FULL Johannespassion (Sauseng) Vienna 2023 Andreas Post
Information on the Performance
- Work Title: Johannespassion Passio Iesu secundum Ioannem
- Composer: Sauseng Wolfgang
- Libretto: Gospel text in the translation by Fridolin Stier and in the Greek original, Stasen from the Holy Saturday liturgy of the Eastern Church, poetry by Ingeborg Bachmann
- Venue & Opera Company: St. Ursula Kirche, Wien, Austria, University of Music and Performing Arts, Vienna
- Recorded: 2023
- Type: Concert Live
- Singers: Andreas Post
- Conductor: Manuel Schuen
- Orchestra: Instrumentalensemble der Studienrichtung Kirchenmusik am Institut für Orgel, Orgelforschung und Kirchenmusik der mdw
- Chorus: Chor der Studienrichtung Kirchenmusik am Institut für Orgel, Orgelforschung und Kirchenmusik der mdw
- Stage Director:
- Costume Designer:
Information about the Recording
- Published by: ORF
- Date Published: 2023
- Format: Broadcast
- Quality Video: 4 Audio:4
- Subtitles: nosubs
- Video Recording from: ORF TVThek FULL VIDEO
ADDITIONAL INFORMATION ON THIS PERFORMANCE
PASSIO IESU SECUNDUM IOANNEM:
EXORDIUM. Stasis Deutera
HORTUS. Iesus comprehenditur
GATH SCHEMANI
PONTIFICES. Ad Annam adducitur et a Petro negatur
MUSICA IN NOCTE
PILATUS. Apus tribunali Pilati
MOTETTE. „Tot ist alles, alles tot“ (I. Bachmann)
CRUX. De crucifixione et de morte Iesu
LAMENTATIO
SEPULCRUM. In sepulcro ponitur
CONCLUSIO. Stasis Prote
On Holy Great Saturday, at the Fourth Hour of the Night, the Great Bell tolls and the brethren sing the Office in their cells, fulfilling the rule imposed on them. Then the sexton hits the Semanterion with the hammers, and we come into the church and begin to sing the Trisagion”. The EXORDIUM develops according to this description from the liturgy of the Eastern Church on Holy Saturday and using the “Second Stasis”, a worship song. “It is worthy to praise you” is intoned by the large choir in Greek, the hammer blows in the orchestra not only call the monks to prayer, they also point to Jesus’ coming Way of the Cross. The following passion narrative of the suffering and death of Christ is divided into five parts. It is the scenes that a medieval hexameter describes: HORTUS PONTIFICES PILATUS CRUXQUE SEPULCRUM. The heart of it is the process before PILATUS, which in turn focuses on the great dialogue between Jesus and the governor […] Probably the most important concern for this composition, despite – or because of – the unusual dramaturgy, was the effort to create a precise, “unadorned” implementation of the text of John. Above all, the part of the narrator should take place without annoying accessories. In the sense of the baroque continuo, which is only allowed to support the gospel narrative, a special type of “recitative composition” has emerged: the evangelist is accompanied, “played around” and also commented on by a single instrument in the depiction of Christ’s suffering . These “two-part” passages are notated without a scale and demand a high degree of flexibility from the instrumentalists, who take turns in this task during the course of the piece […] (excerpt from the foreword of the score)