Donner Ode

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The Donnerode is a sacred oratorio by Georg Philipp Telemann and is classified in the Telemann catalog of works as TWV 6: 3a (1st part) or 6: 3b (2nd part) . The Donnerode was one of Telemann's works that was performed most frequently during his lifetime.

Work history

Telemann composed the first part of the work later called Donnerode on the occasion of the earthquake in Lisbon on November 1, 1755. However, the premiere did not take place on March 11, 1756, the "extraordinary day of penance, fast and prayer" ordered by the Hamburg council. on the occasion of the earthquake in St. Jakobi in Hamburg , but only on October 10, 1756 in Katharinenkirche .

The text, an adaptation or versification of Psalm 8 and 29 , comes from the Copenhagen court preacher Johann Andreas Cramer at the time . The work combines the almost operatic sound painting representation of the destructive forces of nature with the glorification of the power of God. Neither the earthquake itself nor the wrath of God are expressly mentioned by the poet, instead the mighty power of God over nature is sung about. The drama of the action is unmistakable through the rapid change between forte and piano , as well as the use of trumpets and solo timpani. The hectic pace of the threatened people is also expressed by the fact that the arias get by without da capo and are therefore significantly shorter than in Telemann's most cantatas and are not accompanied by recitatives . It is also noticeable that the arias in the first part follow one another in descending pitch.

The Donnerode , together with the Passion Oratorio Der Tod Jesu, written in 1755, marks the beginning of Telemann's late work. It was extremely popular both in the city and nationwide, so that Telemann composed a second part in 1760, which was premiered in 1762. This time, too, the text was from Cramer, a repositioning of Psalm 45 .

construction

Both parts together take about 40 minutes.

1st part - oratorio for five soloists, choir (SATB) with three trumpets, timpani, two oboes, bassoon, strings and basso continuo

  • Choir & Solos: How is your name so big
  • Aria (soprano): Bring here, you heroes
  • Aria (alto): Fall before him
  • Aria (tenor): The voice of God shakes the seas
  • Aria (Bass I): The voice of God shatters the battlements
  • Aria (Bass II): It collapses the proud mountains
  • Duet (Bass I and II): He thunders that he will be glorified
  • Chorus: what's your name so big

Part 2 - oratorio for three soloists, choir (SATB) with three trumpets, timpani, two horns, two flutes, two oboes, strings (including a violoncello concertato) and basso continuo.

  • Choir & Solos: My heart is full
  • Aria (soprano): Most beautiful of all genders
  • Aria (bass): Belt on a sword
  • Aria (bass): Your projectiles are sharp
  • Choir & Soli da capo: Your scepter is a real scepter
  • Aria (tenor): Your name, the splendid one
  • Chorale: Your name is sugar-sweet honey
  • Chor da capo: What's your name so big

literature

  • Wolf Hobohm: Notes on Donnerode . In: Georg Philipp Telemann, Die Donnerode. Israel Liberated , ed. by Wolf Hobohm, Kassel 1971 (= Georg Philipp Telemann. Musikaische Werke Vol. 22).

Single receipts

  1. ↑ a b Jens Klier: Bang and Fall of a Baroque Giant: Telemanns Donnerode
  2. ↑ a b Silja Reidemeister: Foreword to the Urtext edition of Telemanns Donnerode , p. III (pdf, accessed on November 12, 2019)
  3. ↑ Karin Kirsch: dramaturgies of the sublime. Telemann "Donner-Ode" and Carl Philipp Emanuel Bach's Morning Song at the Festival of Creation " . In: Carsten Lange, Brit Reipsch, Ralph-Jürgen Reipsch (eds.): Impulses - Transformations - Contrasts. Georg Philipp Telemann and Carl Philipp Emanuel Bach: Report on the International Scientific Conference, Magdeburg, March 17 and 18, 2014, on the occasion of the 22nd Magdeburg Telemann Festival . pp. 89–111; p. 95.