On this new production the Kölner Akademie has recorded two oratorios composed by members of the generation after Bach and explicitly focusing on the theme of the Resurrection. Johann Friedrich Agricola composed Die Auferstehung des Erlösers for performance in St. Peter's Church in Berlin on the First Day of Easter in 1758, and Gottfried August Homilius wrote the Oratorium auf Ostern in 1767, when it was probably performed in the Church of Our Lady in Dresden. Agricola's Easter cantata Der Gottmensch jauchzt is included with the two oratorios. Regarded during his lifetime as "certainly now absolutely the best church composer," Homilius wrote an extensive cantata consisting of ten individual movements in the form of his oratorio for Easter. His music already displays elements of Early Classicism and the empfindsamer Stil, his cantata choruses are frequently of homophonic design and song character, and the polyphonic sections are rather rare. While the oratorio by Homilius continues to contain the historical component of the Easter event, Die Auferstehung des Erlösers by Agricola, with it's subtitle Ein musikalisches Gedicht, is much more freely designed. The three accompagnato recitatives are of special musico-dramatic significance; in them the author of the text embellishes the earthquake accompanying the resurrection of Jesus and the mysterious event on the whole with rich verbal and pictorial formulations. The works presented here attest to the mastery of their composers. Arias of marvelous musical beauty, the naturalness of their expression, and the dramatic suspense in the individual movements continue to make for compelling listening even today.
On this new production the Kölner Akademie has recorded two oratorios composed by members of the generation after Bach and explicitly focusing on the theme of the Resurrection. Johann Friedrich Agricola composed Die Auferstehung des Erlösers for performance in St. Peter's Church in Berlin on the First Day of Easter in 1758, and Gottfried August Homilius wrote the Oratorium auf Ostern in 1767, when it was probably performed in the Church of Our Lady in Dresden. Agricola's Easter cantata Der Gottmensch jauchzt is included with the two oratorios. Regarded during his lifetime as "certainly now absolutely the best church composer," Homilius wrote an extensive cantata consisting of ten individual movements in the form of his oratorio for Easter. His music already displays elements of Early Classicism and the empfindsamer Stil, his cantata choruses are frequently of homophonic design and song character, and the polyphonic sections are rather rare. While the oratorio by Homilius continues to contain the historical component of the Easter event, Die Auferstehung des Erlösers by Agricola, with it's subtitle Ein musikalisches Gedicht, is much more freely designed. The three accompagnato recitatives are of special musico-dramatic significance; in them the author of the text embellishes the earthquake accompanying the resurrection of Jesus and the mysterious event on the whole with rich verbal and pictorial formulations. The works presented here attest to the mastery of their composers. Arias of marvelous musical beauty, the naturalness of their expression, and the dramatic suspense in the individual movements continue to make for compelling listening even today.
761203533220

Details

Format: CD
Label: CPO RECORDS
Rel. Date: 07/10/2020
UPC: 761203533220

Easter Cantatas
Artist: Kölner Akademie Choir
Format: CD
New: Available 14.99
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DISC: 1
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1. Der Gottmensch Jauchzt: No. 1, Der Gottmensch Jauchzt
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2. Der Gottmensch Jauchzt: No. 2, Da Wir In Deinem Blute
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3. Der Gottmensch Jauchzt: No. 3, Du Schütest Ihn Auf Deinem Throne
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4. Der Gottmensch Jauchzt: No. 4, Er Lebt, Von Deiner Huld Beglücket
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5. Der Gottmensch Jauchzt: No. 5, Herr, Dies Sind Die Edlen Früchte
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6. Frohlocket Und Preiset Den Göttlichen Held, Howv I.11: No. 1, Frohlocket Und Preiset Den Herrschenden Sieger
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7. Frohlocket Und Preiset Den Göttlichen Held, Howv I.11: No. 2, Ach, Schwere Pflicht
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8. Frohlocket Und Preiset Den Göttlichen Held, Howv I.11: No. 3, Betrübter Fall
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9. Frohlocket Und Preiset Den Göttlichen Held, Howv I.11: No. 4, Wie Ist Mir? Ach!
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10. Frohlocket Und Preiset Den Göttlichen Held, Howv I.11: No. 5, Entsetzt Euch Nicht, Getreue Herzen
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11. Frohlocket Und Preiset Den Göttlichen Held, Howv I.11: No. 6, Kommt, Nahet Euch Getrost Herzu!
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12. Frohlocket Und Preiset Den Göttlichen Held, Howv I.11: No. 7, Am Sabbat Früh Mit Spezerei Kommen Zum Grab
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13. Frohlocket Und Preiset Den Göttlichen Held, Howv I.11: No. 8, Verwundrung Nimmt Herz Und Sinn Auf Einmal Ein
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14. Frohlocket Und Preiset Den Göttlichen Held, Howv I.11: No. 9, Mein Glaube Zweifelt Weiter Nicht
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15. Frohlocket Und Preiset Den Göttlichen Held, Howv I.11: No. 10, Frohlocket Und Preiset Den Herrschenden Sieger
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16. Die Auferstehung Des Erlösers: No. 1, Darum Freut Sich Mein Herz
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17. Die Auferstehung Des Erlösers: No. 2, Die Erde Bebt
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18. Die Auferstehung Des Erlösers: No. 3, Umkränzt Maria
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19. Die Auferstehung Des Erlösers: No. 4, Der Ew'ge Hohepriester
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20. Die Auferstehung Des Erlösers: No. 5, Held, Der Den Fels Vom Grabe Rückte
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21. Die Auferstehung Des Erlösers: No. 6, Da Du Vom Tod Erstanden Bist
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22. Die Auferstehung Des Erlösers: No. 7, Harfe, Töne Darein
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23. Die Auferstehung Des Erlösers: No. 8, Erhabener Held
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24. Die Auferstehung Des Erlösers: No. 9, Steigt Engel, Steigt Freunde Der Erden, Hernieder
25. Die Auferstehung Des Erlösers: No. 10, Sei Hoch Gelobt In Dieser Zeit Von Allen Gotteskindern
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More Info:

On this new production the Kölner Akademie has recorded two oratorios composed by members of the generation after Bach and explicitly focusing on the theme of the Resurrection. Johann Friedrich Agricola composed Die Auferstehung des Erlösers for performance in St. Peter's Church in Berlin on the First Day of Easter in 1758, and Gottfried August Homilius wrote the Oratorium auf Ostern in 1767, when it was probably performed in the Church of Our Lady in Dresden. Agricola's Easter cantata Der Gottmensch jauchzt is included with the two oratorios. Regarded during his lifetime as "certainly now absolutely the best church composer," Homilius wrote an extensive cantata consisting of ten individual movements in the form of his oratorio for Easter. His music already displays elements of Early Classicism and the empfindsamer Stil, his cantata choruses are frequently of homophonic design and song character, and the polyphonic sections are rather rare. While the oratorio by Homilius continues to contain the historical component of the Easter event, Die Auferstehung des Erlösers by Agricola, with it's subtitle Ein musikalisches Gedicht, is much more freely designed. The three accompagnato recitatives are of special musico-dramatic significance; in them the author of the text embellishes the earthquake accompanying the resurrection of Jesus and the mysterious event on the whole with rich verbal and pictorial formulations. The works presented here attest to the mastery of their composers. Arias of marvelous musical beauty, the naturalness of their expression, and the dramatic suspense in the individual movements continue to make for compelling listening even today.

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