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FRANZ SCHMIDT (1874-1939)

Das Buch mit sieben Siegeln (1935-37)

112:59

from the Revelation of St John the Devine

for Soloists, Chorus, Organ and Orchestra

1

St John: 'Gnade sei mit euch und Friede' -

2:39

2

The Voice of the Lord: 'Ich bin das A und das O' -

3:01

3

St John: 'Und eine tür ward aufgetan im Himmel' -

4:47

4

The Four Beasts: 'Heilig, heilig ist Gott der Allmächtige' -

2:08

5

The Elders: 'Herr, du bist würdig, zu nehmen allein' -

3:17

6

St John: 'Und ich sah in der rechten Hand dess'' -

1:34

7

St John: 'Ein Engel rief' -

3:57

8

St John: 'Nun sah ich, un siehe, mitten vor dem Throne'

6:34

9

Organ Solo -

3:30

10

St John: 'Und als das Lamm der Siegel erstes auftat' -

2:15

11

St John: 'Und als das Lamm der Siegel zweites auftat' -

6:24

12

St John: 'Und als das Lamm der Siegel drittes auftat' -

4:45

13

St John: 'Und als das Lamm der Siegel viertes auftat' -

4:48

14

St John: 'Und als das Lamm der Siegel fünftes auftat' -

4:10

15

The Voice of the Lord: 'Ruhet noch und wartet eine kleine Weile' -

2:01

16

St John: 'Und ich sah, daß das Lamm der Siegel sechstes auftat'

8:00

17

Organ Solo -

2:51

18

St John: 'Nach dem Auftun des siebenten der Siegel aber' -

3:06

19

St John: 'Ein Weib, umkleidet mit der Sonne' -

9:56

20

St John: 'Ich sah den Himmel aufgetan' -

2:03

21

St John: 'Und als die große Stille im Himmel vorüber war' -

1:22

22

Contralto Solo: 'Die Posaune verkündet großes Wehe' -

8:41

23

St John: 'Vor dem Angesischte dessen, der auf weißem Throne saß' -

4:26

24

The Voice of the Lord: 'Ich bin das A und das O' -

5:49

25

Chorus: 'Hallelujah! Hallelujah!' -

5:59

26

Male Chorus: 'Wir danken dir, o Herr, allmächtiger Gott' -

1:41

27

St John: 'Ich bin es, Johannes, der all dies hörte und sah'

2:48

Also available as SACD CHSA 5061

Kristjan Järvi secures a powerful performance from his fine choral and orchestral forces
Järvi makes it the concert-drama Schmidt surely intended. SACS sound maximises its textural and dynamic extremes (Robert Kovac’s organ tone more tangibly immediate)…this could well be the first choice for those new to the work.
Where this new version really trumps [the competition] is in the quality of the recording itself, excitingly atmospheric – coughs, shufflings, applause and all – and giving real presence to the full-throated choral singing and all-important brass. With Robert Holl a sympathetically soft-grained God and Johannes Chum a sweetly lyrical rather than heroically over-forced St John, this Book now stands as top choice.
Järvi conducts a well-played and sung account of the complex score, with fine contributions from Johannes Chum (St John), Robert Holl (Voice of a God, above), and a well-balanced quartet.
Where this new version really trumps [the competition] is in the quality of the recording itself, excitingly atmospheric – coughs, shufflings, applause and all – and giving real presence to the full-throated choral singing and all-important brass. With Robert Holl a sympathetically soft-grained God and Johannes Chum a sweetly lyrical rather than heroically over-forced St John, this Book now stands as top choice.
…a riveting listen, delivered in spacious sound.
Järvi conducts a well-played and sung account of the complex score, with fine contributions from Johannes Chum (St John), Robert Holl (Voice of a God, above), and a well-balanced quartet.
Järvi makes it the concert-drama Schmidt surely intended. SACS sound maximises its textural and dynamic extremes (Robert Kovac’s organ tone more tangibly immediate)…this could well be the first choice for those new to the work.
Kristjan Järvi secures a powerful performance from his fine choral and orchestral forces
Chandos’ SA-CD sound is flat out terrific. Never have Schmidt’s low brasses snarled with greater authority. Big climaxes don’t get much bigger than the ones on display here… Finally it is essential to have the Book of Revelation in front of you in both German and English as you make you way through this pictorial score. Chandos give you everything you need
In what I have suggested is an intimate performance, the lyrical episodes come off especially well, and Sandra Trattnigg and Michelle Breedt make an affecting mother-daughter pair. Some of the most striking orchestral playing comes from the low brass, cl


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