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KK 0096
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BRUCH, M.: Moses [Oratorio] (Budday)

BRUCH, M.: Moses [Oratorio] (Budday)

The Classical Shop
release date: November 2011


Russian Chamber Philharmonic, St. Petersburg

Budday, Jurgen

Peter Lika


Kantorei Maulbronn

Record Label
K and K




Total Time - 120:59
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BRUCH, M.: Moses [Oratorio] (Budday)




Moses, Op. 67


Select Complete Single Disc for
1 Part I, At Sinai: Jehova selbst, der Herr, hat erlost sein Volk (The People) 6:12
2 Part I, At Sinai: Recitative and Aria: Mose, du Knecht des Herrn, sieh (Angel of the Lord) 7:08
3 Part I, At Sinai: Recitative: Auf, hervor aus euren Zelten (Moses) 4:13
4 Part I, At Sinai: Canticle: Herr, Gott, du bist uns're Zuflucht fur und fur! (Moses, Aaron, The People) 9:37
5 Part I, At Sinai: Recitative: Mose, so spricht der Herr (Angel, Moses, Aaron) 7:44
6 Part I, At Sinai: Er steigt hinan (The People) 2:42
7 Part I, The Golden Calf: Ach Herr, wie so lang (The People) 7:42
8 Part I, The Golden Calf: Recitative: Israel, schicke dich! (Aaron, The People) 8:20
9 Part I, The Golden Calf: Recitative: Abtrunnige, kam es dahin mit euch? (Moses, Aaron, People) 6:52
1 Part II, The Return of the Scouts from Canaan: Gluck zu, es gelang, o seliger Tag! (The Scouts) 6:12
2 Part II, The Return of the Scouts from Canaan: Recitative: Die ich entsandt', die Boten (Moses) 2:13
3 Part II, The Return of the Scouts from Canaan: Aria and Recitative: Zur Hollen Pforten fahre ich dahin (Aaron, The People) 7:00

Select Complete Single Disc for
4 Part II, The Return of the Scouts from Canaan: Hort des Heerhorns tosend Drohnen (The People) - Recitative and Aria: Getrost, mein Volk (Aaron) 2:48
5 Part II, The Return of the Scouts from Canaan: Recitative: Stosset in die Halldrommeten! (Moses, Angel, People) 6:50
6 Part II, The Promised Land: Recitative and Aria: Hor', Moses, was der Herr beschlossen hat (The Angel of the Lord) 10:52
7 Part II, The Promised Land: Recitative: Du bist der Herr, ich habe nichts zu sagen (Moses) 2:52
8 Part II, The Promised Land: Aus Wustensand nun ins Gebirg (The People) 6:09
9 Part II, The Promised Land: Recitative: Geprisen seist du, meiner Vater Gott (Moses) 6:30
10 Part II, The Promised Land: Recitative: Also starb Mose, der Knecht der Herrn (The People) 2:06
11 Part II, The Promised Land: Die richtig vor sich gewandelt haben (The Action of People on Moses) 6:57
 Peter Lika Soloist
 Budday, Jurgen

The oratorio Moses holds special meaning in composer Max Bruch’s body of work. He originally viewed it presumptuous to continue in the tradition of the major works by Händel and Mendelssohn. In a letter to the music writer Hermann Deiters he wrote in 1873: "Biblical subject matter is foreign to my nature; the old masters have made such formidable contributions in this area so that it is only possible for us to make independent and new accomplishments in conjunction with other subjects. It is no coincidence that every oratorio since Mendelssohn has been a failure." Whatever it was that ultimately triggered Bruch’s change of mind remains a mystery, but in 1893, he wrote to the Bach researcher Philipp Spitta, the brother of his future librettist Ludwig: "You are the first, and will, for the time being, be the only person I trust to disclose a plan that so vividly occupies me. Do you wish to read intently the composition, the poetic foundation of a large-scale oratorical work: ‘Moses at Sinai’ (or Israel in the Desert)... long have I sought and groped, momentarily pondering this, and then that. Because I am bound and determined to not further enhance the drama of the worldly dramatic cantata... which is why I have returned to the enclosed, truly oratorical plan, with which I was already seriously occupied in 1889, and again in 1890. It begins where Händel’s ‘Israel in Egypt’ ended. As far as I can conclude, no other musician of relevance has ever addressed this part of Moses’ history…"


"K&K is not a label that comes readily to mind, but after listening to this version of Bruch’s Oratorio, it is certainly one that should be given more scrutiny. German based, it is totally devoted to publishing outstanding concerts of mostly sacred works recorded live in the natural ambience of Maulbronn Monastery. The aim of all this is to make the listener experience the intensity, not only of the music but of the occasion as well. Bruch’s ’Moses’, premiered in January 1895, is a truly eloquent and uplifting piece very much in the ’Elijah’ tradition although I found the choral writing a hint Mendelssohnian. Apparently, Brahms did not think very highly of it but Bruch revealed that it was the fruit of inner strength that enabled him to complete this work. I enjoyed the work immensely notwithstanding Brahms’ advice and found much to savour in the memorable tunes that permeate the solo numbers with Moses’ death particularly moving. Both soloists and choir rise magnificently to the occasion, delivering performances that are grandiose yet saturated with a humanity that was so evident in Israel’s rapport with God. The Russian Chamber Philharmonic play full bloodedly and with conviction under Jurgen Budday, who while keeping a tight reign on proceedings, allows the performance to flow with a natural ease. An excellent project that deserves every plaudit for its unique enterprise."
Gerald Fenech - ClassicalNet - 12 January 2006

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