Telemann: Die Gekreuzigte Liebe, TVWV 5:4 - Telemann Vokalensemble, Telemann-Orchester, Roland Fitzlaff (2 CD Box)

CD 1:
Georg Philipp TELEMANN: Die Gekreuzigte Liebe, TVWV 5:4: No. 1, Nicht das Band, das dich bestricket – No. 2, So schleppt man dich ins Richthaus – No. 3, Kommt, schauet Petrus’ Tränen an – No. 4, Ruchloser Mund, verräterischer Sinn – No. 5, Ach mein Mund, ach meine Zunge – No. 6, Was nützt mir’s nun – No. 7, Fließt ewig, meine Zähren – No. 8, Ach Herr, mich armen Sünder – No. 9, Ans Kreuz, ans Kreuz – No. 10, Verfluchte Menschen, haltet ein – No. 11, O weh! Die ganze Schar – No. 12, Die Sporne, die meinen Erlöser – No. 13, Doch göttlich’s Haupt – No. 14, Wir wollen dich als Judenkönig grüßen – No. 15, Das Haupt, in dem die Gottheit thront – No. 16, Aber nein, nicht die Menschen zu verderben – No. 17, Du, ach du hast ausgestanden – No. 18, Jetzt lösen sie dich auf – No. 19, Weinet, ihr getreuen Herzen.

CD 2:
Georg Philipp TELEMANN: Die Gekreuzigte Liebe, TVWV 5:4: No. 20, Ach Golgatha! – No. 21, Die Stunde kömmt – No. 22, Spiegelt euch in meinem Leiden! – No. 23, Schaut den entblößten Leib – No. 24, Aus Liebe lag ich in der Krippen – No. 25, O herber Anblick – No. 26, Seele meiner Seelen – No. 27, Was hör ich? – No. 28, Pfui dich! – No. 29, O Jammerblick – No. 30, Seht, welch ein Mensch! – No. 31, Ach könnt ich doch – No. 32, O Welt, sieh hier dein Leben – No. 33, Es ist vollbracht! – No. 34, Ja, leider ja – No. 35, Der Abgrund muss erzittern – No. 36, O große Not! – No. 37, Weh mir! Ich blinder Wurm – No. 38, Ja, die Natur lässt auch aus ihrem Schrecken lesen – No. 39, So leidet selbst die Unschuld so viel Qualen? – No. 40, Ich wünsche mir, Jesu, dir einzig zum Ruhme – No. 41, Wir wünschen uns, Jesu, dir einzig zum Ruhme.

Barbara Böhi, Soprano – Gläubige Seele / Faithful Soul; Maria Magdalena
Ruth Achermann, Soprano – Maria
Mirjam Blessing, Alto – Andächtige Seele / Devout Soul
Felix Rienth, Tenor – Johannes; Pilatus; Hauptmann / Centurion
Christian Marthaler, Bass – Petrus; Arien
Patrick Oetterli, Bass – Jesus

Telemann-Orchester
Telemann-Vokalensemble
Roland Fitzlaff, Conductor

https://www.muenstermusik-konstanz.com/
https://www.telemann-schweiz.ch/

Die Gekreuzigte Liebe – The Crucified Love or Tears Over the Suffering and Death of Our Savior (TVWV 5:4)

The passion oratorio The Crucified Love by Georg Philipp Telemann – Die Gekreuzigte Liebe – (1681–1767) is based on a libretto by Johann Ulrich König (1688–1744), a celebrated German-language poet of the first half of the 18th century. It premiered on 22 March 1731, at the Drillhaus in Hamburg.

König, who had been the secret state secretary and court poet to Augustus the Strong in Dresden since 1720, was once again in Hamburg around this time, which has led to speculation that he may have attended the premiere, though this cannot be confirmed. The libretto of The Crucified Love is a rewrite of the text Tears Beneath the Cross of Jesus, which König had written earlier. The work’s expansive title already indicates that something new had emerged that called for an explanation.

Telemann’s The Crucified Love is one of his five passion oratorios and demonstrates a clear development of the genre during a period of cultural transition, especially concerning church music.

One of the innovations is the transformed image of Jesus, which is detached from its biblical context and becomes more individual or even more “human.” Jesus is no longer shown solely as the Son of God who accepts his passion stoically; instead, his suffering is depicted with human traits: he feels physical and psychological torment, is afraid, sweats and bleeds, and cries out why he must endure all this.

Enlightenment and especially Pietist poets promote this development with powerful and brutally graphic depictions, which are echoed in Telemann’s passion oratorios.

Telemann’s third passion oratorio is thus marked by an intense portrayal of Christ’s suffering and the emotional responses of the faithful. König uses vivid and emotionally charged language, which Telemann realizes through diverse musical forms. The arias and recitatives are rich in word-tone relationships that underscore the text’s drama and emotionality. Especially of note is the use of pauses, sixteenth-note figures, and large intervals that represent grief, pain, and despair.

A trend that began with the Brockes Passion — Telemann’s first contribution to the genre — becomes more pronounced here: Jesus is gradually robbed of his divine nimbus, which reaches a first peak in The Crucified Love. The entire part is paraphrased with no direct references to Bible verses (except for the role name “Jesus”); however, the character is shaped by a range of emotions: fear, mockery, and scorn.

CD-1694-1695 Booklet.pdf