ROLLE, Johann Heinrich (1716-1785) - Motets

Obra d'Heinrich Friedrich Füger (1751-1818), pintor alemany (1)

- Recordatori de Johann Heinrich Rolle -

En el dia de la celebració del seu 300è aniversari de naixement

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Parlem de Pintura...

Heinrich Friedrich Füger (Heilbronn, 8 de desembre de 1751 - Wien, 5 de novembre de 1818) va ser un pintor alemany. Es va formar amb Nicolas Guibal a l'Academia de Belles Arts de Stuttgart i amb Adam Friedrich Oeser a Leipzig. Poc després va viatjar a Itàlia on va estudiar els clàssics i on va pintar alguns dels frescs del Palazzo Caserta. Més tard va viatjar a Viena on va assolir la condició de pintor de la cort, professor i subdirector de l'Academia de Belles Arts de la ciutat. El 1806 va accedir al càrrec de director de la Galería Belvedere. Com a pintor el seu estil va ser neoclàssic i proper al dels pintors Jacques-Louis David i Anton Raphael Mengs i la seva temàtica va ser principalment històrica i religiosa si bé també va realitzar nombrosos retrats. Com a professor va tenir diversos alumnes sent els més destacats Gustav Philipp Zwinger i Franciszek Ksawery Lampi. Friedrich Füger va morir a Viena el novembre de 1818.

Font: En català: No disponible - En castellano: Heinrich Friedrich Füger (1751-1818) - In english: Heinrich Friedrich Füger (1751-1818) - Altres: Heinrich Friedrich Füger (1751-1818)

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Parlem de Música...

Johann Heinrich Rolle (Quedlinburg, 23 de desembre de 1716 - Magdeburg, 29 de desembre de 1785) va ser un compositor alemany. Fill de l'organista i compositor Christian Friedrich Rolle, es va formar inicialment amb el seu pare abans d'assolir el seu primer càrrec d'organista a Magdeburg. Des d'allà va partir, el 1737, cap a Leipzig on va continuar la seva formació musical i on també va entrar a la Universitat de Leipzig per estudiar Dret. Poc després va entrar a treballar a l'orquestra de Frederic el Gran fins el 1747, any que va tornar a Magdeburg per treballar com a organista de la Johanniskirche. Allà va assumir, després de la mort del seu pare el 1751, el càrrec de director musical de la ciutat, en un lloc que ja va mantenir la resta de la seva vida. Des d'aquesta posició es va encarregar de servir musicalment les diferents esglésies de la ciutat així com d'organitzar-ne la seva activitat musical. També en el sí d'aquest càrrec va compondre la major part del seu repertori format principalment per música religiosa assolint una notable reputació en aquest sentit. Heinrich Rolle va morir a Magdeburg el desembre de 1785.

OBRA:

Vocal secular:

Stage:
Der Sturm, oder Die bezauberte Insel (occasional piece, 1, Patzke, after W. Shakespeare), Berlin, 1782;
Melida (Spl, C.J. Sucro), 1784 (Leipzig, 1785), score CH-Bu

Secular cants.:
Der Nachtwächter, B-Bc, D-Bsb;
Quando un cor vive lontano, B-Bc;
Holder Mai sei uns gegrüsst, D-BDk

Lieder, incl.:
Sechzig auserlesene Gesänge über die Werke Gottes in der Natur (Halle, 1775);
Sammlung geistliche Lieder für Liebhaber eines ungekünstelten Gesang (Leipzig, 1775);
Lieder nach dem Anakreon (Berlin, 1775);
6 Lieder, addns to pubd kbd reduction of Hermanns Tod (Leipzig, 1783)

Vocal religiosa:

Dramatic:
L'aposteoso di Romolo (cant.), for birthday of Friedrich II, Berlin, ?1741–6;
Die Opferung Isaacs (orat, P. Metastasio), Berlin, ?1741–6, D-Bsb;
Jakobs Ankunft in Aegypten (orat, G.S. Rötger), Berlin, ?1741–6, Bsb*;
Die Befreyung Israels (orat, F.W. Zachariä), 1764, rev. (1784);
Szenen aus Klopstocks Messias (F.G. Klopstock), 1764;
Die Götter und Musen (cant., S. Patzke), for birthday of Frederick the Great, 1765;
David und Jonathan (musikalisches Eligie, Klopstock), 1766 (1773);
Idamant, oder Das Gelübde (music drama, Patzke), 1766, Bsb* (1782);
Davids Sieg im Eichthale (music drama, Patzke), 1766 (Halle, 1776);
Die Schäfer (cant., J.A. Eberhard), for birthday of Frederick the Great, 1766;
Orest und Pylades, oder Die Stärke der Freundschaft (music drama, Patzke), 1768;
Die Geburt Jesu (Christmas orat, Patzke), 1769, A-Wn;
Der Tod Abels (music drama, Patzke, after S. Gessner), 1769, A-Wn* (1771)
Saul, oder Die Gewalt der Musik (music drama, Patzke, after J.J. Eschenburg's trans. of J. Brown), 1770, D-Bsb* (1776);
Die Taten des Herkules (cant., Patzke), for birthday of Frederick the Great, 1770;
Hermanns Tod (Patzke, after Klopstock), 1771 (1783);
Abraham auf Moria (music drama, A.H. Niemeyer), 1776 (1777);
Lazarus, oder Die Feier der Auferstehung (music drama, Niemeyer), 1777 (1779);
Thirza und ihre Söhne (music drama, Niemeyer), 1779 (1781);
Mehala, die Tochter Jephta (music drama, Niemeyer), 1781 (1784);
Simson (music drama, Patzke), 1782 (1785);
Gedor, oder Das Erwachen zum bessern Leben (music drama, C.F.W. Herrosee), 1785, ed. Zachariä (1787);
Ach, dass du den Himmel zerreisest (Christmas orat), A-Wn, D-Bsb, HAmk

Passions:
St Luke Passion, c1744, lost, cited in Magdeburgische privilegierte Zeitung (1744, 1761);
St Matthew Passion, 1748, D-MAs*, ABGa, BDk, F-Pn;
Die durch das schmerzliche Leiden und blutige Sterben unseres Weltversöhners und Seligmachers Jesu Christi entandene Hülfe aus Zion, 1752/3, lost, cited in Magdeburgische privilegierte Zeitung (1756);
St John Passion (E.C. Reichard), 1757, music lost, cited in Magdeburgische privilegierte Zeitung (1757);
Weinet heil'ge Thränen (C.A. Albrecht), 1762, B-Bc, CH-Zz, D-Bsb, BDk, DK-Kk, F-Pn, GB-Lcm;
O meine Seele ermuntre dich (Patzke, sometimes attrib. Klopstock), B-Bc, CH-Bu, W, Zz, D-Bsb, BDk, US-WS;
Der du voll Blutt und Wunden (Patzke), 1776, CH-Bu, D-Bsb, EC, HAu, F-Pn;
Die Feyer des Todes Jesu (Niemeyer, 1783), music lost

Other:
Mass (Ky, Gl), chorus, orch, D-BAR, HR, GB-Lcm
65 motets, A-Wn, CH-Zz, D-Bsb, EC, HER, LEm, Mbs, DK-Ch, Kk, F-Pn, GB-Lbl, PL-Wn, WRk, US-WS; 20 ed. in G. Rebling, Gesammelte Motteten (Magdeburg, c1870); 23 ed. in J. Sanders, Heilige Cäcilia (Berlin, 1818–19)
60 cants., B-Bc, D-BDk, Bsb, CR, EC, HAmk, HER, Mbs, RAd, STBp, DK-Ou, F-Pn, US-Cn, see C. Ledebur, Tonkünstler-Lexicon Berlin's (Berlin, 1861/R); 1 other, lost, cited in A. Schering, Geschichte des Oratoriums (Leipzig, 1911/R)

Instrumental:

Syms.:
D, 10 insts, D-Bsb, ?Swl;
D, 5 insts, Bsb;
B , 4 insts, Bsb; 1 pubd in Raccolta delle megliore sinfonia (Leipzig, 1761–2), iv; 6:
B , 4 insts;
F, G, A, 6 insts;
D, D, 8 insts; all lost, cited in Breitkopf catalogue, 1762
Ov., D, D-DS
Partita, B , 8 insts, lost, cited in Breitkopf catalogue, 1772

Kbd concs.:
B, g, g, Bsb; F, Bsb*;
D, g, d, F, C, a, F: all cited in Breitkopf catalogues, 1763, 1767, 1769, 1778;
3 pubd as Trois concerts, op.1 (Berlin, c1782)

Trios, all Bsb:
4 for kbd, vn, b;
1 for kbd/vn, fl, b;
5 for kbd, vn
Fl sonata, D, Bsb;
Vn sonata, F, ?D-SWl;
vn sonatas, F, f , C, G, c, G: ? all lost, cited in Breitkopf catalogue, 1763

Kbd sonatas:
E , Bsb*, pubd in F.W. Birnstiel, Musikalisches Allerley, vii (Berlin, 1762), ed. in L. Köhler, Maîtres du clavecin (Brunswick, 1860–73), and in E. Pauer, Alte Meister (Leipzig, 1868–85);
G, Bsb, pubd in F.W. Birnstiel, Musikalisches Allerley, viii (Berlin, 1763);
f, pubd in kbd reduction of Idamant (Leipzig, 1782);
e, Bsb*, pubd in L'arte antica e moderna (Milan, n.d.), iii

Kbd solos, e , d, G, B , Bsb, C, Bsb*;
Minuet, A (1766);
kbd suite, G (1763);
7 kbd suites, G, B , A, E , C, F, G, lost, cited in Breitkopf catalogue, 1763
Org fugue, E , in G.F. Körner, Der Orgel-Virtuose, no.193 (Erfurt, 1845)

Font: En català: Johann Heinrich Rolle (1716-1785) - En castellano: Johann Heinrich Rolle (1716-1785) - In english: Johann Heinrich Rolle (1716-1785) - Altres: Johann Heinrich Rolle (1716-1785)

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Parlem en veu pròpia o en veu d'altri...

Rolle was virtually alone at this time in writing biblical-historical works. Composed from 1766 to 1785, they become progressively more dramatic, paralleling trends in German letters (but not those in sacred music). Most German oratorio composers continued setting the popular texts of K.M. Ramler (e.g. Tod Jesu), in which plot and characterization are peripheral to a core of meditative verse. Rolle composed two concert works in this reflective style, both on texts by his friend Klopstock (including scenes from Messias, 1764). For the vast majority of the music dramas, however, Rolle used the dramatic texts of two members of the Mittwochsgesellschaft: Johann Samuel Patzke, pastor of the Heilige Geist-Kirche and later of the Johanniskirche in Magdeburg, and August Herrmann Niemeyer, an educator and later chancellor in Halle. Patzke's librettos show a wide range of literary influences, including Classical literature, English moral journals and Shakespeare's plays, which became known in Germany during the 1760s and 70s. Niemeyer intentionally sought to create works that were religious yet resembled opera more than oratorio. In prefaces to the published editions of his librettos, Niemeyer described his ideas on sacred opera and offered his texts as examples. Both writers often chose sacrificial themes and expressed them with vivid, sometimes grotesque images and strongly emotional language that have their roots in 17th-century Protestant Pietism and reflect its continuing influence in North Germany. Such language was designed to elicit strongly emotional yet religious responses from the main characters and similar religious feeling within the listener. Following closely the dramatic intentions of his librettists, Rolle's settings became increasingly operatic. All his mature scores are continuous; traditional aria-recitative patterns, though unnumbered, are clearly perceptible, but at important moments the music is allowed to respond to a situation with a fluid mixture of arioso and obbligato recitative. In such passages one sees a clear parallel to Benda's melodramas. 

Rolle's music dramas are virtually concert operas, a lone Protestant equivalent to Jesuit school plays.With his setting of Patzke's Tod Abels (1769), Rolle's reputation spread quickly throughout Germany and beyond. Each new work brought increased fame, and generated feverish local interest. He arranged 12 of his oratorios in keyboard reductions for publication, by Breitkopf and Schwickert in Leipzig, whose printed lists of subscribers reveal a large, broadly based audience.Rolle wrote what many critics have considered his best, most dramatic music dramas when in his 60s, especially Abraham auf Moria, Lazarus (the same text Schubert set in part) and Thirza und ihre Söhne. Here tonal and dramatic units are organized on a larger scale; Schering noted that in Thirza the drama unfolds ‘as one great scene’. According to Köpken, Rolle studied his texts intently, then mapped out the key areas of an entire work before beginning composition. His musical style, often reminiscent of Graun, includes simple melodies full of repeated diatonic patterns, square phrases, an abundance of parallel 3rds and 6ths, melodic sighs and cadential appoggiaturas. When the text becomes more violently emotional, however, the music employs disjunct melodic lines, chromaticism, sudden tonal shifts and unusual harmonies reminiscent of C.P.E. Bach. Stirring and startling in one place, then soft and touching in another, Rolle called on every musical means known to him to express the meaning of the text.Rolle's cousin Christian Carl Rolle (b Cöthen, bap. 6 July 1725; d Berlin, 8 March 1788), was Kantor at the Berlin Jerusalemer Kirche; he wrote a theoretical-didactic treatise, Neue Wahrnehmung zur Aufnahme … der Musik (Berlin, 1784), including complaints about the fallen state of church music and biographies of Graun and J.F. Agricola.

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Gaudiu i compartiu! 

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Informació addicional... 

INTERPRETS: Kammerchor Michaelstein; Sebastian Göring
JPC: ROLLE, J.H. - Jauchzet dem Herrn alle Welt

IMSLP: Johann Heinrich Rolle (1716-1785)

CPDL: Johann Heinrich Rolle (1716-1785)

SPOTIFY: ROLLE, J.H. - Jauchzet dem Herrn alle Welt



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