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Deus Passus: Passion Fragments After St. Luke

Wolfgang Rihm (Composer), Helmuth Rilling (Conductor) Format: Audio CD
4.7 out of 5 stars 4 ratings
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Audio CD, May 15, 2001
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Track Listings

1 Das Ist Mein Leib
2 Potum Meum
3 Movt Instrumental
4 Und Er Ging Hinaus
5 Domine, Audivi Auditum Tuum
6 Siehe, Da Kam Die Schar
7 Eripe Me, Domine
8 Sie Griffen Ihn Aber
9 Die Manner Aber, Die Jesum Hielten/Weissage, Wer Ist's
10 Qui Cogitaverunt Malitias In Corde
11 Und Als Es Tag Ward
12 Und Sie Fuhrten Ihn Vor Pilatus
13 Da Aber Herodes Jesum Sah
14 Pilatus Aber Sprach
15 Popule Meus
16 Und Als Sie Ihn Hinfuhrten/Ihr Tochter Von Jerusalem/Es Wurden Aber Auch Hingefuhrt
17 Und Als Sie Kamen An Die Statte
18 Crux Fidelis
19 Er Hat Anderen Geholfen
20 Hic Acetum, Fel, Arundo
21 Es War Aber Auch Uber Ihm Geschrieben/Und Es Ward Eine Finsternis
22 Und Jesus Rief Laut/Vater, Ich Befehle Meinen Geist/Und...Verschied
23 Flecte Ramos, Arbor Alta
24 Stabat Mater Dolorosa
25 Und Alles Volk, Das Dabei War/Furwahr, Er Trug Unsre Krankheit
26 Joseph Von Arimathia Ging Zu Pilatus/Aber Am Ersten Tage Der Woche
27 Tenebrae

Editorial Reviews

Product Description

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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

Product details

  • Product Dimensions ‏ : ‎ 5.51 x 0.92 x 4.99 inches; 7.16 ounces
  • Manufacturer ‏ : ‎ Haenssler Classics
  • Original Release Date ‏ : ‎ 2001
  • Date First Available ‏ : ‎ January 19, 2007
  • Label ‏ : ‎ Haenssler Classics
  • ASIN ‏ : ‎ B00005MLLQ
  • Number of discs ‏ : ‎ 2
  • Customer Reviews:
    4.7 out of 5 stars 4 ratings

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Top reviews from the United States

  • Michael G. Shafto
    5.0 out of 5 stars Best of an impressive foursome
    Reviewed in the United States on December 12, 2012
    Verified Purchase
    Except for the Stabat Mater, I had not heard this piece until I became obsessive about the Passion 2000 project. (Quoting Wikipedia: "Golijov and composers Sofia Gubaidulina, Tan Dun, and Wolfgang Rihm were commissioned by the Internationale Bachakademie Stuttgart to write pieces for the Passion 2000 project in commemoration of Johann Sebastian Bach. Golijov's contribution was La Pasión según San Marcos (The Passion according to St. Mark).") I heard the San Marcos in a live performance a few years ago, and like many others, I instantly became a huge fan. In fact, as we left the concert hall, I remarked to my wife that I was sorry we could not immediately repeat the experience. Long story short, I finally tracked down recordings of all four of these compositions, and RIhm's was actually the last one I acquired. I have listened to all of them a number of times, and probably listened to the Golijov twice as much as any of the rest. Without the slightest hint of disrespect for any of these wonderful compositions -- I recommend that everyone do what I did and get them all -- it is the Rihm that grows on me the most with repeated hearing. The performance is excellent, likewise the recording. The composition reminds me a little of Alban Berg: It is modern in the sense that it establishes its own language and develops according to its own plan -- coherent overall and engrossing moment by moment. Like Berg, Rihm uses the whole palette and never gets close to becoming one-dimensional. He is always -- simultaneously -- intellectually interesting and emotionally engaging. But again, this piece is marvelous as the third in a series of four.
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  • James S. Eisenberg
    5.0 out of 5 stars Blurring The Sound Images
    Reviewed in the United States on May 9, 2011
    Wolfgang Rihm's setting of fragments from the Saint Luke Passion narrative with Biblical texts and a poem by Paul Celan as a final sequence, blends atonal, tonal, monodic, polyphonic, gentle and violent ideas into a cohesive and fascinating whole. The vocal styles range from the expressionistic to neo-bel canto. I remained fascinated by the work throughout its ninety minute duration. Rihm, who has been greatly influenced by Luigi Nono, achieves similar sound worlds to the Nono of AL GRAN SOLE CARICO D'AMORE and PROMETEO here, but entirely by "live" means, without the intervention of live electronics or electronic tape. He is not however a mere Nono imitator. His approach to vocal expression is uniquely his own.
    Rihm states in the liner notes that he chose the Saint Luke text because it is the least anti-Semitic of the Passion narratives, and one certainly cannot fault him for being "P.C." here, yet his choice of texts seems to reflect much on the modern political world.
    The soloists, who we normally associate with the Baroque oratorios and such nineteenth century oratorio composers as Mendelssohn and Franck, are wonderfully adept at the tricky atonal vocal lines.
    The sound recording, a live performance from Stuttgart in 2000, is excellent.
    Although the liner notes seem to be up to Hanssler's high standards, my copy of the booklet was missing four pages of libretto, and four pages from the English and French translations.
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  • Christopher Forbes
    3.0 out of 5 stars In Need of Contrast
    Reviewed in the United States on April 18, 2003
    Of all the pieces commissioned by Helmut Rilling for the Passion 2000 project, Wolfgang Rihm's is by far the most traditional. Written by a compatriot of Bach, with Passion texts alternating with "meditations" from the Catholic mass and a poem by Paul Celan, this work is Germanic to the core. And while it is a fine work, it has a certain stodginess that is hard to ignore.
    Rihm is probably the leading German composer of his generation and one often touted as a European "neo-romantic". This description should not conjure up the likes of the ever tuneful John Corigliano in your mind. Rather, this means that Rihm is a 12 tone composer who has escewed the trappings of total serialism to create music not all that far from Luigi Nono, Alois Zimmerman or even Berg. The composer culled his text from fragments of the St. Luke passion story. By cutting the narration down to the bare bones, the work has a directness that is missing from more verbose passion settings. Words are split between five soloists and the chorus, negating any simple dramatic reading of the text. Instead, it becomes an extended dark meditation on the Luke passion story.
    But this lack of drama is also one of the biggest faults in the score. The piece is monolithic. Though occasionally Rihm uses an interesting instrumental effect (courtesy of his time studying with Helmut Lachenman) most of the sections of the work blend into the other sections, almost seamlessly. And though there are changes of tempo, these are mostly quite subtle, and do nothing to relieve the unrelenting Lento feeling of the work. Add to that a very large orchestra that, paradoxically, seems mostly muddy and dark (so dark it makes Brahms sound positively sensuous!) and the work begins to loose steam rather quickly.
    The challenge of writing a passion is to match the music to the gradually darkening mood of the text, without becoming unrelentingly dull. Bach is a master of this...and the St. Matthew Passion seems to get deeper and deeper...and more tragic by every chorale. Not so Rihm. Because he starts so darkly, there is basically nowhere for the work to go. By the end, rather than being moved by the arc of the passion story, you are just depressed...not the point behind a spiritual piece of music. So over all, this is a noble failure. There is much strong thought and craft in it. But it fails to reach the heights of it's text.
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  • KM
    5.0 out of 5 stars リリングは作曲者の意図を完全に表していると思う
    Reviewed in Japan on April 16, 2011
    Verified Purchase
    Wolfgang Rihm
    Deus Passus
    Passions - Stucke nach Lukas
    Juliane Banse
    Iris Vermillion
    Cornelia Kallisch
    Christoph Pregardien
    Andreas Schmidt
    G'chinger Kantorei
    Bach - Collegium Stuttgart
    Helmuth Rilling
    2000 年ライヴ録音

    この作品は、グバイドゥーリナの「ヨハネ受難曲」Gubaidulina: St John Passionと同じく、西暦 2000 年のバッハ没後 250 年を記念して、シュトゥットガルト国際バッハ・アカデミーの委嘱によって書かれた作品である。しかし、この作品は、バッハから遠い作品だと思う。すなわち作曲者の独自性が強い作品だと思う。音楽的には、ベルクを思わせる。ところどころ、ワーグナーを思わせるところもある。

    この作品は、キリストの死を冷静に回想する。劇的・神秘的というより、観念的といってよいと思う（その意味ではドイツ的だ）。その観念は最後の曲、パウル・ツェラン（Paul Celan）作の「Tenebrae」に集約されていると思う。すなわち、キリストおよびその受難の像（イメージ）に、聴衆を近づけること。その点に、この作品のコンセプトがあり、その点において、この作品は、統一感がある。そのことが「受難曲の目的である」と考えれば、この作品は、受難曲として異色作品ではない。

    第１曲が「これは、あなたがたのために与えられるわたしの体である。この杯は、あなたがたのために流される、わたしの血による新しい契約である」に始まり、最後の曲がパウル・ツェランの「Wir haben getrunken, Herr. / Das Blut und das Bild, das im Blut war, Herr. (私たちは、飲みました、主よ / あなたの血と、血の中にあるあなたの像を飲みました、主よ)」で終わる。最初の曲と最後の曲が、共に「キリスト者が飲むキリストの血」を歌っている。
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