In 1775, the Poet Johann Heinrich Voß rode by stagecoach to Hamburg, the Carl Philipp Emanuel Bach led the German to hear the first performance of Handel’s “Messiah” to. Today the plant, including the current comment and the unerring Ear is supplied by the testimony of the poet of that time free. The Internet makes this possible, and is responsible for Hans-Christoph Rademann is, since 2016, the head of both the International Bach Academy Stuttgart, as well as the under your roof musical Gaechinger Cantorey.
In a five-four-hour Video and audio podcast that is since Saturday on the Internet, is he in the conversation with his boss Henning Bey playwright a fascinating insight into Handel’s oratorio, which since its first performance in Dublin in 1742, the world’s most popular choral works in England until today, the Status of national treasures has. And what is true for all of the a lot of frequently performed works, of which you think you know them but: After the interview, it is much wiser and hear the work that is displayed in a new self-recording, in part, with other ears.
he also explains the idea and the great form of in the original English language sung “Messiah” and explains what the characteristics of the Sublime, the Great and Tender, which have been attributed to the premiere of criticism of this “most perfect of all music pieces”. He philosophizes about the tremendous time horizon that opens up in the Libretto, between the prophecies of the Old and the Reports of the New Testament and the work of a exact location in the Church year is beyond, and as a historically-informed practitioner, he explained, reflected on the blade, Detail, Handel, always in the text of the content-oriented dramaturgy of the Form and his application of Baroque musical figures.
