Passionsoratorium nach Matthäus
komponiert von Johann Valentin Meder (1649 - 1719)

Gespielt von der Kölner Akademie,
Orchester Damals und Heute
Michael Alexander Willens

CD-Kritik:

Tonmalend

Johan Valentin Meder (1649-1719) stammte aus einer fränkisch-thüringischen Musikerfamilie, wirkte aber hauptsächlich in Ostpreußen und im Baltikum. Seine Matthäus-Passion entstand 1701 in Riga und verbindet den dramatischen, affektbetonten italienisichen Stil mit dem Ernst und der Verinnerlichung des Protestantismus. Die kurzen Arien, in denen Choralmelodien und texte aufgegriffen werden, schließen eng an die Rezitative an, die durch Tonmalerei und instrumentale Zwischenspiele aufhorchen lassen. Michael Alexander Willens fuhrt dieses Werk in solistischer Besetzung auf und erzielt dadurch ein Höchstmaß an Klarheit, Homogenität und Stringenz. Ein wichtiger Baustein für die Geschichte der oratorischen Passion.

M.Hen.

Musik *****
Klang ****

Fono Forum 02/07




Goldberg 5******

Passionsoratorium nach Matthäus
Johann Valentin Meder
Die Kölner Akademie
Michael Alexander Willens

The details of Johann Valentin Meders life are somewhat sketchy. Born in Wasungen to a musical family, Meder worked as a professional singer in his early days. According to a work list completed by the composer's son, Meder was a prolific composer with 12 Masses, four Passions. numerous concertato motets, two operas, as well as secular vocal and instrumental works to his credit.
The Passionsoratorium nach Matthäus on this fine recording dates from 1701 when Meder was choirmaster and organist in Riga. Meder's setting impresses with its subtlety. Scored for SSATB chorus and small instrumental ensemble, the work features brief, lyrical solo arias for the first soprano and tenor and turba choruses that are rhythmically charged. As the tradition would have it , a number of the melodies are based on familiar Passiontide chorales. One of the interesting aspects of Meder's setting is his treatment of the Evangelist's narration.

The recitatives demand some vocal dexterity and are blessed with an Italianate lyricism. Gerd Türk brings much to his performance of the Evangelist as do the other soloists, who also serve as the chorus. Soprano Nicki Kennedy sings beautifully in her solo arias and Christian Hilz is a sonorous, moving Jesus who sings the ariosos with deep -felt expressivity. The instrumental ensemble is polished and provides sensitive support, especially in the delicate accompaniment to Jesus' ariosos. The liner notes are well written, but the libretto is not translated.

Craig Zeichner