E.T.A. Hoffmann ‎– Miserere B-Moll-Sinfonie Es-Dur (1997)

2017-08-22T14:38:43Z

E.T.A. Hoffmann ‎– Miserere B-Moll-Sinfonie Es-Dur (1997)

Miserere B-Moll  (Miserere In B Flat Minor)
1 	Miserere Mei, Deus. Adagio 	5:57
2 	Ecce Enim. Andante Molto 	3:06
3 	Ecce Enim Veritatem. Andante Maestoso 	2:40
4 	Asperges Me. Larghetto 	3:41
5 	Auditui Meo Dabis. Andante 	1:44
6 	Averta Faciem Tuam. Adagio 	3:22
7 	Redde Mihi. Andante 	3:45
8 	Docebo Iniquos. Moderato 	2:18
9 	Libera Me. Adagio - Alla Breve 	2:41
10 	Sacrificim Deo. Larghetto Sostenuto 	5:01
11 	Benigne Fac. Adagio 	1:59
12 	Ut Aedificentur. Allegro 	3:26

Sinfonie Es-Dur (Symphony In E Flat Major)
13 	Adagio E Maestoso. Allegro 	7:32
14 	Andante Con Moto 	6:39
15 	Menuetto 	2:52
16 	Finale. Allegro Molto 	4:10

Camilla Nylund (soprano)
Arantxa Armentia (mezzo-soprano)
Lioba Braun (alto)
Rodrigo Orrego (tenor)
Johannes Schmidt (bass)
Concerto Bamberg
Süddeutsches Vokalensemble
Rolf Beck – conductor

It was ETA Hoffmann’s writings which so inspired Schumann and, rather differently, Offenbach. But Hoffmann (1776-1822) was a composer of note himself, graduating via occupied Poland to the German theatre and opera house, as evidenced by a clutch of stage works (notably Undine) which he added to the repertoire of his day. In Bamberg, Hoffmann left a durable mark, and in return these capable forces do him more than credit. Both works hold up well, though the youthful, spirited, Classical-style Symphony – played inspiredly, if just a little bass-heavy – is less fertile in ideas than the forty-minute choral work, where Hoffmann’s Mozartian fervour and keen grasp of earlier repertoire bear fruit. The Miserere, planned for a Catholic royal occasion, based on a reduced Psalm 50 and cast in some dozen sections, is an ideal textual vehicle for Hoffmann’s intelligent and imaginative word-setting. All the soloists do well, though early on the slightly operatic alto and tenor seem just a little portentous, and one quintet sounds earnest rather than penitential. The bass is clearest but weakest; the mezzo is most rewarding. Beck’s choir sings with genuine feeling, the adagios never get moribund and the orchestra’s ample bowing lends full body and a stately forward momentum. Woodwind obbligato and Baroque-style punctuating brass are strong, and the warm Koch acoustic enhances all. Latin and German texts only are given; the German notes are more instructive than the English. ---Roderic Dunnett, classical-music.com

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E.T.A. Hoffmann – Aurora (1995)

2014-10-06T15:52:04Z

E.T.A. Hoffmann – Aurora (1995)

CD1
1. Erster Aufzug. No 1. Introduzione
2. Cephalus: Im Schatten ruh' ich
3. No 2. Duett und Chor (Procris, Cephalus): Nein, ich kann dich nicht verlassen
4. No 3. Arie (Polybius): Nur sie kann die Wunden
5. No 4. Chor der Jäger und des Volkes: Bekränzt mit grünen Zweigen
6. No 5. Arie (Procris): Nein, mein Vater
7. No 6. Sextett und Chor: Vom innern Wunsch beklommen
8. No 7. Finale zum 1. Aufzug: Ja, ich will es dir gestehn

CD2
1. Zweiter Aufzug. Introduzione
2. No 8. Rezitativ mit Duett (Cephalus, Aurora): Auf's neu erwacht
3. No 9. Quartett: O mein Vater, hab Erbarmen!
4. No 10. Finale zum 2. Aufzug: Laßt die Hörner schallen

CD3
1. Dritter Aufzug. No 11. Duett (Philarcus, Dejoneus): Vergib, vergib
2. No 12. Quartett: Ha, so stirb!
3. No 13. Arie (Aurora): Hoffnung nur kann ich dir geben
4. No 14. Finale

Erechtheus, König von Athen – Holger Ohlmann
Procris, seine Tochter – Evelyn Meier
Polybius, Feldherr der Athenienser – Wolfgang Koch
Dejoneus, König von Phokis – Christian Rieger
Philarcus, Oberster der Leibwache des Dejoneus – Jochen Elbert
Ein junger Hirt (Cephalus) – Regina J.Kleinhenz
Aurora – Ursula Schulze
Oberpriester – Ulrich Bosch
1. Sirene – Claudia Kemmerer
2. Sirene – Anne Boszmeyer
3. Sirene – Maria Hiefinger
Chore der Jäger, Priester, Tritonen, Nimphen, Chor des Volkes – Bamberger Oratorienchor
Jugendorchester Bamberg
Hermann Dechant - conductor

E.T.A. Hoffmann (1776-1822), the great German Romantic, is primarily known as a writer. He was also, however, a gifted composer and a creative graphic artist.

Ernst Theodor Wilhelm Hoffmann was born in the Prussian city Königsberg (now Kaliningrad, Russia) January 24th, 1776. He later changed his third name to Amadeus because he revered Wolfgang Amadeus Mozart. After his study at the University of Königsberg, he initially entered upon a career within the judiciary branch of the Prussian civil service. He was dismissed from his first appointment in Posen (now Poznan, Poland) for disciplinary reasons – he had satirised „high society“ of the town – and transferred to Plock. In Warsaw a lot of compositions were premiered. When, in the course of the Napoleonic Wars, French troops came to occupy Warsaw, he lost his job there, went to Berlin and applied for the post of a musical director at the Bamberg theatre.

E. T. A. Hoffmann was in Bamberg 1808 to 1813. At the theatre, he had soon to work as a stagehand and general dogsbody, and Bamberg „high society“, into which he had been introduced by the director of the hospital Adalbert Friedrich Marcus, expected him to provide singing lessons for its daughters, but did not estimate him appropriately. Even so, Bamberg saw the composition of his opera Aurora, of his Miserere, and of the Duettini, which he wrote for his most gifted student Julia Mark, who was thirteen when she started taking lessons with him. Carl Friedrich Kunz, wine merchant, bookseller, and owner of a renowned lending library, eventually became Hoffmann’s first publisher. Many important articles, above all musical critiques, however came out in the Allgemeine Musikalische Zeitung for the first time. --- etahg.de

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