{"id":105242,"date":"2025-10-16T15:49:55","date_gmt":"2025-10-16T13:49:55","guid":{"rendered":"https:\/\/vdegallo.com\/?post_type=product&p=105242"},"modified":"2025-10-16T16:02:40","modified_gmt":"2025-10-16T14:02:40","slug":"telemann-die-gekreuzigte-liebe-tvwv-54","status":"publish","type":"product","link":"https:\/\/vdegallo.com\/en\/produit\/telemann-die-gekreuzigte-liebe-tvwv-54\/","title":{"rendered":"Telemann: Die Gekreuzigte Liebe, TVWV 5:4 – Telemann Vokalensemble, Telemann-Orchester, Roland Fitzlaff (2 CD Box)"},"content":{"rendered":"

CD 1:<\/strong>
\nGeorg Philipp TELEMANN: Die Gekreuzigte Liebe, TVWV 5:4:<\/strong> No. 1, Nicht das Band, das dich bestricket – No. 2, So schleppt man dich ins Richthaus – No. 3, Kommt, schauet Petrus’ Tr\u00e4nen an – No. 4, Ruchloser Mund, verr\u00e4terischer Sinn – No. 5, Ach mein Mund, ach meine Zunge – No. 6, Was n\u00fctzt mir’s nun – No. 7, Flie\u00dft ewig, meine Z\u00e4hren – No. 8, Ach Herr, mich armen S\u00fcnder – 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 Erl\u00f6ser – No. 13, Doch g\u00f6ttlich’s Haupt – No. 14, Wir wollen dich als Judenk\u00f6nig gr\u00fc\u00dfen – 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 l\u00f6sen sie dich auf – No. 19, Weinet, ihr getreuen Herzen.<\/p>\n

CD 2:<\/strong>
\nGeorg Philipp TELEMANN: Die Gekreuzigte Liebe, TVWV 5:4:<\/strong> No. 20, Ach Golgatha! – No. 21, Die Stunde k\u00f6mmt – No. 22, Spiegelt euch in meinem Leiden! – No. 23, Schaut den entbl\u00f6\u00dften Leib – No. 24, Aus Liebe lag ich in der Krippen – No. 25, O herber Anblick – No. 26, Seele meiner Seelen – No. 27, Was h\u00f6r ich? – No. 28, Pfui dich! – No. 29, O Jammerblick – No. 30, Seht, welch ein Mensch! – No. 31, Ach k\u00f6nnt 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 gro\u00dfe Not! – No. 37, Weh mir! Ich blinder Wurm – No. 38, Ja, die Natur l\u00e4sst auch aus ihrem Schrecken lesen – No. 39, So leidet selbst die Unschuld so viel Qualen? – No. 40, Ich w\u00fcnsche mir, Jesu, dir einzig zum Ruhme – No. 41, Wir w\u00fcnschen uns, Jesu, dir einzig zum Ruhme.<\/p>\n

Barbara B\u00f6hi,<\/strong> Soprano \u2013 Gl\u00e4ubige Seele \/ Faithful Soul; Maria Magdalena
\nRuth Achermann,<\/strong> Soprano \u2013 Maria
\nMirjam Blessing,<\/strong> Alto \u2013 And\u00e4chtige Seele \/ Devout Soul
\nFelix Rienth,<\/strong> Tenor \u2013 Johannes; Pilatus; Hauptmann \/ Centurion
\nChristian Marthaler,<\/strong> Bass \u2013 Petrus; Arien
\nPatrick Oetterli,<\/strong> Bass \u2013 Jesus<\/p>\n

Telemann-Orchester<\/strong>
\nTelemann-Vokalensemble<\/strong>
\nRoland Fitzlaff,<\/strong> Conductor<\/p>\n

https:\/\/www.muenstermusik-konstanz.com\/<\/a>
\nhttps:\/\/www.telemann-schweiz.ch\/<\/a><\/p>\n

\n

Die Gekreuzigte Liebe \u2013 The Crucified Love or Tears Over the Suffering and Death of Our Savior (TVWV 5:4)<\/strong><\/p>\n

The passion oratorio The Crucified Love by Georg Philipp Telemann – Die Gekreuzigte Liebe – (1681\u20131767) is based on a libretto by Johann Ulrich K\u00f6nig (1688\u20131744), a celebrated German-language poet of the first half of the 18th century. It premiered on 22 March 1731, at the Drillhaus in Hamburg.<\/p>\n

K\u00f6nig, 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 K\u00f6nig had written earlier. The work\u2019s expansive title already indicates that something new had emerged that called for an explanation.<\/p>\n

Telemann\u2019s 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.<\/p>\n

One of the innovations is the transformed image of Jesus, which is detached from its biblical context and becomes more individual or even more \u201chuman.\u201d 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.<\/p>\n

Enlightenment and especially Pietist poets promote this development with powerful and brutally graphic depictions, which are echoed in Telemann\u2019s passion oratorios.<\/p>\n

Telemann\u2019s third passion oratorio is thus marked by an intense portrayal of Christ\u2019s suffering and the emotional responses of the faithful. K\u00f6nig 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\u2019s drama and emotionality. Especially of note is the use of pauses, sixteenth-note figures, and large intervals that represent grief, pain, and despair.<\/p>\n

A trend that began with the Brockes Passion \u2014 Telemann\u2019s first contribution to the genre \u2014 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 \u201cJesus\u201d); however, the character is shaped by a range of emotions: fear, mockery, and scorn.<\/p>\n

\n

CD-1694-1695 Booklet.pdf<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Extraits \/ Excerpts<\/strong><\/p>\n

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