Wolfgang Rihm: Deus Passus
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Music CD Cover
Performer: Andreas SchmidtComposer: Wolfgang Rihm
Conductor: Helmuth Rilling
Performer: Stuttgart Bach Collegium
Orchestra: Stuttgart Bach Collegium
Performer: Iris Vermillion
Performer: Juliane Banse
Performer: Christoph Prégardien
Edition: Music CD
Format: Import
CD Release Date: 2001-05-15
Music Label: Hanssler Classics
Soundtracks:
- Das Ist Mein Leib
- Potum Meum
- Movt Instrumental
- Und Er Ging Hinaus
- Domine, Audivi Auditum Tuum
- Siehe, Da Kam Die Schar
- Eripe Me, Domine
- Sie Griffen Ihn Aber
- Die Manner Aber, Die Jesum Hielten/Weissage, Wer Ist's
- Qui Cogitaverunt Malitias In Corde
- Und Als Es Tag Ward
- Und Sie Fuhrten Ihn Vor Pilatus
- Da Aber Herodes Jesum Sah
- Pilatus Aber Sprach
- Popule Meus
- Und Als Sie Ihn Hinfuhrten/Ihr Tochter Von Jerusalem/Es Wurden Aber Auch Hingefuhrt
- Und Als Sie Kamen An Die Statte
- Crux Fidelis
- Er Hat Anderen Geholfen
- Hic Acetum, Fel, Arundo
- Es War Aber Auch Uber Ihm Geschrieben/Und Es Ward Eine Finsternis
- Und Jesus Rief Laut/Vater, Ich Befehle Meinen Geist/Und...Verschied
- Flecte Ramos, Arbor Alta
- Stabat Mater Dolorosa
- Und Alles Volk, Das Dabei War/Furwahr, Er Trug Unsre Krankheit
- Joseph Von Arimathia Ging Zu Pilatus/Aber Am Ersten Tage Der Woche
- Tenebrae
Free Music Notes for Wolfgang Rihm: Deus Passus
Free Music Review: Great composer, interesting music
Hit: 4 Stars
Originally commissioned by the Passio 2000 project, this is one of the four examples of modern music dealing with the final days of Christ. Great text (assembled from many sources) innovative yet accessible music and great sense of lithurgy make these CD's an essential component of contemporary music selections. However, the other reviewer is correct, the piece is monolythic, and there are little dynamic changes. I suspect this was intentional, though.
Wolfgang Rihm: Deus Passus Poster
Last fall, a series of modern masterworks were premiered as the capstone of the yearlong commemoration of the death of Johann Sebastian Bach. Four settings of the Good Friday narrative were commission by four of the world?s leading composers: Sofia Gubaidulina, Tan Dun, Osvaldo Golijov and Wolfgang Rihm.First to be released by the international award winning Hänssler Classic label is Wolfgang Rihm?s transcendent requiem of Reconciliation, DEUS PASSUS.
For those familiar with Rihm?s earlier work, DEUS PASSUS constitutes a new direction in his stylistic development. Absent are the violent juxtapositions and bold gestures of Rihm?s earlier work. In their place, a delicate, carefully chosen almost ?impressionistic? palette has been selected. This ?impressionistic? approach applies equally to the texts that Rihm selected to set. Consciously selecting St. Luke?s account of Jesus? death, specifically for it?s lack of anti-Semitic content, Rihm deleted all non dialogue material and supplemented his ?Passion fragment? with selections from the Catholic lectionary, the Stabat Mater and poetic interpolations, concluding with a moving setting of Paul Celan?s ?inverted prayer?, TENEBRAE.
Grammy Award winning conductor, Helmuth Rilling delivers one of the finest performances of his career, directing the Gachinger Kantorei, the Bach-Collegium Stuttgart and stellar soloists Juliane Banse, Iris Vermillion, Cornelia Kallisch, Christoph Prégardien and Andreas Schmidt in a score that rightfully takes it?s place with the 20th century?s ?other? great St. Luke Passion, the Penderecki ?Passio et more domini nostri Jesu Christi secundum Lucam?.
Wolfgang Rihm, one of Germany's leading composers, here plants himself in Bach's footsteps with a version of the St. Luke Passion. Rihm emphasizes spirituality in this calm unfolding of the drama. Five vocal soloists take the parts traditionally assigned to the Evangelist and Jesus; their lines are often broken into phrases taken by each singer. While alluding to his eminent predecessor, Rihm's music is thoroughly contemporary, though nowhere approaching iconoclastic avant-garde. He intersperses the Gospel text with liturgical hymns, a passage from Isaiah and a Stabat Mater, and closes the work with a setting of Paul Celan's poem Tenebrae.
Overall, the work impresses with its seriousness, its refusal to sensationalize or strive for effect, and its largely successful effort to adapt a traditional form to our times. This recording was made at the concert premiere, and Helmut Rilling, who commissioned the work, leads an intense performance that sustains interest throughout its hour and a half. Orchestra and chorus are fine, the soloists outstanding. -- Dan Davis
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