Name: Hamburg 1786
Start: 2022-06-11T00:00:00.000Z
End: 2022-06-11T00:00:00.000Z
Location: Thomaskirche

Organization

Admin

Les Talens Lyriques

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Vocalconsort Berlin

Conductor

Christophe Rousset

Singer

Rachel Redmond

Voice

Soprano

Mezzo-soprano

Hagar Sharvit

Tenor

William Knight

Bass

Krešimir Stražanac

Hamburg 1786

Leipzig

Germany

Thomaskirche

Hamburg 1786: Mass in B minor, BWV 232 Bach, J. S. (+4 More)

Public

Mass in B minor, BWV 232

Messiah HWV 56

Symphony No.1 in D Major, H 663 Wq 183:1

Magnificat in D major, Wq 215/H.772

Heilig, H.778

Approved

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Spoken

Le 8 avril 1786, un concert caritatif mémorable au profit du medizinische Armeninstituts’est tenu à Hambourg. Carl Philipp Emanuel Bach, âgé de 72 ans, directeur musical des cinq principales églises de Hambourg et maître de chapelle du lycée Johanneum, y confronta d’importantes œuvres de son père Johann Sebastian et de son contemporain Georg Friedrich Händel (1ère partie) avec quelques-unes de ses propres compositions (2ème partie).

Ce concert peut être considéré comme la quintessence de sa vie musicale. Ce fut la première fois, de ce que l’on sait, que se fit entendre officiellement le « Credo » de la Messe en si mineur(BWV 232) de Johann Sebastian Bach, dont la partition manuscrite se trouvait dans la bibliothèque musicale de son fils. Comme ce credo débutait sans prélude par le chœur, Carl Philipp composa à cette occasion une lente introduction instrumentale pour cordes, sobre mais expressive ; et fit clore cette première partie par deux extraits (l’air « Ich weiss, dass mein Erlöser lebt » et l’« Halleluja ») du Messiahdéjà célèbre de Händel. La seule incertitude plane sur le fait de savoir quelle symphonie ouvrit la seconde partie du concert. Il est toutefois évident qu’il s’agissait d’une des quatre symphonies dites « hambourgeoises » Wq. 183.

Au centre du programme, Carl Philipp fit ensuite entendre son Magnificat(Wq. 215) : sa première grande œuvre pour chœur, composée en 1749 et remaniée vers 1779. Dans la filiation de la messe de son père, cette pièce solennelle souligne la magnificence et la liesse du cantique de la Vierge, et l’« universalité » de la naissance annoncée du Christ.

La conclusion enfin fut marquée par le HeiligWq. 217 à double chœur, que le compositeur lui-même compta parmi ses créations les plus réussies et à propos de laquelle un critique avait écrit en 1779 : « Et même si notre Bach n’avait rien composé d’autre que ce Heilig, son nom aurait, de cet unique fait, connu la plus tardive postérité auprès des experts en musique. »

français

On April 8, 1786, a memorable charity concert for the benefit of the medizinische Armeninstitut was held in Hamburg. Carl Philipp Emanuel Bach, aged 72, music director of the five main churches of Hamburg and choirmaster of the Johanneum high school, compared important works by his father Johann Sebastian and his contemporary Georg Friedrich Händel (1st part) with some -some of his own compositions (2nd part).

This concert can be considered the quintessence of his musical life. This was the first time, as far as we know, that the “Credo” from the Mass in B minor (BWV 232) by Johann Sebastian Bach was officially heard, the handwritten score of which was in his musical library. son. As this credo began without a prelude by the choir, Carl Philipp composed on this occasion a slow instrumental introduction for strings, sober but expressive; and closed this first part with two extracts (the aria “Ich weiss, dass mein Erlöser lebt” and the “Hallelujah”) from Handel’s already famous Messiah . The only uncertainty hangs over the fact of knowing which symphony opened the second part of the concert. However, it is obvious that it was one of the four so-called “Hamburg” symphonies Wq. 183.

At the center of the program, Carl Philipp then performed his Magnificat (Wq. 215): his first major work for choir, composed in 1749 and reworked around 1779. In line with his father's mass, this solemn piece underlines the magnificence and the joy of the Virgin’s song, and the “universality” of the announced birth of Christ.

Finally, the conclusion was marked by the Heilig Wq. 217 with double choir, which the composer himself counted among his most successful creations and about which a critic had written in 1779: "And even if our Bach had composed nothing other than this Heilig, its name would have, from this single fact, enjoyed later posterity among music experts. »

English

Hamburg 1786 by Bach, J. S., Händel, Bach, C. P. E., Fra (2022/2022), Dirigent Christophe Rousset, Thomaskirche, Leipzig, Germany

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