Earlier this week, I looked at recent releases of Easter-season choral works by J.S. Bach and one of his sons. Today I cover a bit more historical range in terms of composers and eras, again sticking to recent releases.
Maria Venuti, Keith Lewis, Michel Brodard/Gächingen Chorale of Stuttgart/Bach Collegium of Stuttgart/Helmuth Rilling Christus am Ölberge, Op. 85 (Hänssler Classic)
Written in 1802 in just 14 days (but not published for a decade, hence the high opus number), Christus am Ölberge (Christ on the Mount of Olives) is a dramatic oratorio depicting Christ's emotional acceptance of his fate during His conversation with an angel in the garden of Gethsemene, followed by His arrest and Peter's protest.
It's not one of my favorite pieces; there's just one memorable chorus (all the way at the end) and a lot of fairly rote Beethovenisms. Even the composer spoke disparagingly of it, disliking the libretto.
Maria Venuti, Keith Lewis, Michel Brodard/Gächingen Chorale of Stuttgart/Bach Collegium of Stuttgart/Helmuth Rilling Christus am Ölberge, Op. 85 (Hänssler Classic)
Written in 1802 in just 14 days (but not published for a decade, hence the high opus number), Christus am Ölberge (Christ on the Mount of Olives) is a dramatic oratorio depicting Christ's emotional acceptance of his fate during His conversation with an angel in the garden of Gethsemene, followed by His arrest and Peter's protest.
It's not one of my favorite pieces; there's just one memorable chorus (all the way at the end) and a lot of fairly rote Beethovenisms. Even the composer spoke disparagingly of it, disliking the libretto.
- 4/17/2014
- by SteveHoltje
- www.culturecatch.com
Everett A scene from “Rhapsody in Blue,” 1945.
Some sounds come at you through your innards before they reach your ears. Like the subway rumble half felt underfoot on a Manhattan street, certain instruments announce themselves first as a physical sensation: a low timpani roll, a pulsating tuba beat, a quiet sustained tremolo note in the double basses.
On April 1, Yale in New York, an innovative concert series curated by clarinetist David Shifrin, celebrates the multi-faceted repertoire of works written for low instruments.
Some sounds come at you through your innards before they reach your ears. Like the subway rumble half felt underfoot on a Manhattan street, certain instruments announce themselves first as a physical sensation: a low timpani roll, a pulsating tuba beat, a quiet sustained tremolo note in the double basses.
On April 1, Yale in New York, an innovative concert series curated by clarinetist David Shifrin, celebrates the multi-faceted repertoire of works written for low instruments.
- 3/27/2012
- by Corinna da Fonseca-Wollheim
- Speakeasy/Wall Street Journal
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