さすがに二級品だが、演奏は見事。
こうゆうのを聴くと、バッハがヘンデルからどれだけ盗んだかが良くわかるよなあ・・・
とか思ったら、「マタイ受難曲」の初演は1729年だったってオチ。
・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・
重複する側のパートが特定の1つのパートをいつまでも連続して重複するのではなく、複数のパートを数小節ごとに代わる代わる重複していく手法がある。重複するパートの変わり目では、しばしば跳躍進行をすることになる。これは autonomous doubling(自立的な重複)と言われている。たとえば、モーツァルトの「ドン・ジョヴァンニ」のトロンボーン・パートに見られる。[5]
ヘンデルのオラトリオ「エジプトのイスラエル人」HWV 54第2部「出エジプト」の合唱「He Is My God」の31~49小節では、トロンボーン・パートに明確なautonomous doubling(自立的な重複)が見られる。[6]
………………………………………・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・
「エジプトのイスラエル人」(Israel in Egypt)HWV54は、ヘンデルが作曲したオラトリオ。
台本は、チャールズ・ジェネンスが旧約聖書出エジプト記と詩篇から編集したとされる。初演は1739年4月4日、ロンドンのヘイマーケットにあるキングズ劇場。ヘンデルは、キングズ劇場でのオペラ・シーズンに出資者が付かず、解任され、同作品の作曲を始めた。
初演について、ロンドンの新聞「デイリー・ポスト」紙は称賛したが、観客は喜ばず[1]、二回目の公演では第一幕を除いた短縮版になり、コラールはイタリア風のアリアで装飾された。古いスコアはこの第一幕を省いた形で出版されていた。
最初のバージョンは3幕物で、第一幕は「シオンの嘆くさま/キャロライン女王のための葬儀アンセム」「イスラエルの息子らが嘆く」として知られる。このセクションは出エジプト記よりも前にある。
目次 [非表示]
1 背景
2 演奏時間
3 楽器編成
4 あらすじ
4.1 第一部
4.2 第二部
4.3 第三部
5 ごく初期のワックス・シリンダー録音
6 出典
7 外部リンク
背景[編集]
ヘイマーケット、キングス·シアター、ロンドン
ヘンデルは長い間ロンドンに居住していたし、そこでイタリア語オペラの作曲家として大きな成功を収めていた。しかし1733年にヘンデルのライバル「オペラ・カンパニー」が現れロンドンのイタリアオペラ・ファンの奪い合いが始まった。[2]
ヘンデルは英語のオラトリオや合唱作品に活路を見た。[3]
「エジプトのイスラエル人」は合唱の世界で19世紀に非常に人気があった。[4]
今日の演奏・録音の多くはヘンデルのオリジナル3幕物バージョンを使用している。
演奏時間[編集]
約90分(各27分、27分、36分)
楽器編成[編集]
トロンボーン3、トランペット2、ティンパニ1対、オーボエ2、ファゴット2、弦5部、二重合唱、ソリスト(ソプラノ2、アルト、テノール)、オルガン
あらすじ[編集]
第一部[編集]
1728年の聖書イラストから「イスラエル人の悲嘆」
イスラエル人はイスラエル人の首領ヨセフと、親切な助言者エジプト王ファラオの死を悼んでいる。
第二部[編集]
ジョン・マーティン作「七度目のペスト」1823
新しいファラオはイスラエル人をきらう人種差別主義者であるとの知らせが入る。神は、イスラエル人を隷従から救うリーダーとして、口下手なモーゼを選ぶ。
疫病がエジプトにやってくる。川が血に染まった。カエルのペストは大地に影響を与えた。しみや水ぶくれが牛や人の皮膚にあらわれる。どこでもハエやシラミの群れが見られ、イナゴの大群がすべての作物を台無しにした。ひょうが降り闇が深まる。そしてすべてのエジプト人の長男たちが死んでいった。
エジプトの支配者はイスラエル人の離脱を認めたが、あとで気が変わり、追求してくる。
紅海は奇跡的にパカッと割れ、モーゼとイスラエル人は安全に横断するが、追ってきたエジプト人が横断しようとすると、水が彼らを巻き込み、溺れさせた。
第三部[編集]
ニコラ・プッサンによる「紅海の横断」
イスラエル人は脱出を祝う。
ごく初期のワックス・シリンダー録音[編集]
1888 recording of Handel's "Israel In Egypt"
メニュー0:00
1888年6月29日、「水晶宮殿ヘンデル祭り」における録音「モーセとイスラエルの子供たち」2分22秒
この音声や映像がうまく視聴できない場合は、Help:音声・動画の再生をご覧ください。
長い間、世界最古の録音とされた、このオラトリオからの抜粋「モーセとイスラエルの子供たち」は1888年のクリスタル・パレス・ヘンデル・フェスティバルでジョージ・グロー大佐がエジソンのパラフィン・シリンダーで録音した。当時の録音技術の限界で、クリスタル・パレスでの歌手から録音装置までの距離は、音響をひどく劣化させた。
Handel: Israel in Egypt
George Frideric Handel
(作曲),
Anthony Bramall
(指揮),
Orchester der Deutschen Handel-Solisten
(オーケストラ),
Tim Mead
(演奏),
Susanne Cornelius
(演奏),
Klemens Sander
(演奏),
Antonia Bouerve
(演奏),
Chamber Choir of Europe
(演奏),
Mika Kares
(演奏),
Bernhard Berchtold
(演奏)
&
7
その他 形式: CD
仕様 | 価格 | 新品 | 中古品 |
CD, インポート, 1995/9/19
"もう一度試してください。" | インポート |
—
| — | ¥1,357 |
CD, CD, インポート, 2009/1/5
"もう一度試してください。" | CD, インポート |
—
| — | ¥5,890 |
CD, インポート, 2007/2/27
"もう一度試してください。" | インポート |
—
| — | — |
登録情報
- メーカーにより製造中止になりました : はい
- 製品サイズ : 14.61 x 1.09 x 12.7 cm; 131.54 g
- メーカー : Brilliant Classics
- EAN : 0842977031317
- レーベル : Brilliant Classics
- ASIN : B000LP4OT2
- ディスク枚数 : 2
- カスタマーレビュー:
カスタマーレビュー
星5つ中4.8つ
5つのうち4.8つ
24グローバルレーティング
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P. Monique
5つ星のうち5.0
Top !
2020年8月15日にフランスでレビュー済みAmazonで購入
Très satisfaite de cet article qui a été reçu dans le délai annoncé et en très bon état. Je suis ravie !
Frybone
5つ星のうち5.0
I never used to like 'Israel in Egypt'.
2016年6月24日に英国でレビュー済みAmazonで購入
I never used to like Israel in Egypt. Only ever hearing recordings of worthy, but frankly rather dull performances, I just couldn't understand what people saw in the work. But then, knowing how JEG has a habit of breathing new life into works, I decided to give this recording a try. What a difference - the piece finally makes sense! The clarity is superb, the pacing ideal - the voices, both soloists and choir are fresh and clear, and the orchestra make a wonderful job of Handel's interesting orchestration. If you want this work, this is the recording to get.
Mark Anderson
5つ星のうち5.0
An Excellent Recording Of An Often Overlookd Handel Oratorio
2014年5月14日にカナダでレビュー済みAmazonで購入
I recently watched Sir David Starkey's BBC documentary on Music and the Monarchy, which covers this influence the English, and later the British, monarchy has had on the development of English and British music. Very good documentary, by the way; I've ordered my own copy through Amazon.
Starkey's documentary spends a lot of time dealing with Georg Friedrich Handel and his influence on British music. I've enjoyed Handel's music for decades but I've somehow managed to overlook most of his oratorios, with the exception of the best known Handel oratorio, the Messiah. After watching Starkey's documentary, I'm now exploring Handel's other oratorios, which I'm not overly familiar with.
I decided to start with Handel's Solomon oratorio and ordered the version by Sir John Elliot Gardiner, since I have Gardiner's complete recording of Handel's Messiah and it's my favourite version of the Messiah.
The John Elliot Gardiner recording of Solomon was excellent. Gardiner's interpretation of Handel's Solomon is first rate, the performances of the vocalists and musicians are excellent and the sound recording is very well done.
So I ordered this John Elliot Gardiner recording of Israel in Egypt and 2 Coronation Anthems to explore Handel's oratorios further. This recording is also first rate. Handel's music is excellent and the performances of orchestra and vocalists are very well done.
The Messiah is Handel's best known oratorio and seems to overshadow Handel's other oratorios. If you're not familiar with this music, I'd suggest that if you like Handel's Messiah, you'll like this.
After hearing John Elliot Gardiner's recording of Solomon and this recording of Israel In Egypt and 2 Coronation Anthems, I'll be ordering more of Sir John Elliot Gardiner's recordings of Handel's oratorios as I explore this brilliant music further.
Highly recommended.
Starkey's documentary spends a lot of time dealing with Georg Friedrich Handel and his influence on British music. I've enjoyed Handel's music for decades but I've somehow managed to overlook most of his oratorios, with the exception of the best known Handel oratorio, the Messiah. After watching Starkey's documentary, I'm now exploring Handel's other oratorios, which I'm not overly familiar with.
I decided to start with Handel's Solomon oratorio and ordered the version by Sir John Elliot Gardiner, since I have Gardiner's complete recording of Handel's Messiah and it's my favourite version of the Messiah.
The John Elliot Gardiner recording of Solomon was excellent. Gardiner's interpretation of Handel's Solomon is first rate, the performances of the vocalists and musicians are excellent and the sound recording is very well done.
So I ordered this John Elliot Gardiner recording of Israel in Egypt and 2 Coronation Anthems to explore Handel's oratorios further. This recording is also first rate. Handel's music is excellent and the performances of orchestra and vocalists are very well done.
The Messiah is Handel's best known oratorio and seems to overshadow Handel's other oratorios. If you're not familiar with this music, I'd suggest that if you like Handel's Messiah, you'll like this.
After hearing John Elliot Gardiner's recording of Solomon and this recording of Israel In Egypt and 2 Coronation Anthems, I'll be ordering more of Sir John Elliot Gardiner's recordings of Handel's oratorios as I explore this brilliant music further.
Highly recommended.
Laura Sanna
5つ星のうち5.0
eccellente
2015年11月17日にイタリアでレビュー済みAmazonで購入
i dischi sono una eccellente esecuzione di un testo musicale bellissimo. Veramente felice di averli acquistati. hanno impiegato un pò di tempo ad arrivare, ma valeva la pena aspettare.
Larry VanDeSande
5つ星のうち5.0
4.5 stars -- a new contender for the best "Israel in Egypt"
2007年8月18日にアメリカ合衆国でレビュー済みAmazonで購入
Until I sang this oratorio a decade ago I'd never have known it was the most antiphonal choral piece there is, with dueling choruses and violins, among others, speaking and answering each other throughout the three part re-telling of the Passover story.
For those of you not up on your Biblical history, Passover is Moses leading the Jews out of ancient Egypt and, among other places, through the Red Sea that God conveniently split it two for their safe passage. The story is full of colorful musical depictions -- God slays the first sons of Egypt, there are plagues of both frogs and locusts, a darkness falls over the land, and the horse and his rider God throws into the sea. This is, briefly stated, one of the mightiest of all oratorios.
This new recording from the ultra low priced Brilliant label -- which has been bringing us 150-CD sets of all the music of Bach, Beethoven, Shostakovich and others in recent years and re-releasing other hallowed recordings licensed to other labels -- is an international production that is correct historically in that it uses all three parts of the oratorio. For many years, the typical production used only the second and third parts beginning with "Exodus" section at the tenor aria, "Now there arose a new king over Egypt". This version includes the first section called "The Lamentation of the Isrealite for the Death of Josef" that adds an overture (called Symphony), 8 addtional choruses, a section for solo and chorus, and 2 extra solos.
This is a magnificent production in just about every respect. It appropriately uses soloists in all three parts instead of having the choir sing all the sections. The work of the six soloists -- Swiss soprano Susanne Cornelius, French also Antonia Bovre', English countertenor Tim Mead, German tenor Bernard Berchtold, German baritone Klemens Sander and Icelandic bass Mika Kares -- is always good, always stylish, and, even if they sometimes struggle a tad with English, always understandable. They won't make you forget the work of bigger name stars that inhabit Andrew Parrott's recording on Virgin Classics, but they are all professionals better than any soloists with whom I've performed.
Conductor Anthony Bramall, an Englishman, does fine work holding everything together. His is a young man's vision of "Isreal in Egypt" with tempo relationships that are often faster than Parrott. These can border on extreme, as in "And with the blast of thy nostrils" but they never cross the line into mayhem. Bramall always seems grounded in the tradtion of Handel performance and his forces adhere to modern period style (plain tone with limited or no vibrato by singers) and string playing the eschews slides and vibrato. The notes do not indicate whether or the Orchestra of German Handel Soloist uses period instruments. But, clearly, this performance is a modern pastiche with continuo accompaniment.
Best of all, this performance is a one-off from a concert performance given in Germany in February 2006. I was astonished when I first listened and heard the crowd burst into applause at the end. I was fooled into thinking this was a studio performance until that time. The sound is also magnificent -- clear, warm, broad and without undue reverberation that allows you to hear all the words all the time. An occasional patch between sections can be noted when you listen closely using headphones that neither dampens nor diminishes your enjoyment.
While Andrew Parrott's version of this masterpiece, abetted by international stars in the solo roles, still holds a place in my heart, this new recording must be considered a contender for the top spot among all versions of this oratorio. Considering it comes handsomely packaged in a sturdy tri-fold box with a 16-page booklet that explains all the text in English and German and arrives at Brilliant's unbelievably low price of less than $10, this must be the top recommendation for anyone coming to this music for the first time.
For those of you not up on your Biblical history, Passover is Moses leading the Jews out of ancient Egypt and, among other places, through the Red Sea that God conveniently split it two for their safe passage. The story is full of colorful musical depictions -- God slays the first sons of Egypt, there are plagues of both frogs and locusts, a darkness falls over the land, and the horse and his rider God throws into the sea. This is, briefly stated, one of the mightiest of all oratorios.
This new recording from the ultra low priced Brilliant label -- which has been bringing us 150-CD sets of all the music of Bach, Beethoven, Shostakovich and others in recent years and re-releasing other hallowed recordings licensed to other labels -- is an international production that is correct historically in that it uses all three parts of the oratorio. For many years, the typical production used only the second and third parts beginning with "Exodus" section at the tenor aria, "Now there arose a new king over Egypt". This version includes the first section called "The Lamentation of the Isrealite for the Death of Josef" that adds an overture (called Symphony), 8 addtional choruses, a section for solo and chorus, and 2 extra solos.
This is a magnificent production in just about every respect. It appropriately uses soloists in all three parts instead of having the choir sing all the sections. The work of the six soloists -- Swiss soprano Susanne Cornelius, French also Antonia Bovre', English countertenor Tim Mead, German tenor Bernard Berchtold, German baritone Klemens Sander and Icelandic bass Mika Kares -- is always good, always stylish, and, even if they sometimes struggle a tad with English, always understandable. They won't make you forget the work of bigger name stars that inhabit Andrew Parrott's recording on Virgin Classics, but they are all professionals better than any soloists with whom I've performed.
Conductor Anthony Bramall, an Englishman, does fine work holding everything together. His is a young man's vision of "Isreal in Egypt" with tempo relationships that are often faster than Parrott. These can border on extreme, as in "And with the blast of thy nostrils" but they never cross the line into mayhem. Bramall always seems grounded in the tradtion of Handel performance and his forces adhere to modern period style (plain tone with limited or no vibrato by singers) and string playing the eschews slides and vibrato. The notes do not indicate whether or the Orchestra of German Handel Soloist uses period instruments. But, clearly, this performance is a modern pastiche with continuo accompaniment.
Best of all, this performance is a one-off from a concert performance given in Germany in February 2006. I was astonished when I first listened and heard the crowd burst into applause at the end. I was fooled into thinking this was a studio performance until that time. The sound is also magnificent -- clear, warm, broad and without undue reverberation that allows you to hear all the words all the time. An occasional patch between sections can be noted when you listen closely using headphones that neither dampens nor diminishes your enjoyment.
While Andrew Parrott's version of this masterpiece, abetted by international stars in the solo roles, still holds a place in my heart, this new recording must be considered a contender for the top spot among all versions of this oratorio. Considering it comes handsomely packaged in a sturdy tri-fold box with a 16-page booklet that explains all the text in English and German and arrives at Brilliant's unbelievably low price of less than $10, this must be the top recommendation for anyone coming to this music for the first time.