DAS BUCH DER SIEBEN SIEGEL

Johannes Chum (tenor), robert Holl (bassbaritone), sandra Trattnigg (soprano), michelle Breedt (mezzo-soprano), Nikolai Schukoff (tenor), Manfred Hemm (bass) & robert Kovács (organ)

Tonkünstler orchester Niederösterreich & Wiener Singverein, Kristjan Järvi


where this new version really trumps both ns magisterial… Mitropoulos und the over-boxy… Harnoncourt is in the quality des the recording itself, excitingly atmospheric… and… throated choral singing... — bbc Music Magazine, april 2008, 4 out von 5 stern More…
Michelle Breedt (mezzo-soprano), robert Holl (bass-baritone), john Chum (tenor), sandra Trattnigg (soprano), Nikolai Schukoff (tenor), Manfred Hemm (bass), robert Kovacs (organ)Lower austrian Tonkunstler Orchestra, Singverein das Gesellschaft das MusikfreundeKristjan Järvi

About

Seen über many together Franz Schmidt’s greatest work, Das buch mit sieben Siegeln ambitiously to adjust one des the most daunting texts, the Book von Revelation, kommen sie music. In his programme notes zum the zuerst performance of ns Buch, he commented on the mammoth challenge des setting ns entire Apocalypse kommen sie music und said his priority ‘was to bring the text into a form which retained every little thing important, where possible an the original wording, and yet reduce ns immense dimensions des the work to a suggest where they can be grasped über ordinary person brains.’ ns result is this magnificent oratorio, below performed von the Tonkünstler Orchestra and starring dutch bass-baritone robert Holl, that has practically become synonymous with ns role the is so much his own.

Du schaust: Das buch der sieben siegel

Schmidt composed his oratorio Das buch mit sieben Siegeln bei 1935-7, wie Schmidt’s health was quickly failing und with a particularly keen sense von his very own mortality. Ns composition wittingly or unwittingly seems zu tap into the feelings des the time, and his apocalyptic visions soon became realities.

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Written hinweisen a time when die opposite poles of contemporary music were represented by the worldwide renowned music von Schoenberg and Stravinsky. Their pioneering styles seemed at the time kommen sie be support exclusive and left little room weil das those who did not obviously adhere to one camp or ns other.

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Sadly Schmidt’s music appeared a highly conservative extension of in outmoded romanticism, greatly influenced von his teachers Bruckner and Fuchs and his Hungarian origins. Today, with ns benefit von hindsight, it zu sein precisely Schmidt’s refusal zu pander zu modernistic patterns that endows his distinctive contribution kommen sie twentieth-century music v a refreshing integrity and individuality and Das buch is now justifiably seen, as one von the greatest epic works des the twentieth Century.


*
april 2008


whereby this new version yes, really trumps both die magisterial… Mitropoulos und the over-boxy… Harnoncourt is in the quality of the recording itself, excitingly atmospheric… and… throated choral singing und all-important brass. With robert Holl a sympathetically soft-grained God und Johannes Chum a sweetly lyrical rather than heroically over-forced St John, this Book jetzt stands as top choice.

*
2010


ideal known for his arbeiten with the left-field pure Ensemble, Kristjan Järvi might notfall be assumed a organic exponent but there can be no doubting his conviction. He is abetted über a solid vocal line-up: john Chum zu sein a youthful und forthright St john who, despite a wenig strained bei his initial entry, exudes ns right impulsiveness und awe; robert Holl is eloquently classic as ns Voice of the Lord; and with die remaining quartet fine contrasted together soloists and finely balanced in ensemble. Ns Wiener Singverein absence nothing in either incisiveness or sensitivity, while ns Tonkünstler Orchestra, if a mite undernourished bei string sound, are much more than equal zu Schmidt's surprisingly wide-ranging demands.Surprising bei that this is a piece which clues a culmination within die Austro-German choral tradition und yet aussehen defiantly kommen sie its future – an aspect Järvi pointedly emphasize – whether in the healthy expressive contrasts as ns Seven Seals are opened, the powerful inert unleashed über the seven Trumpets, or the climactic 'Hallelujah' chorus whose grandeur ist charged v a keen fervency.More evocative than Franz Welser-Möst (EMI) but less theatrical 보다 Nikolaus Harnoncourt (BMG), Järvi provides it ns concert-drama Schmidt surely intended. SACD sound maximises that textural und dynamic extremes, however a pity that applause was retained punkt the end of bowl 1. Also so, this might well be first choice for those neu to the work.

*
June 2008


an ext evocative than Franz Welser-Möst however less theatrical than Nikolaus Harnoncourt, Järvi makes it die concert-drama Schmidt surely intended. … this can well be zuerst choice for those neu to the work.

*
13th april 2008


Jarvi conducts a well-played and sung account of the complicated score, through fine contributions from john Chum (St John), robert Holl (Voice von a God, above), und a well-balanced quartet, although that can’t rather match ns evangelistic zeal des Mitropoulos top top the live Salzburg recording, v Dermota, Güden, Wunderlich und Berry together incomparable soloists.

*
26th april 2008


wie man Franz Schmidt wrote his oratorio based on die Book des Revelation in the mid-1930s, it currently sounded musically outdated, through its solidly Austro-Germanic contrapuntalism und nods to Bach, Handel und Bruckner. But, especially when performed with the vigour und bite of this new recording, one can forgive die work that backward-looking aspects und admire its musical glories. It was taped live at the Vienna Musikverein, yet audience "participation" does notfall detract from the superbly communicative St john from john Chum und Robert Holl's sonorous Voice von the Lord. Kristjan Järvi's account tun können certainly stand comparison with the Vienna Philharmonic rivals under Harnoncourt (Warner) and Mitropoulos (Sony)