Both Conductus funebris by Grzegorz Gerwazy Gorczycki and the cantata Laß, Fürstin, laß noch einen Strahl BWV 198 by Johann Sebastian Bach are funereal music, yet performed in different ceremonies. Gorczycki’s unique cycle of four church concerts was probably composed for the occasion of the funeral of King Augustus II celebrated in January 1734 in Kraków. The sparing use of the concertante technique helps to preserve a serious and reflective mood. On the other hand, Bach’s cantata was written in 1727 for the funeral ceremonies of the king’s wife, Christiane Eberhardine. Unlike her husband, who converted to the Catholic faith in order to receive the Polish royal title, she never renounced her Lutheran faith. Some fragments of the composition, full of peace, tenderness, and pain, with its rich instrumentation and refined musical means, were later reused by Bach in his St. Mark Passion, which regrettably has not been preserved in its entirety to this day. Still, heavenly music accompanied the family of the Saxon electors not only in the face of death but also served to celebrate life. The second part of the concert will be filled with the sound of the solemn cantata Tönet, ihr Pauken! Erschallet, Trompeten! BWV 214, which Johann Sebastian wrote in 1733 to commemorate the birth of Maria Josepha, Queen of Poland, wife of Augustus III of Saxony. From the very first notes, listeners can rightly associate the work with the Christmas season. Bach, satisfied with the effect, adapted much of this music writing the famous Weichnachtsoratorium, of course with changed text. However, some word-music connections are present only in the original version of the piece. Just listen to the solemn first chorus (not coincidentally set to the rhythm of a polonaise), where – following the text – the composer successively introduces timpani, trumpets, and strings; the idea may be obvious, but how effective! Similarly, the ‘singing’ mentioned in the text is illustrated with imitational entrances of subsequent voices – a tribute to the glorious traditions of polyphonic vocal music, the sources of which date back to the previous era.
PROGRAM
Grzegorz Gerwazy Gorczycki – Conductus funebris
Subvenite Sancti Dei
Libera me Domine
In paradisum
Salve Regina
Johann Sebastian Bach – Cantata Laß, Fürstin, laß noch einen Strahl BWV 198
Chorus: Laß, Fürstin, laß noch einen Strahl
Recitative (soprano): Dein Sachsen, dein bestürztes Meißen
Aria (soprano): Verstummt, verstummt, ihr holden Saiten! Recytatyw (alt): Der Glocken bebendes Getön
Aria (alto): Wie starb die Heldin so vergnügt!
Recitative (tenor): Ihr Leben ließ die Kunst zu sterben
Chorus: An dir, du Fürbild großer Frauen
Aria (tenor): Der Ewigkeit saphirnes Haus
Recitative, Arioso & Recitative (bass): Was Wunder ists? Du bist es wert Chór: Doch, Königin! du stirbest nicht
— INTERMISSION —
Johann Sebastian Bach – Kantata Tönet, ihr Pauken! Erschallet, Trompeten! BWV 214
Chorus: Tönet, ihr Pauken! Erschallet, Trompeten!
Recitative (tenor): Heut ist der Tag
Aria (soprano): Blast die wohlgegriffnen Flöten
Recitative (soprano): Mein knallendes Metall
Aria (alto): Fromme Musen! meine Glieder
Recitative (alto): Unsre Königin im Lande
Aria (bass): Kron und Preis gekrönter Damen
Recitative (bass): So dringe in das weite Erdenrund
Chorus: Blühet, ihr Linden in Sachsen, wie Zedern
PERFORMERS
MARTA BOBERSKA SOPRANO
GABRIELA CELIŃSKA ALTO
SYLWESTER SMULCZYŃSKI TENOR
PAWEŁ MICHALCZUK BASS
THE CHORUS OF THE POLISH ROYAL OPERA
THE PERIOD INSTRUMENTS ENSEMBLE OF THE POLISH ROYAL OPERA CAPELLA REGIA POLONA
JAKUB SZAFRAŃSKI CHORUS MASTER
ANDRZEJ KOSENDIAK CONDUCTOR
Duration: approx. 1 h 20 mins (plus intermission)
