Johannes Mannov Video
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2024-05-04
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Jensen Magnus Vigilius Johannes Mannov
Opera eftermiddag på Nivågård Samlingen. Sangere Liv Oddveig Midtmageli (sopran), Ulla Kusk Jensen (alt), Magnus Vigilius (tenor), Johannes Mannov (bas) og pianist Ingo Schauser.
Haydn René Jacobs Inger Dam Jensen Dam Jensen Jeremy Ovenden Johannes Mannov Mercy Lobe Freiburger Barockorchester 1809
Freiburger Barockorchester RIAS Kammerchoir René Jacobs, director Inger Dam-Jensen, soprano Jeremy Ovenden, tenor Johannes Mannov, bajo No. 23. Und Gott schuf den Menschen (And God created Man) Tenor recitative (Genesis 1:27, 2:7), leading to: No. 24. Mit Würd' und Hoheit angetan (In native worth and honor clad) A prized aria for tenor, in C major, celebrating the creation of man, then woman. Often sung outside the context of The Creation. Although the aria relates a Biblical story, the virtues attributed to Adam (and not Eve) clearly reflect the values of the Enlightenment. This was almost certainly the last music from The Creation that Haydn ever heard: it was sung for him several days before his death in 1809 as a gesture of respect by a French military officer, a member of Napoleon's invading army. No. 25. Und Gott sah jedes Ding (And God saw every thing) Brief recitative for bass (text amplifying Genesis 1:31), leading to: No. 26. Vollendet ist das große Werk (The great work is complete) A celebration for chorus alone, in B flat, of the sixth day. No. 27. Zu dir, o Herr, blickt alles auf (All look up to thee, O Lord) Another meditation for the three angels (compare No. 18), in E flat major, on God's omnipotence and mercy, quoting Psalm 145:15--16. The bass solo line "Du wendest ab dein Angesicht" requires the singer to terrify the audience with barely-audible pianissimo. The end of the trio is followed without pause by... No. 28. Vollendet ist das große Werk (Fulfilled at last the great work) This chorus begins with the same music and words as No. 26, and is in the same key of B flat. It quickly moves into large double fugue on the words "Alles lobe seinen Namen, denn er allein ist hoch erhaben" ("Let all praise his name, for he alone is sublime"). As appropriate to the finale of Part II, this repeat chorus is longer and ends more intensely than the first. The pattern of the last three numbers of Part II, with two celebratory movements on the same theme flanking a slower meditative movement, echoes countless settings of the Latin Mass, where similar or identical choruses on Hosanna in excelsis flank a meditative section on Benedictus. End of Part II
Haydn René Jacobs Inger Dam Jensen Dam Jensen Jeremy Ovenden Johannes Mannov Lichter Himmel Bach Newton Herschel Freiburger Barockorchester
Freiburger Barockorchester RIAS Kammerchoir René Jacobs, director Inger Dam-Jensen, soprano Jeremy Ovenden, tenor Johannes Mannov, bajo No. 9. Und die himmlischen Heerscharen verkündigten (And the Heavenly host proclaimed the third day) Brief recitative for tenor, leading into: No. 10. Stimmt an die Saiten (Awake the harp) Chorus celebrating the third day, with four-part fugue on the words "For the heavens and earth/He has clothed in stately dress". End of the third day. No. 11. Und Gott sprach: Es sei'n Lichter an der Feste des Himmels (And God said : Let there be lights in the firmament of heaven) Recitative for tenor, with portions of Genesis 1:14--16. No. 12. In vollem Glanze steiget jetzt die Sonne (In splendour bright is rising now/the sun) With tenor narration, the orchestra portrays a brilliant sunrise, then a languid moonrise. The tune of the sunrise is simply ten notes of the D major scale, variously harmonized; the moon rises in the subdominant key of G, also with a rising scale passage. The end of recitative briefly alludes to the new-created stars, then introduces: No. 13. Die Himmel erzählen die Ehre Gottes (The heavens are telling the glory of God) The text is based on Psalm 19:1--3, which had been set by Bach as the opening chorus of his cantata Die Himmel erzählen die Ehre Gottes, BWV 76. Haydn's century, following on the discoveries of Newton, had the view that an orderly universe—particularly the mathematically-governed motion of the heavenly bodies—attests to divine wisdom. Haydn, a naturally curious man, may have had an amateur interest in astronomy, as while in England he took the trouble to visit William Herschel, ex-composer and discoverer of Uranus, in his observatory in Slough. "Die Himmel erzählen" is not in the home key of Part I, C minor, but is instead in C major, showing the triumph of light over dark. It begins with alternation between celebratory choral passages and more meditative sequences from the three vocal soloists, followed by a choral fugue on the words "Und seiner Hände Werk zeigt an das Firmament", then a final homophonic section. ("The wonder of his works displays the firmament" is the English text here, with word-order calqued from the German, but somewhat awkward compared to the Authorized Version's "And the firmament sheweth the handywork of God".) The unusual intensity of the ending may be the result of Haydn's piling of coda upon coda, each occurring at a point where the music seems about to end. End of the fourth day and Part I.
Haydn René Jacobs Inger Dam Jensen Dam Jensen Jeremy Ovenden Johannes Mannov Wurm Himmel Freiburger Barockorchester
Freiburger Barockorchester RIAS Kammerchoir René Jacobs, director Inger Dam-Jensen, soprano Jeremy Ovenden, tenor Johannes Mannov, bajo No. 18. In holder Anmut stehn (In fairest raiment) Haydn breaks the regularity of the pattern "Recitative--Elaboration for solo--Celebratory chorus" with a meditative work in A major for the trio of vocalists, contemplating the beauty and immensity of the newly created world. This leads without a break to: No. 19. Der Herr ist groß in seiner Macht (The Lord is great in his might) Chorus with all three soloists, in A major, celebrating the fifth day. The line "...und ewig bleibt sein Ruhm" is, appropriately, repeated over and over again, seemingly without end. End of the fifth day No. 20. Und Gott sprach: Es bringe die Erde hervor lebende Geschöpfe (And God said : Let earth bring forth the living creature) Recitative for bass (Genesis 1:24), leading into: No. 21. Gleich öffnet sich der Erde Schoß (At once Earth opens her womb) A movement of tone painting with bass narration. Haydn's gentle sense of humor is indulged here as the newly created creatures appear, each with musical illustration: lion, tiger, stag, horse, cattle, sheep, insects, and worms. As always in Haydn's oratorio tone painting, the sung verbal explanation comes after the orchestral portrayal. The transition from glamorous animals (the first four) to prosaic ones (the last four) is marked with an unprepared modulation from D flat to A major. The farm animals are portrayed (as in No. 8) with siciliana rhythm, which plainly had bucolic associations for Haydn. Basses who have a strong low D are often tempted to use it on the final note "Wurm", substituting for the D an octave lower than written by Haydn. No. 22. Nun scheint in vollem Glanze der Himmel (Now shines heaven in the brightest glory) Aria for bass in D major, in 3/4 time. The theme is Doch war noch alles nicht vollbracht Dem Ganzen fehlte das Geschöpf Das Gottes Werke dankbar seh'n Des Herren Güte preisen soll. "Yet not all was complete, The whole lacked a being Who would behold God's work with thanks And praise the Lord's goodness." Thus the movement is preparatory to the creation of man. The first part of the movement contains another brief but notable bit of tone painting: a fortissimo bottom B-flat (sounding in octaves) for bassoons and contrabassoon accompanying the last word of the line, "By heavy beasts the ground is trod."
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