Das Oratorium "Jephta" ist das letzte originäre Werk Händels, ehe dieser im Mai 1752 völlig erblindete. Die tragische Geschichte aus dem Buch der Richter im Alten Testament wird hier vom Librettisten Thomas Morell, entgegen der biblischen Vorlage, im letzten Moment ins Gute gewandelt und das gelobte Opfer an Jephthas Tochter durch das rettende Eingreifen eines Engels verhindert. Händel gelang hier noch einmal ein musikalischer Höhepunkt des barocken Oratoriums, das große Chöre, affektgeladene Arien und ergreifende Ensembles enthält. In der umfangreichen CARUS-Serie von Händel-Aufnahmen anlässlich des 250. Todestages im nächsten Jahr konnten, neben handverlesenen Solisten, mit dem Kammerchor der Dresdner Frauenkirche sowie dem Dresdner Barockorchester erneut erste Kräfte gewonnen werden.
SACDH 1 | |||
1 | Ouverture | 00:05:39 | |
2 | Menuet | 00:01:29 | |
3 | Accompagnato: It must be so (1. Akt) | 00:01:34 | |
4 | Aire: Pour forth no more | 00:05:18 | |
5 | Chor: No more to Ammon's god | 00:02:50 | |
6 | Rezitativ: But Jephtha comes | 00:01:06 | |
7 | Arie: Virtue my soul shall still embrace | 00:04:07 | |
8 | Rezitativ: 'Twill be a painful separation | 00:00:33 | |
9 | Arie: In gentle murmurs will I mourn | 00:04:45 | |
10 | Rezitativ: Happy this embassy | 00:00:45 | |
11 | Arie: Dull delay, in piercing anguish | 00:02:58 | |
12 | Rezitativ: Ill suits the vooice of love | 00:00:29 | |
13 | Arie: Take the heart you fondly gave | 00:03:20 | |
14 | Rezitativ: I go | 00:00:26 | |
15 | Duett: These labours past | 00:05:54 | |
16 | Rezitativ: What mean these | 00:00:49 | |
17 | Accompagnat: If, Lord, sustain'd | 00:00:38 | |
18 | Rezitativ: 'Tis said | 00:00:16 | |
19 | Chor: O God, behold | 00:03:54 | |
20 | Rezitativ: Some dire event | 00:00:27 | |
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21 | Arie: Scenes of horror, scenes of woe | 00:04:13 | |
22 | Rezitativ: Say, my dear mother | 00:00:55 | |
23 | Arie: The smiling dawn of happy days | 00:03:25 | |
24 | Rezitativ: Such, Jephtha | 00:00:29 | |
25 | Chor: When His loud voice | 00:04:40 | |
SACDH 2 | |||
1 | Rezitativ: Glad tidings of great joy (2. Akt) | 00:01:20 | |
2 | Chor: Cherub and Seraphim | 00:03:02 | |
3 | Arie: Up the dreadful steep ascending | 00:05:01 | |
4 | Rezitativ: 'Tis well. Haste, haste | 00:00:23 | |
5 | Arie: Tune the soft melodious lute | 00:03:40 | |
6 | Rezitativ: Again Heav'n smiles | 00:00:22 | |
7 | Arie: Freedom | 00:03:18 | |
8 | Rezitativ: Zebul, thy deeds were vailant | 00:00:16 | |
9 | Arie: His mighty arm | 00:05:27 | |
10 | Chor: In glory high | 00:02:52 | |
11 | Symphony | 00:01:08 | |
12 | Rezitativ: Hail, glorious conqueror | 00:00:23 | |
13 | Arie: Welcome, as the cheerful light - Chor: Welcome thou | 00:04:34 | |
14 | Rezitativ: Horror, confusion! | 00:00:26 | |
15 | Arie: Open thy marble jaws, O tomb | 00:04:15 | |
16 | Rezitativ: Why is my brother | 00:01:11 | |
17 | Accompagnato (Arioso): First perish thou | 00:02:24 | |
18 | Rezitativ: If such thy cruel purpose | 00:00:17 | |
19 | Arie: On me let blind mistaken zeal | 00:01:39 | |
20 | Quartet: Oh, spare your daughter | 00:02:33 | |
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21 | Rezitativ: Such news flies swift | 00:00:31 | |
22 | Accompagnato: Happy they! | 00:00:47 | |
23 | Arie: Happy they! | 00:03:15 | |
24 | Accompagnato: Deeper, and deeper | 00:03:30 | |
25 | Chor: How dark, O Lord | 00:07:38 | |
SACDH 3 | |||
1 | Arioso: Hide thou thy hated beams (3. Akt) | 00:02:27 | |
2 | Accompagnato: A father, off'ring up | 00:00:19 | |
3 | Arie: Waft her, angels | 00:03:41 | |
4 | Accompagnato: Ye sacred priests | 00:00:38 | |
5 | Arie: Farewell, ye limpid springs | 00:05:36 | |
6 | Chor: Doubtful fear | 00:03:37 | |
7 | Symphony | 00:02:42 | |
8 | Rezitativ: Rise, Jephtha | 00:01:08 | |
9 | Arie: Happy, Iphis shalt thou live | 00:04:23 | |
10 | Arioso: For ever blessed be | 00:01:27 | |
11 | Chor: Theme sublime of endless praise | 00:03:13 | |
12 | Rezitativ: Let me congratulate | 00:00:32 | |
13 | Arie: Laud her, all ye virgin train | 00:02:13 | |
14 | Rezitativ: My faithful Hamor | 00:00:17 | |
15 | Quintet: All that is in Hamor mine | 00:03:21 | |
16 | Chor: Ye house of Gilead | 00:03:14 | |
17 | (keine Angaben) | 00:00:32 |