4 edition of Hemmet eure Tränenflut found in the catalog.
|The Physical Object|
|Pagination||xvi, 55 p. :|
|Number of Pages||80|
nodata File Size: 1MB.
One of these is O werter heiliger Geist which comprises five stanzas. His diction is excellent and so is his text expression. Die Zeit meines Abschieds ist vorhanden• De profundis clamavi is a fine example: it is scored for bass, two violins and bc, and imitative counterpoint plays a prominent role in this piece.
He has left only six organ works which can be explained by the fact that organists used to improvise.
It is not only the violins which imitate each other, but they also imitate the solo voice. He deals impressively with the coloratura in Jauchzet dem Herren alle Welt. in German The first landmark study of Bruhns' life and works. The German pronunciation is remarkably Hemmet eure Tränenflut, considering that none of the singers is a German speaker.
Bruhns was succeeded in Husum by his brother Georg. The vocal works include four sacred concertos that established a new level of virtuosity in the genre, and three sacred madrigal cantatas that represent a direct link with the next century and the work of. It is followed by a sequence of solos and tutti episodes. Telemann's cantata receives an incisive performance. Although 's son claimed that his father admired and studied Bruhns' work, no direct influence has been traced by scholars.
It is especially the virtuosity of the vocal and instrumental solo parts which testifies to the Italian influence. Next - after an organ prelude by Scheidemann - follows a solo motet for soprano and bc, Ergo sit nulla ratio salutis which refers to Jesus' Passion.
I hope to hear more from this ensemble. This motet is about the effects of Jesus' Passion and resurrection: "[You] have lifted me up; you did not wish my enemies to rejoice about me". The programme opens with compositions on two of the seven penitential psalms which were especially sung during Lent.
Although 's son claimed Hemmet eure Tränenflut his father admired and studied Bruhns' work, no direct influence has been traced by scholars. Although the instrumental writing in most of these works suggests that Bruhns could only rely on musicians of average skill, there are movements, such as the opening sonatina of the solo cantata Mein Herz ist bereit, that feature highly developed, virtuosic textures. 5 in d minor WV 33 [2:39] Andreas HAMMERSCHMIDT Ergo sit nulla ratio salutis [4:18] Claudio MONTEVERDI 1567-1643 Sinfonia [1:18] Samuel SCHEIDT 1587-1654 Ist nicht Ephraim mein teurer Sohn?
in German Somewhat dated, this remains the central study of Bruhns to date.
The bass has an important role here, for instance in the third section in which the stone that closed the tomb is used as a metaphor for the "heavy burden of sins".
Bruhns was succeeded in Husum by his brother Georg.