Capella Piccola, Thomas Reuber - Fux: Johannes der Täufer (1989)
Artist: Capella Piccola, Thomas Reuber
Title: Fux: Johannes der Täufer
Year Of Release: 1989
Label: Thorofon
Genre: Classical, Baroque
Quality: FLAC (tracks)
Total Time: 02:13:21
Total Size: 626 MB
WebSite: Album Preview
Tracklist:Title: Fux: Johannes der Täufer
Year Of Release: 1989
Label: Thorofon
Genre: Classical, Baroque
Quality: FLAC (tracks)
Total Time: 02:13:21
Total Size: 626 MB
WebSite: Album Preview
CD 1 - 01:06:55
Oratorium »Johannes Der Täufer« Für Zwei Soprane, Alt, Baß, Chor Und Orchester ((1714) -
01. Sinfonia - [04:46]
02. Recitativo "Signore, al di cui braccio" / Coro di Popolo "Mai piú bella" - [05:26]
03. Recitativo "De gl'auguri sinceri" / Aria "Se del sole" - [06:06]
04. Recitativo "Oggi a bear" / Aria "Tu ci nieghi" / Ritornello - [04:05]
05. Recitativo "A la madre" / Aria "Sdegni umani" - [05:06]
06. Recitativo "Taci, e rispetta" / Arie "Mi contento" / Ritornello - [04:32]
07. Recitativo "Qual pieta" / Aria "Tu senti" - [08:07]
08. Recitativo "Frena, o bella" / Ritornello / Aria "Terger puote" / Ritornello - [05:03]
09. Recitativo "A me riedi" / Aria "Non é sempre" - [04:29]
10. Recitativo "Tanto ti muove" / Aria "Ingra" - [04:53]
11. Recitativo "Ferma, Erodiade" / Aria "Fra due nembi" - [05:29]
12. Recitativo "Apri gli occhi" / Terztetto "Tu moreai" / Recitativo "Vieni al carcer" - [04:40]
13. Madrigale "L'innocienza, la fede" - [04:13]
CD 2 - 01:06:26
01. Recitativo "Non basta" / Aria "Con I'umor" / Ritornello - [04:45]
02. Recitativo "Tu m'intendesti" / Aria "L'empie teste" - [05:27]
03. Recitativo "Regina, in si lieto" / Aria "L'odio non parla in me" - [06:57]
04. Recitativo "Signor, l'insana" / Ritornello / Aria "I deletti" / Ritornello / Aria / Ritornello / Aria / Ritornello - [04:14]
05. Recitativo "Eccomi, Erodi" / Aria "Chi a I'infermo" - [06:35]
06. Recuitativo "Stella di verita" / Duetto "Per placar" - [03:38]
07. Recitativo "Questo è 'l bel giorno" / Sonatina / Coro die Ministri "Quest é I'giorno" - [05:48]
08. Recitativo "Cessi il suon" / Aria "E'indegno" / Ritornello - [03:29]
09. Recitativo "Son Rè" / Aria "Piú che I'ira" - [05:04]
10. Recitativo "Pria che ancor" / Aria "Mesto amor" - [10:22]
11. Recitativo accompagnato "O sacrilega fede" - [01:24]
12. Recitativo "Battista" / Aria "Sommo Iddio" - [05:32]
13. Coro "Questa si ch'è virtue" - [03:11]
"John the Baptist" belongs to the category of Passion oratorios and is the first of five oratorios by the court poet Pietro Pariati, set to
music by Fuchs. It was performed several times in the Hofburg Chapel during Lent in 1714 (in February and March).
In his dramatization of the text of the Gospel of Matthew (14:1-12), the librettist sets himself the main goal — to portray Herod as a ruler as fickle
as tragic. He sacrifices the deeper development of other characters for the sake of this image; only the Parody has a certain depth, which, however
it boils down to thoughts of revenge and murder. Nevertheless, with the support of her daughter and Aronte, she promotes a plot to kill John. Oletria, on the other hand
, is not an avenging angel, but plays the role of a child who has suffered from public accusations against his parents. Sexual elements in the work
There are no pariati, especially considering that the infamous Fuchs dance is not even represented musically. Aronte's character is a courtier, a parrot.
Musically, Fuchs demonstrates a variety of compositional skills: he applies the techniques of the opera seria in recitatives (using the usual
rhetorical techniques for that time to reveal the relevant situation), and also demonstrates his contrapuntal skills in arias, enhancing the drama. The choir
, however, is interpreted quite traditionally: it comments on the action as a Chorus of the people, then as a Chorus of ministers.
This Thorofon recording, including the libretto, is the only edition of the oratorio to date, thus filling a gap in the catalog.
music by Fuchs. It was performed several times in the Hofburg Chapel during Lent in 1714 (in February and March).
In his dramatization of the text of the Gospel of Matthew (14:1-12), the librettist sets himself the main goal — to portray Herod as a ruler as fickle
as tragic. He sacrifices the deeper development of other characters for the sake of this image; only the Parody has a certain depth, which, however
it boils down to thoughts of revenge and murder. Nevertheless, with the support of her daughter and Aronte, she promotes a plot to kill John. Oletria, on the other hand
, is not an avenging angel, but plays the role of a child who has suffered from public accusations against his parents. Sexual elements in the work
There are no pariati, especially considering that the infamous Fuchs dance is not even represented musically. Aronte's character is a courtier, a parrot.
Musically, Fuchs demonstrates a variety of compositional skills: he applies the techniques of the opera seria in recitatives (using the usual
rhetorical techniques for that time to reveal the relevant situation), and also demonstrates his contrapuntal skills in arias, enhancing the drama. The choir
, however, is interpreted quite traditionally: it comments on the action as a Chorus of the people, then as a Chorus of ministers.
This Thorofon recording, including the libretto, is the only edition of the oratorio to date, thus filling a gap in the catalog.
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