Der Tod Jesu
1] Choral: Du, dessen Augen flossen
2] Chorus: Sein Odem ist schwach
3] Recitativo Accompagnato (bass): Gethsemane! Wen hören deine Mauern
4] Aria (bass): Du Held, auf den die Köcher des Todes geleeret
5] Choral: Wen hab ich sonst
6] Recitativo Accompagnato (soprano): Ach, mein Immanuel!
7] Aria (soprano): Ein Gebet um neue Stärke
8] Recitativo Accompagnato (bass): Nun klingen Waffen
9] Aria (bass): Ihr weich geschaffnen Seelen
10] Chorus: Unsre Seele ist gebeuget zu der Erden
11] Choral: Ich will von meiner Missetat
12] Recitativo (tenor): Jerusalem, voll Mordlust, ruft mit wildem Ton
13] Aria (tenor): So stehet ein Berg Gottes
14] Chorus: Christus hat uns ein Vorbild gelassen
15] Choral: Ich werde, dir zu Ehren, alles wagen
16] Recitativo Accompagnato (soprano): Da steht der traurige, verhängnisvolle Pfahl
17] Aria (soprano, bass): Feinde, die ihr mich betrübt
18] Recitativo (soprano): Wer ist der Heiligste
19] Aria (soprano): Singt dem göttlichen Propheten
20] Chorus: Freuet euch alle
21] Choral: Wie herrlich ist die neue Welt
22] Recitativo Accompagnato (bass): Auf einmal fällt der aufgehaltne Schmerz
23] Recitativo Accompagnato (bass): Es steigen Seraphin von allen Sternen nieder
24] Choral (chorus, soprano, tenor,bass): Ihr Augen weint – Weinet nicht
25] Chorus: Hier liegen wir gerührte Sünder
Der Tod Jesu occupies a middle ground between oratorio and cantata and cannot be strictly defined as either sacred or secular. The text by Ramler stands out through the suggestive power of its vocabulary and the Affekt-laden depiction of various emotions, of which there is naturally no lack in a Passion. His Passion was his most popular work and completely narrative in character, with no independent characters. Overall Ramler’s texts fulfil the critical demands that Telemann laid down for poetry that was intended to be set to music.
In this Passion Cantata Telemann provides musical innovation; he leans strongly in the direction of the full-blown styles of Gluck or Haydn. Each note of Telemann’s composition emits the scent of the early Classical style, although the theatrical contrasts of the Affekten still casts a strong Baroque influence. Furthermore, he paid more attention to the chorus in this work than was normally his custom. Der Tod Jesu provides them with contemplative evocations with a penetrating emotional weight. The accompagnato recitatives are the most striking feature of the piece which, thanks to the powerful support of the orchestra, possesses an unusually strong expressive power and provides the work as a whole with an incredibly rich palette of sounds.
Ex Tempore was founded by Florian Heyerick in 1989. It is a versatile ensemble and concentrates on a stylistically clear and musically captivating approach to Early, Romantic and Modern vocal music. The variable size of the ensemble allows it to be optimally adapted to any programme with music from between 1600 and 1900. In its original choice of programmes and its highly qualitative interpretations the ensemble makes an important contribution to the expansion and renewal of the vocal repertoire.
Greetje Anthoni’s clear and flexible soprano voice and great musical adaptability make her one of the best Flemish performers of today. Yves Saelens is a popular soloist in oratorios, recitals and operas throughout Europe, North America and Asia. Stefan Geyer won prizes in several international competitions and is equally in demand for oratorio as he is for Lieder at important international festivals.