the chorale, the movement still contains many challenges: whilst the first entry is based on the same melodic motif ("O Haupt... "), by the second entry this is overlaid with the second line of the chorale, resulting in some unexpected harmonies. "I am very happy with this piece; no-one will know whether it is moving towards C minor or E flat [...]" Mendelssohn wrote to his sister – and it is therefore all the more important to know where your own choral part is heading, and to sing with really accurate intonation.
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Performers: Michael Volle (basso) – Kammerchor Stuttgart, Stuttgarter Kammerorchester – Frieder Bernius
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(3)
- Coro: O Haupt voll Blut und Wunden
- Aria: Du, dessen Todeswunden
- Choral: Ich will hier bei dir stehen
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text (without music) for download, html file, Singing text, english translationhtml file, Singing text, english translation (Sample)1. ChoirO Head, so bruised and wounded,
2. Aria
with pain and bitter scorn.
O Head, in spite surrounded
with stinging crown of thorn!
O Head, once crowned
with glory, with highest power and grace,
but now oppressed and weary,
I greet you in distress.You, whose tormented body
3. Choral
redeemed the sinful world,
whom they had bound so gladly,
whom they with shame had crowned,
who suffered grief and passion
for me upon the cross,
who bore all my transgression,
I greet you in distress.I long to stand here with you;
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text (without music) for download, html file, Singing text, originalhtml file, Singing text, original (Sample)1. Chor
O Haupt voll Blut und Wunden,
2. Arie
voll Schmerz und voller Hohn.
O Haupt, zum Spott gebunden
mit einer Dornenkron.
O Haupt, sonst schön gekrönet,
mit höchster Ehr und Zier,
jetzt aber höchst verhöhnet,
gegrüßet seist du mir!Du, dessen Todeswunden
3. Choral
die sünd’ge Welt versöhnt,
den sie dafür gebunden,
den sie mit Schmach gekrönt!
Der Schmerzen litt und Plagen
für mich am Kreuze hier,
der meine Sünd getragen,
gegrüßet seist du mir!Ich will hier bei dir stehen,
...
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text (without music) for download, html file, Introductory text, Frenchhtml file, Introductory text, French (Sample)Texte du livret du CD Carus 83.204 p>Barbara Mohn
Traduction (abrégée) : Jean Paul Ménière« [...] Si quelque ressemblance existe avec Seb. Bach, je n’y suis à nouveau pour rien, car j’ai écrit comme je me sentais, et si je me suis senti une fois, mot pour mot, comme le vieux Bach, il n’en est que mieux pour moi [...]. » C’est ce qu’écrivit Felix Mendelssohn Bartholdy le 15 juillet 1831 à son ami intime, le chanteur Eduard Devrient. Ce dernier, un peu soucieux de l’évolution de son talentueux ami en tant que compositeur, avait remarqué que Mendelssohn, à la fin des années 20, s’orientait de plus en plus vers la musique d’église en se laissant inspirer pour cela par les œuvres du grand Cantor de Saint-Thomas. A une époque décisive de son processus créateur, Mendelssohn n’écrivait pas des opéras ou de grandes œuvres orchestrales grâce auxquelles il eût pu se faire un nom, mais, simplement parce qu’il « se sentait ainsi », des motets et des psaumes, ainsi qu’un ensemble d’œuvres que – comme le disait sa mère en se plaignant – « personne ne pouvait voir » : huit cantates sur les mélodies de choral Christe, du Lamm Gottes ; Jesu, meine Freude ; Wer nur den lieben Gott lässt walten ;
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text (without music) for download, html file, Introductory text, Englishhtml file, Introductory text, English (Sample)Text from the CD Carus 83.204
Barbara Mohn
Translation (abridged): Alan Pope“[...] If it resembles Seb. Bach, I cannot do anything about it, since I have written it according to how I feel and, if I am inspired by the words as Bach was, then it should be all the better for me [...]” wrote Felix Mendelssohn Bartholdy on 15th July 1831 to his close friend, the singer Eduard Devrient. Devrient was observing with some trace of anxiety about the compositional development of his gifted friend that at the end of the 1820s Mendelssohn was devoting himself increasingly to church music and in the process was being inspired by the great Cantor of St. Thomas’ Church Leipzig. In a crucial phase of his creativity, Mendelssohn did not compose operas or great instrumental works, but in accordance with his “feelings” he simply wrote motets and psalms as well as a group of works, which, as his mother complained, “no one would get to hear” – eight cantatas on the German hymn tunes (chorales) Christe, du Lamm Gottes; Jesu, meine Freude; Wer nun den lieben Gott lässt walten; O Haupt voll Blut und Wunden; Vom Himmel hoch; Verleih uns Frieden; Wir glauben all; Ach Gott, vom Himmel sieh darein. These have remained unknown until recently and, because
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text (without music) for download, html file, Introductory text, Germanhtml file, Introductory text, German (Sample)Booklet-Text der CD Carus 83.204
Barbara Mohn
„[...] Hat es Ähnlichkeit mit Seb. Bach, so kann ich wieder nichts dafür, denn ich habe es so geschrieben, wie mir zu Muthe war, und wenn mir einmal bei den Worten so zu Muthe geworden ist, wie dem alten Bach, so soll es mir nur umso lieber sein [...]“, schrieb Felix Mendelssohn Bartholdy am 15. Juli 1831 an seinen engen Freund, den Sänger Eduard Devrient. Mit einem Anflug von Sorge um die kompositorische Fortentwicklung seines begabten Freundes hatte dieser beobachtet, was wohl keinem verborgen bleiben konnte: dass sich Mendelssohn Ende der 1820er Jahre zunehmend der Kirchenmusik zuwandte und sich dabei vom Werk des großen Thomaskantors inspirieren ließ. In einer entscheidenden Phase seines Schaffens, in den Jahren 1827 bis 1832, komponierte Mendelssohn nicht Opern oder große Instrumentalwerke, mit denen er sich einen Namen hätte machen können, sondern, einfach weil ihm „so zu Muthe war“, Motetten und Psalmen sowie eine Gruppe von Werken, die – wie seine Mutter klagte – „kein Mensch zu sehen bekommt“: acht Kantaten über die Choralmelodien Christe, du Lamm Gottes; Jesu, meine Freude; Wer nur den lieben Gott lässt walten; O Haupt voll Blut und Wunden; Vom Himmel hoch; Verleih uns
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Contents
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Composer
Felix Mendelssohn Bartholdy
| 1809-1847
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Songwriter / Librettist
Paul Gerhardt
| 1607-1676Paul Gerhardt wurde am 12. März 1607 in Gräfenhainichen bei Wittenberg geboren. Nach dem Besuch der Fürstenschule in Grimma, einer der Eliteschulen des Kurfürstentums Sachsen, begann er 1628 sein Theologie-Studium in Wittenberg. Dieser Ort – Ursprung der lutherischen Bewegung – war prägend für sein weiteres Leben. Hier erhielt Gerhardt die theologische Bildung, die Grundlage war für seine spätere Tätigkeit als Pfarrer und Textdichter. Nach seinem Studium arbeitete er als Hauslehrer und wurde 1657 Diakonus an St. Nikolai in Berlin – die nächste wichtige Station. Durch Gerhardts enge Zusammenarbeit unter anderem mit Johann Crüger und dessen Nachfolger Johann Georg Ebeling entstand ein wichtiger intellektueller und künstlerischer Kreis in Berlin. Ebeling war es auch, der eine erste vollständige Gerhardt-Ausgabe edierte: Pauli Gerhardi Geistliche Andachten (1666/67). Darin enthalten sind 120 seiner später insgesamt 137 Lieder. Allein schon aufgrund der Vielzahl seiner Liedtexte stellt Gerhardt den wichtigsten evangelischen Textdichter nach Luther dar. Personal details
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Choir
Kammerchor Stuttgart
The Kammerchor Stuttgart is regarded as one of the best ensembles of its kind. Over its fifty-year existence, Frieder Bernius has developed the choir into an exceptional ensemble acclaimed by audiences and press alike. This has led to invitations for the choir to perform at all the important European festivals. In Germany the chamber choir performs at festivals and in concert halls in repertoire ranging from the 17th to the 21st century. Frieder Bernius and his ensemble have received numerous accolades for their contribution to new music. The Kammerchor Stuttgart has made over 80 CDs and LPs, numerous of which have been awarded international recording prizes (including the Edison award, Diapason d’or, Gramophone Choice, Classical Internet Award, International Classical Music Award, and German Record Critics’ Award prizes). The International Federation for Choral Music has invited the ensemble to sing at the 1st, 4th and 10th World Symposia on Choral Music in Vienna, Sydney and Seoul. Regular tours of North America and Asia since 1988 and a South America tour reflect the Kammerchor Stuttgart’s international reputation. Since 1984 the top ensemble has also been invited to Israel biennially. Personal details
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Ensemble
Stuttgarter Kammerorchester
Founded in 1945, the Stuttgarter Kammerorchester is the oldest and most renowned ensemble of its kind and for over 65 years it has occupied an outstanding position in international orchestra culture. Michael Hofstetter has been the conductor of this ensemble since September 2006. The orchestra had already earned its excellent reputation under its founder and long-time director, Karl Münchinger. Through a completely new and exemplary style of interpretation of the works of Johann Sebastian Bach the Stuttgarter Kammerorchester became a pathfinder in the field of historical performance practice. Dennis Russell Davies, its principal conductor, from 1995 to 2006, expanded the repertoire of the orchestral, especially with works from 20th century. In 2008 the orchestra was awarded the European Chamber Music Award by the European Foundation for Culture. Personal details
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Conductor
Frieder Bernius
| 1947Frieder Bernius’s work has earned great worldwide recognition. He is in demand internationally as a conductor and as a teacher. His principal artistic collaborators are the ensembles he founded himself, the Kammerchor Stuttgart, the Barockorchester Stuttgart, the Hofkapelle Stuttgart and the Klassische Philharmonie Stuttgart. As a guest conductor, he has collaborated repeatedly with, for example, the SWR Vokalensemble Stuttgart, the Deutsche Kammerphilharmonie Bremen, the Stuttgarter Kammerorchester and the Streicherakademie Bozen. Great stylistic versatility is Frieder Bernius’s hallmark. Whether he conducts vocal works by Monteverdi, Bach, Händel, Mozart, Beethoven, Fauré and Ligeti, stage music by Mendelssohn or symphonies by Haydn, Burgmüller and Schubert, his work always aims for a sound that is at once unmistakably personal and at the same time oriented towards the original period sound ideal. He devotes himself equally to the rediscovery of 18th century operas and to first performances of contemporary compositions. He is particularly interested in the musical history of southwestern Germany. Carus-Verlag has awarded Frieder Bernius a Golden CD for his complete recording of the sacred music of Felix Mendelssohn Bartholdy. The award was presented to him during the German Choir Festival in Stuttgart 2016. The sale of over 250,000 recordings, which has been acclaimed with a number of awards, has made a not insignificant contribution to what today is the obvious presence of Mendelssohn's complete œuvre in the concert repertoire. Personal details
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Soloist - bass
Michael Volle
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