Reutter: Mater dolorum
Series: Baroque Era Publisher: A-R Editions
Mater dolorum
Edited by Janet K. Page
B240 Reutter: Mater dolorum
978-1-9872-0892-4
Full Score (2024)
9x12, xxvii + 155 pp.
Special Price
$224.00
Regular Price
$280.00
In stock
SKU
B240
Mater dolorum (1726) by Georg Reutter the Younger (1708–72) is a German-language oratorio for instruments, soloists, and chorus, intended for performance on Good Friday “at the Holy Sepulcher”—that is, before a model of the Holy Sepulcher exhibited in a church for Holy Week observances. One of this influential Viennese musician’s earliest known works, Mater dolorum was performed at the Augustinian convent of St. Agnes zur Himmelpforte in Vienna on Good Friday (19 April) 1726, when Reutter was only eighteen years old. It was repeated at least twice, in 1729 and in 1731 or 1732, and is known to have been performed elsewhere as well. Its libretto, written by playwright Heinrich Rademin (1674–1731), was during its time one of the best-known texts for oratorios to be performed “at the Holy Sepulcher” and is notable for its strong emotional characterizations. The present edition is based on a set of parts preserved at Kremsmünster Abbey in Upper Austria, which also include cuts and alterations marked in later by Georg von Pasterwiz (1730–1803), regens chori at the abbey, giving evidence of a shorter version of the oratorio performed during his tenure there.
Sonata
[Pars prima]
Recitativo (Joannes, Maria, Mitleiden): “Es ist vollbracht”
No. 1. Aria (Joseph): “Stürz donnernde Wolke Feuer”
Recitativo (Nicodemus, Joannes): “Hilf Himmel!”
No. 2. Aria (Mitleiden): “Entsetzet euch”
Recitativo (Maria): “O weh!”
No. 3. Arioso (Maria): “Es stirbt mein Sohn, O Gott!”
Recitativo—Arioso (Mitleiden, Joannes, Nicodemus, Joseph): “Ach helft”
No. 4. Duetto (Mitleiden, Nicodemus): “Ists nicht gnug daß Gotteslamm”
Recitativo (Nicodemus, Maria, Joannes): “Nein, nein”
No. 5. Aria (Maria): “Meinem Herzen bringt nicht Schmerzen”
Recitativo (Joannes, Maria): “Befriedige dich”
No. 6. Aria (Joseph): “Nimm die angeflammten Triebe”
Recitativo (Nicodemus): “Auch ich indessen”
No. 7. Aria (Nicodemus): “Rase du wüthendes Heer der Plagen”
Recitativo (Maria): “Ach! daß auf meinem”
No. 8. Duetto (Maria, Mitleiden): “Ohne Zahl”
Recitativo (Maria, Joannes): “Ach Gabriel!”
No. 9. Aria (Joannes): “Wenn der Leib, so dich getragen”
Recitativo (Maria, Mitleiden): “Ach! dieses war gleich anfangs”
No. 10. Aria (Maria): “Also folgt ein Schmerz den andern”
Recitativo (Maria, Joannes, Mitleiden): “Jedoch ich schweig”
No. 11. Coro: “Verführte Salems-Kinder!”
Pars secunda
Recitativo (Joseph): “Pilatus hat mich meiner Bitt gewährt”
No. 12. Aria (Nicodemus): “Auf zum Werk!”
Recitativo (Joannes, Mitleiden): “O Anblick!”
No. 13. Aria (Mitleiden): “Der Gott der Erd und Meer”
Recitativo (Joseph, Maria): Sieh hier”
No. 14. Aria (Maria): “Hier ist kein Haupt wie Gold so fein”
Recitativo (Joannes, Mitleiden, Nicodemus, Maria): “Ach Mutter!”
No. 15. Arioso (Maria, Nicodemus, Joannes, Joseph): “Habt ihr ihn so verlezt”
Recitativo (Mitleiden): “Ists möglich”
No. 16. Duetto (Nicodemus, Joannes): “War zu verzehren diese Brut”
Recitativo (Mitleiden, Maria, Joannes): “Nicht gnug”
No. 17. Aria (Joannes): “Sünder! was gedenkst du dir?”
Recitativo (Nicodemus, Joseph): “Erhebe dann”
No. 18. Aria (Mitleiden): “O seltsames Spectakel!”
Recitativo (Joseph): “Hier wirst du nun”
No. 19. Coro: “Erfreue dich sündige Welt!”
Janet K. Page specializes in the music of seventeenth- and eighteenth-century Vienna, and she is especially interested in women's music making. She also writes on the history of the oboe. Her articles, reviews, and reports have appeared in The Musical Times, Early Music, Eighteenth-Century Music, Grove Music Online, The New Grove Dictionary of American Music, Journal of Seventeenth-Century Music, and elsewhere. Her book Convent Music and Politics in Eighteenth-Century Vienna was published by Cambridge University Press in 2014. She is currently working on a series of editions of Viennese convent music for A-R Editions. Dr. Page also performs on Baroque and modern oboes.
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