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Der Liebreiche Und Geduldige David


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Audio CD, June 30, 2009
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1. Der liebreiche und geduldige DAVID, oratorio for 5 voices, chorus & orchestra: Part 1. Sonata. Vivace
2. Der liebreiche und geduldige DAVID, oratorio for 5 voices, chorus & orchestra: Part 1. Chor. Auf, auf, zur Flucht
3. Der liebreiche und geduldige DAVID, oratorio for 5 voices, chorus & orchestra: Part 1. Duetto. Erfolget kein Donner?
4. Der liebreiche und geduldige DAVID, oratorio for 5 voices, chorus & orchestra: Part 1. Recitativo. Nein, solcher Unsohn
5. Der liebreiche und geduldige DAVID, oratorio for 5 voices, chorus & orchestra: Part 1. Aria. Gott ist ein heiligs Wesen
6. Der liebreiche und geduldige DAVID, oratorio for 5 voices, chorus & orchestra: Part 1. Obligato. Gar recht! Der Spruch ist nicht zu h
7. Der liebreiche und geduldige DAVID, oratorio for 5 voices, chorus & orchestra: Part 1. Recitativo. Heldenkönig!
8. Der liebreiche und geduldige DAVID, oratorio for 5 voices, chorus & orchestra: Part 1. Aria. Heldenkönig, deine Schmerzen
9. Der liebreiche und geduldige DAVID, oratorio for 5 voices, chorus & orchestra: Part 1. Recitativo. Kehr um, o Freund
10. Der liebreiche und geduldige DAVID, oratorio for 5 voices, chorus & orchestra: Part 1. Arioso. Du magst sterben, du magst leben
11. Der liebreiche und geduldige DAVID, oratorio for 5 voices, chorus & orchestra: Part 1. Recitativo. Wohlt es mag solche seltne Treue
12. Der liebreiche und geduldige DAVID, oratorio for 5 voices, chorus & orchestra: Part 1. Aria. Der Loder der Tugend
13. Der liebreiche und geduldige DAVID, oratorio for 5 voices, chorus & orchestra: Part 1. Recitativo. Mehr als zu wahr!
14. Der liebreiche und geduldige DAVID, oratorio for 5 voices, chorus & orchestra: Part 1. Aria. Spiegelt euch nur an euch selber
15. Der liebreiche und geduldige DAVID, oratorio for 5 voices, chorus & orchestra: Part 1. Recitativo. Welch Ungeheuer
16. Der liebreiche und geduldige DAVID, oratorio for 5 voices, chorus & orchestra: Part 1. Aria. So geht es dir Bluthund
17. Der liebreiche und geduldige DAVID, oratorio for 5 voices, chorus & orchestra: Part 1. Recitativo. Wo nimmst du Held, dergleichen Lie
18. Der liebreiche und geduldige DAVID, oratorio for 5 voices, chorus & orchestra: Part 2. Aria. O seelge Sund!
19. Der liebreiche und geduldige DAVID, oratorio for 5 voices, chorus & orchestra: Part 2. Recitativo. Was will ich mehr!
20. Der liebreiche und geduldige DAVID, oratorio for 5 voices, chorus & orchestra: Part 2. Coro. Ihr Helden auf zur Schlacht
See all 26 tracks on this disc

Editorial Reviews

Product Description

Review

Until very recently, it has been difficult to make any reasonable assessment of the compositions of Johann Mattheson. His importance as a writer on music has been long acknowledged because of the more than a dozen major publications and many smaller ones in which he discusses almost every aspect of the music of his time. Mattheson had left his musical compositions to the Hamburg city library, and it was believed that most had been destroyed during World War II. However, it was recently discovered that the manuscripts had been moved to Armenia in 1945. They were returned to Hamburg in 1998.

In 1715, Mattheson became music director of the Hamburger Dom (Cathedral), a post that he held until increasing deafness forced him to resign in 1728. As part of his duties, he composed music for the major church festivals, including 24 oratorios. Among the rediscovered manuscripts is the oratorio heard here, Der liebreiche und geduldige David. It deals with Absalom's revolt against his father David, King of Israel. The oratorio shares elements with the operas Mattheson, Kaiser, and other composers wrote for the Hamburg opera. It tells a dramatic story in a series of recitatives and arias, with an occasional chorus. One major difference between the two is the form of the arias. The oratorio eschews the da capo aria; only three arias are in this form. The oratorio also introduces allegorical characters (Meditatio, the Christian Community) alongside the human ones (David, Simei, Chusi, Abisai, Ithai, David's soldiers). Mattheson's style is essentially melodic, in general avoiding long melismatic passages and striving for simplicity and folk-like elements.

The performance is generally good, while failing to scale the heights. The best singing comes from Nicki Kennedy as Meditatio. She has a lovely voice, backed by good technique. I recently praised her singing in a recording of Handel's English cantatas, and she continues to impress here. The other singers, although they have the technique to sing their roles, are not on her level. The small chorus (only eight voices) and orchestra are good. Michael Alexander Willens leads a reasonably paced performance. But I doubt if the constantly shifting instrumentation of the continuo accompaniment is historically accurate.

The rediscovered manuscripts of Mattheson's compositions will make possible at last an evaluation of his work as a composer. Based on the music of this oratorio, he deserves a much higher place than he has been given hitherto. This recording should please all lovers of Baroque vocal music. -- Fanfare, Ron Salemi, Nov/Dec 2009

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