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''Der Tod Jesu'' (''The Death of Jesus'') is an oratorio libretto by Karl Wilhelm Ramler. In its setting by Carl Heinrich Graun in 1755, it was the most often performed Passion of the 18th century in Germany. The poem is part of the ''Empfindsamkeit'' movement of the 1750s. It is the middle of three oratorio texts by Ramler – ''Die Hirten bei der Krippe zu Bethlehem'', ''Der Tod Jesu'', and ''Die Auferstehung und Himmelfahrt'' – which may have been viewed by Ramler as a libretto cycle, though they were never set as a cycle by any composer.〔Howard E. Smither ''A History of the Oratorio'' 2000 p. 88 "One might also view the three texts by Carl Wilhelm Ramler — ''Die Hirten bei der Krippe zu Bethlehem'', ''Der Tod Jesu'', and ''Die Auferstehung und Himmelfahrt'' — as a libretto cycle, but these seem never to have been set by a single composer."〕 The libretto was intended for Graun but a copy of Ramler's text was somehow received by Telemann who produced his own setting of the oratorio (TWV 5:6) in Hamburg before Graun could perform the premiere in Berlin. Ramler revised his text in 1760. The text is not a full retelling of the Passion of Christ and it does not quote Bible texts. Instead, it presents emotively various aspects of the Passion. ==Settings== * Georg Philipp Telemann, Hamburg 1755, TWV 5:6 * Carl Heinrich Graun, Berlin 1755 – the best known of the settings; it was performed yearly in many cities in Germany throughout the second half of the 18th century. The Australian premiere of Graun's passion cantata took place on Good Friday 2012 in St John's Cathedral in Brisbane with the Badinerie Players and the Brisbane Chamber Choir under Michael O'Loghlin and with Shelli Hulcombe (soprano), Bethany Shepherd (soprano), Gregory Massingham (tenor), Jason Barry-Smith (bass).〔("Good Friday Musical devotion" ), The Cathedral Chamber Choir perform ''Der Tod Jesu''〕 * *Adolf Friedrich Hesse (1809–1863) composed an Organ Introduction, Op. 84, to Graun's work. * Johann Christoph Friedrich Bach, cantata (1769) BR D 2 / Wf XIV:1, based on Ramler's revised version from 1760 * Joseph Martin Kraus to his own libretto (1776), in the ''Sturm und Drang'' style * Anna Amalia, Abbess of Quedlinburg, used by Johann Kirnberger as models of counterpoint in his ''Die Kunst des reinen Satzes in der Musik'' (The art of pure intonation in music) (1779) 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Der Tod Jesu」の詳細全文を読む スポンサード リンク
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