Wolfgang Rihm 60
Wolfgang Rihm 60
Sacred music is by no means at the centre of his creative output, and Wolfgang Rihm had actually intended to “take off his monastic habit”, as he himself recalls, when he completed the Deus Passus, his Passion works according to St. Luke which premiered in 2000. Yet things turned out very differently.
Increasingly fascinated by a suggestion to compose several A cappella works for the Passion Week, he committed the Sieben Passions-Texte - Latin motets in the spirit of the past and in the knowledge of their irretrievability - to paper over the course of the following years. »Sing it as if it were old music«, Rihm had advised his commissioners from Singer Pur, “then it will be clear that this isn’t what it is at all”. Never before had the thin-skinned sound dreamer woven such a secretive tapestry of voices, ambiguous, phantasmagoric, forgotten between the eras, vulnerable and wounded at the same time. Music that makes one shudder, contained in a dialogue with the Fragmenta passionis, five short motets from 1968 that will be performed here for the first time, as well as the Musikalischen Exequien by “überfather” Heinrich Schütz. The latter’s funeral sermon for the Thuringian sovereign Heinrich von Reuss can be considered a prototype for every artistic treatment of death and glorification – and seems to resonate with Rihm, too.
Five motets for mixed choir a cappella (1968) WP
Musikalische Exequien (1668)
Funeral music in three parts for voices and basso continuo op. 7 SWV 279 – 281 (1636)
for six voices (2001–06)
In between the Passions-Texte works for organ by Johann Pachelbel: Präludium g-Moll, Fantasia d-Moll, Präludium c-Moll