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A magnificent oratorio, long forgotten, has been rediscovered in Leipzig. Gregor Meyer conducts the Gewandhaus Chorus and the camerata lipsiensis in Friedrich Schneider's Das Weltgericht. The composer, pianist, organist, and Anhalt-Dessau court music director Friedrich Schneider was one of the most creative and productive minds in the Central German music world during the first half of the nineteenth century but today is unfortunately a forgotten man. Das Weltgericht was once one of the most famous German oratorios, inspired euphoric headlines everywhere when it was first composed, and occasioned genuine storms of enthusiasm among concertgoers. The libretto is by August Apel, who based his text on the biblical accounts of the Last Judgment in Matthew 24-25 and the Revelation of John. A plot in the strict sense is not narrated; rather, the persons are biblical messengers who tell us of heaven, hell, and earth. This oratorio situated between classicism and romanticism was often performed but then was forgotten for many decades. The conductor Gregor Meyer wants to stimulate a new discussion about the oeuvre of Friedrich Schneider, who once lived and worked in Leipzig. A critical edition of the source materials will assist him in this project.
A magnificent oratorio, long forgotten, has been rediscovered in Leipzig. Gregor Meyer conducts the Gewandhaus Chorus and the camerata lipsiensis in Friedrich Schneider's Das Weltgericht. The composer, pianist, organist, and Anhalt-Dessau court music director Friedrich Schneider was one of the most creative and productive minds in the Central German music world during the first half of the nineteenth century but today is unfortunately a forgotten man. Das Weltgericht was once one of the most famous German oratorios, inspired euphoric headlines everywhere when it was first composed, and occasioned genuine storms of enthusiasm among concertgoers. The libretto is by August Apel, who based his text on the biblical accounts of the Last Judgment in Matthew 24-25 and the Revelation of John. A plot in the strict sense is not narrated; rather, the persons are biblical messengers who tell us of heaven, hell, and earth. This oratorio situated between classicism and romanticism was often performed but then was forgotten for many decades. The conductor Gregor Meyer wants to stimulate a new discussion about the oeuvre of Friedrich Schneider, who once lived and worked in Leipzig. A critical edition of the source materials will assist him in this project.
761203511921

Details

Format: CD
Label: CPO
Rel. Date: 05/03/2019
UPC: 761203511921

Das Weltgericht
Artist: Schneider
Format: CD
New: Not currently in stock
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DISC: 1
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1. Das Weltgericht, Op. 46, Teil 1 "Der Tod": No. 1, Einleitung
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2. Das Weltgericht, Op. 46, Teil 1 "Der Tod": No. 2, Heilig, Der Da Ist Und Der Da War
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3. Das Weltgericht, Op. 46, Teil 1 "Der Tod": No. 3, Ein Tag Ist Ihm Wie Tausend Jahr
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4. Das Weltgericht, Op. 46, Teil 1 "Der Tod": No. 4, Verworfne, Schweigt
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5. Das Weltgericht, Op. 46, Teil 1 "Der Tod": No. 5, Wehe! Sie Sind Verloren
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6. Das Weltgericht, Op. 46, Teil 1 "Der Tod": No. 6, Verfolgt Von Feindes Hass Und Spott
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7. Das Weltgericht, Op. 46, Teil 1 "Der Tod": No. 7, Bald Naht Sein Bote
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8. Das Weltgericht, Op. 46, Teil 1 "Der Tod": No. 8, Fort, Sklaven, Tragt Der Sieger Ketten
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9. Das Weltgericht, Op. 46, Teil 1 "Der Tod": No. 9, Heil! Die Auf Ihn Vertrauen
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10. Das Weltgericht, Op. 46, Teil 1 "Der Tod": No. 10, Halleluja
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11. Das Weltgericht, Op. 46, Teil 2 "Die Auferstehung": No. 11, Feierlich, Voll Ernster Wonne
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12. Das Weltgericht, Op. 46, Teil 2 "Die Auferstehung": No. 12, Der Posaune Hall Wird Tönen
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13. Das Weltgericht, Op. 46, Teil 2 "Die Auferstehung": No. 13, Triumpf
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14. Das Weltgericht, Op. 46, Teil 2 "Die Auferstehung": No. 14, Auch Die Das Meer Verborgen
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15. Das Weltgericht, Op. 46, Teil 2 "Die Auferstehung": No. 15, Heil Uns, Heil Wir Sehn Euch Wieder"
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16. Das Weltgericht, Op. 46, Teil 2 "Die Auferstehung": No. 16, Leicht Ist Das Grab Dem Frommen
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17. Das Weltgericht, Op. 46, Teil 2 "Die Auferstehung": No. 17, Barmherzig Ist Der Herr Und Gnädig
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DISC: 2
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MP3
1. Das Weltgericht, Op. 46, Teil 3 "Das Gericht": No. 18, Er Sammlet Die Völker Vor Seinen Thron
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2. Das Weltgericht, Op. 46, Teil 3 "Das Gericht": No. 19, Herr!
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3. Das Weltgericht, Op. 46, Teil 3 "Das Gericht": No. 20, Ja, Volk, Du Bist Verloren
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4. Das Weltgericht, Op. 46, Teil 3 "Das Gericht": No. 21, Wehe!
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5. Das Weltgericht, Op. 46, Teil 3 "Das Gericht": No. 22, Für Wahrheit Haben Wir Gestritten
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6. Das Weltgericht, Op. 46, Teil 3 "Das Gericht": No. 23, Weh!
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7. Das Weltgericht, Op. 46, Teil 3 "Das Gericht": No. 24, Und Muss Die Wahrheit Schweigen
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8. Das Weltgericht, Op. 46, Teil 3 "Das Gericht": No. 25, Geht Ein, Ihr Treuen
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9. Das Weltgericht, Op. 46, Teil 3 "Das Gericht": No. 26, Was Sind Die Leiden
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10. Das Weltgericht, Op. 46, Teil 3 "Das Gericht": No. 27, Ein Tag Ist Vor Ihm Tausend Jahr
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11. Das Weltgericht, Op. 46, Teil 3 "Das Gericht": No. 28, Verbannt Von Seinem Ew'gen Licht
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12. Das Weltgericht, Op. 46, Teil 3 "Das Gericht": No. 29, Erden Flammen, Monde Fallen
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13. Das Weltgericht, Op. 46, Teil 3 "Das Gericht": No. 30, Schon Naht Von Engeln Gehoben
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14. Das Weltgericht, Op. 46, Teil 3 "Das Gericht": No. 31, Dein Blut, Mein Sohn, Mein Gott
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A magnificent oratorio, long forgotten, has been rediscovered in Leipzig. Gregor Meyer conducts the Gewandhaus Chorus and the camerata lipsiensis in Friedrich Schneider's Das Weltgericht. The composer, pianist, organist, and Anhalt-Dessau court music director Friedrich Schneider was one of the most creative and productive minds in the Central German music world during the first half of the nineteenth century but today is unfortunately a forgotten man. Das Weltgericht was once one of the most famous German oratorios, inspired euphoric headlines everywhere when it was first composed, and occasioned genuine storms of enthusiasm among concertgoers. The libretto is by August Apel, who based his text on the biblical accounts of the Last Judgment in Matthew 24-25 and the Revelation of John. A plot in the strict sense is not narrated; rather, the persons are biblical messengers who tell us of heaven, hell, and earth. This oratorio situated between classicism and romanticism was often performed but then was forgotten for many decades. The conductor Gregor Meyer wants to stimulate a new discussion about the oeuvre of Friedrich Schneider, who once lived and worked in Leipzig. A critical edition of the source materials will assist him in this project.
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