TV 34180
BEHOLD, I BRING YOU GLAD TIDINGS (Henry Purcell)
for Alto, Tenor and Bass Soloists, with four-part Choir and String Orchestra
CANTILENA PRO ADVENTU “Ein’ Magd, Ein’ Dienerin” (Joseph Haydn)
for Soprano, String Orchestra, two Horns and Basso Continue
CANTATA PASTORALE PER LA NATIVITA DI NOSTRO SIGNORE GESU CRISTO (Alessandro Scarlatti)
for Soprano, String Orchestra and Harpsichord
Also available on
Cassette: CT 2284
GERTRAUT STOKLASSA, Soprano • LINDA KAREN-SMITH, Alto • HANNS-FRIEDRICH KUNZ, Tenor • LAERTE MALAGUTI, Bass
The Purcell Singers • Mainz Chamber Orchestra • GUNTER KEHR, Conductor
Although our knowledge of Purcell's sacred music has generally been over-shadowed by
the fame of his dramatic works, it is precisely his dramatic power, his "peculiar genius to
express the energy of English words," which ennobles Purcell's sacred music and raises it to a
place among the highest achievements of the century that linked the lives of Monteverdi,
Schutz, Handel and Bach.
Developing the verse anthem in a style distinctly his own, Purcell alternated the verses of
the sacred text between the choir and the soloists. Instrumental parts, rarely added to the vocal
texture of the early 17th century anthem, assume a role almost equal in importance to that of
the solo voices in Purcell's anthems, and they often rise from their accompaniment function to a
complete symphonia—independent as an instrumental movement, though often interestingly
related to the thematic material of the vocal setting. Through use of highly independent melodic
lines of the string parts, bold cross relations, and pronounced use of the unprepared seventh,
Purcell veritably transformed the traditional anthem into a full cantata.
The Christmas Anthem, "Behold, I bring you glad tidings," is one of the many works
which were especially written for Purcell's great friend, the Rev. John Gostling, whose excep-
tional vocal range is mentioned in numerous documents of the times. Gostling's copy bears
the date 1687, and it is even likely that it was written for performance in the Chapel Royal,
possibly for that year, for Purcell had been appointed organist of the Chapel Royal only five
years earlier. Its text was taken from Luke 2:10-11, 14 and was often used as the second
lesson for Matins, Christmas Day. Purcell's decision to adhere to the biblical text in choosing
a male protagonist for the role of the angel was unique for its time. The message of glad
tidings and the choral response of the heavenly host form in this setting an interesting com-
parison for other settings of the text by Schutz, Bach and Handel.
The chamber cantata was to the age of Alessandro Scarlatti what the piano sonata or
violin sonata was to the age of Beethoven or Brahms—the most intimate and most intellectual
form of music that could be produced. Complete master of the form in its minutest details, who
made as severe demands upon the intelligence of his interpreters as upon their technical re-
Ein' Magd, ein' Dienerin,
Maria sich bekennet,
Gott sie ein' Mutter nennet,
Und eine Herrscherin.
Die Armut hat's gemacht,
Dass sie so hoch geacht,
Durch die hat sie vom Himmel
Gott auf die Erd' gebracht.
Von Dir, o Jungfrau rein,
Wollt' Gott, das hoechste Wesen,
Denn Du bist auserlesen,
Als Mensch geboren sein.
Band 2 (11:43)
CANTILENA PRO ADVENTU
"EIN' MAGD, EIN' DIENERIN"
(Joseph Haydn)
A maid, a servant
Mary confesses herself to be,'
God calls her a mother
And a queen.
Her simple bearing
Lent her such dignify
That she could bring God
From heaven to earth.
From you, sweet virgin,
Our holy Lord,
Because you were chosen,
Was born a human being.
Side 2 (16:35)
CHRISTMAS CANTATA
"CANTATA PASTORALE PER LA NATIVITA DI NOSTRO SIGNORE GESU CRISTO"
sources, Scarlatti was to raise the form to its apex, to pour all the passionate tenderness of
his nature and the serious musical reasoning of his schooling into the single intimate utterance
of his cantatas, and to exhibit the whole in all the glory of variegated orchestration, lighted
up by the blaze of vocal embelishment. Beneath their fluid surface, Scarlatti's cantatas are
usually carefully designed studies in composition, often depending for their main interest on
the working out of some interesting problem of modulation or of thematic development. The
work presented here is a perfect example of his subtle complexity.
The Cantata pastorale per la Naiiviia ai nostro Signore Gesu Cristo was most probably
written in Rome between the years 1703 and 1706, after Cardinal Pietro Ottoboni had ob-
tained for him the position of Maestro di Capella at the Church of Santa Maria Maggiore.
Originally scored for soprano with two violins, violetta, violoncello and lute, the work was
dedicated to Cardinal Ottoboni, and set to a text by Prince Antonio Ottoboni, who was the
Cardinal's father and a general in the Papal Army. Since it was a popular custom in the
church to present special works during the Christmas season, Oh di Betlemme altera may very
well have been one of those works performed at the Vatican on Christmas Eve after vespers,
before the Pope and the Cardinals sat down to a banquet decorated with trionfi representing
the Nativity.
One of a number of smaller sacred works which have languished in the obscurity of manu-
script, the Cantilena pro Adventu, "Ein' Magd, ein' Dienerin," most probably belongs to
Haydn's second period, 1761 to 1770. This charming cantilena was finally published through
the ministrations of H. C. Robbins Landon whose expertise has placed it amongst a group of
works written by Haydn at Eisenstadt between 1766 and 1769.
Haydn wrote several pieces of this kind, in the German language, for performances during
the Advent season, most probably for the Court chapel (Schlosskapelle) in Eisenstadt, or for
one of the local churches such as that of the Barmherzigen Bruder, or the Stadtpfarrkirche.
Listed on page two of the Entwurf-Katalog, its date cannot be exactly determined but Robbins
Landon conjectures that 1765 is a fairly accurate approximation.
The deeply moving Cantilena pro Adventu was written for soprano, two oboes, two horns,
strings, and organ, and is constructed with great expertise in the form of a da capo aria.
This song in praise of the Virgin combines fervor of expression with vocal brilliance in a
manner significant of Haydn's works of the period. Most importantly, it is a quiet harbinger
of the vocal glories to come. Notes by Hope Sheridan
Side 1
Band 1 (11:18)
"BEHOLD, I BRING YOU GLAD TIDINGS"
(Henry Purcell)
Behold, I bring you glad tidings,
Tidings of great joy,
Which shall be to all people.
For unto you this day is born a Saviour,
Which is Christ the Lord.
Glory to God on high,
And on earth peace,
Good will towards men.
Alleluia, alleluia.
Glory to God on high. Amen
(Alessandro Scarlatti)
O di Betlemme altera poverta venturosal
Se chi fece ogni cosa,
Se chi muove ogni sfera in te discende,
E I'Autor della luce,
Nei suoi primi vagiti, a te, a risplende.
Dal bel seno d'una Stella
Spunta a noi I'eterno Sole.
Da una pura verginella
Nacque gia I'eterna prole.
Presa d'uomo la forma,
Alle gelide tempre d'inclemente stagione
Soggiace il gran Bambino.
E d'acerbo destino per sottrarre al rigore
L'humanitd cadente,
Del suo corpo innocente fa scudo a noi
['appassionato amore.
L'autor d'ogni mio bene
Scioglie le mie catene
E stretto e in fasce.
II tutto ei fe dal nulla,
Eppur Io veggio in culla,
E in terra nasce.
Fortunati pastori!
Giacche v'e dato in sorte
Che il signor della vita,
Immortale, increato,
Respiri fra di voi I'aure primiere!
Al dolce suon guilivo di zampogne innocenti
D'un Dio fato mortale
Correte a celebrar Palto Natale!
Tocco la prima sorte a voi, pastori,
Perche si fa Gesu di Dio I'Agnello.
Lasciate i vostri armenti e la capanna,
Abandonate si le pecorelle.
Offrite alia sua cuna i vostri cuori,
Mirate quanto e vago e quanto e bello.
V'e una speranza in lui che non v'ingauna,
E che vi pud dar loco in fra le stelle.
O humble city of Bethlehem, thou art blessed!
The Maker of all things
In His infinite mercy, from Heaven comes.
To dwell among mortals,
Is born here of a virgin, to your glory.
Holy angels tell the story
Singing praises to the sun,
Of a Virgin pure and lowly
Now is born the King of glory.
Taking the form of man,
And enduring the suffering of a cold world
He dwelt as a child among us,
And from death redeemed us, and eternal torment
For fallen humanity
His innocent body he offered instead,
A sacrifice for all men.
Our hope for eternal light,
He lies in a manger
Wrapped in swaddling clothes.
Through Him our sins will be forgiven
See him lying in his cradle
Born a child of lowly station.
O happy shepherds!
Destined to be first summoned
That the Lord of life,
Immortal, Son of God,
Born on earth for our salvation!
To celebrate his birth hasten to the stable
Bring your pipes, your music
To sooth him while he sleeps!
You were the first to be summoned, shepherd,
Tonight the Lamb of God is born on earth.
Abandon your staff and your home
Leave behind your flocks.
Then go on your way and kneel before Him,
And sing praises to His beauty.
Put your hope in Him who will not lead you astray
And He will lead you to heaven.
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