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KK 0111
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KK 0111

HANDEL, G.F.: Jephtha [Oratorio] (Blaise, Müller, Allsopp, Hulett, Bailey, Maulbronn Chamber Choir, Il Capriccio, Budday)

The Classical Shop
release date: December 2013

Recorded in 24 Bit / 96Khz

Originally recorded in 2013

Artists:

Jürgen Budday

Conductor

Kirsten Blaise

Soloist

Annelie Sophie Müller

Soloist

Maulbronn Chamber Choir

Choral

Capriccio, Il

Chamber

Venue:

Live recording, Unesco World Heritage Site, Maulbronn Monastery, Baden-Wurttemberg, Germany

Venue

Record Label
K and K

Genre:

Choir


Classical

Total Time - 166:37
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GEORGE FRIDERIC HANDEL

     


Select Complete Single Disc for
 

Jephtha, HWV 70

 
1 Overture 03:58
2 Act I Scene 1: Accompanied: It must be so (Zebul) 01:34
3 Act I Scene 1: Air: Pour forth no more unheeded prayr's (Zebul) 03:32
4 Act I Scene 1: No more to Ammon's god and king (Chorus) 03:04
5 Act I Scene 2: Recitative: But Jephtha comes (Zebul, Jephtha) 04:22
6 Act I Scene 2: Air: Virtue my soul shall still embrace (Jephtha) 04:22
7 Act I Scene 2: Recitative: Twill be a painful separation (Storge) 05:57
8 Act I Scene 3: Recitative: Happy this embassy, my charming Iphis (Hamor) 00:55
9 Act I Scene 3: Air: Dull delay, in piercing anguish (Hamor) 03:10
10 Act I Scene 3: Recitative: Ill suits the voice of love (Iphis) 04:40
11 Act I Scene 3: Recitative: I go, my soul (Hamor) 07:45
12 Act I Scene 4: Recitative: What mean these doubtful fancies (Jephtha) 02:25
13 Act I Scene 4: O God, behold our sore distress (Chorus) 04:17
14 Act I Scene 7: Recitative: Such, Jephtha, was the haughty king's reply (Zebul, Jephtha) 00:34
15 Act I Scene 7: When his loud voice in thunder spoke (Chorus) 04:55
16 Act II Scene 1: Recitative: Glad tidings of great joy (Hamor) 01:37
17 Act II Scene 1: Cherub and Seraphim, unbodied forms (Chorus) 03:27
18 Act II Scene 1: Air: Up the dreadful steep ascending (Hamor) 04:44
19 Act II Scene 1: Recitative: Tis well. Haste, haste, ye maidens (Iphis) 05:36
20 Act II Scene 2: Recitative: Heav'n smiles once more (Jephtha) 00:41
21 Act II Scene 2: Air: His mighty arm (Jephtha) 05:40
22 Act II Scene 2: In glory high (Chorus) 02:58
     
     
     


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1 Act II Scene 3: Symphony 01:32
2 Act II Scene 3: Air: Welcome, as the cheerful light (Iphis) - Welcome thou, whose deeds conspire (Chorus) 04:00
3 Act II Scene 3: Air: Open thy marble jaws, O tomb (Jephtha) 06:21
4 Act II Scene 3: Recitative: Why is my brother thus afflicted? (Zebul, Jephtha) 01:31
5 Act II Scene 3: Accompanied: First perish thou (Storge) - Air: Let other creatures (Storge) 02:42
6 Act II Scene 3: Recitative: If such thy cruel purpose (Hamor) 02:04
7 Act II Scene 3: Quartet: O spare your daughter! (Storge, Hamor, Jephtha, Zebul) 03:58
8 Act II Scene 4: Recitative: Such news flies swift (Iphis) 01:38
9 Act II Scene 4: Air: Happy they! This vital breath (Iphis) 04:41
10 Act II Scene 4: Accompanied: Deeper, and deeper (Jephtha) 04:41
11 Act II Scene 4: How dark, O Lord, are thy decrees! (Chorus) 09:18
12 Act III Scene 1: Air: Hide thou thy hated beams (Jephtha) 02:51
13 Act III Scene 1: Air: Waft her, angels (Jephtha) 04:17
14 Act III Scene 1: Accompanied: Ye sacred priests (Iphis) 06:48
15 Act III Scene 1: Doubtful fear and reverend awe (Chorus) 04:11
16 Act III Scene 1: Symphony 02:00
17 Act III Scene 1: Recitative: Rise, Jephtha (Angel) 06:11
18 Act III Scene 1: Arioso: For ever blessed be (Jephtha) 01:39
19 Act III Scene 1: Theme sublime (Chorus) 03:31
20 Act III Scene 2: Recitative: Let me congratulate (Zebul) 02:05
21 Act III Scene 2: Recitative: O let me fold thee (Storge) 02:04
22 Act III Scene 2: Recitative: With transport, Iphis (Hamor) 00:49
23 Act III Scene 2: Duet: All that is in Hamor mine (Iphis, Harmor) - Quintet: Joy's triumphant crown thy days (Iphis, Hamor, Storge, Jephtha, Zebul, Chorus) - Amen 07:32
 Kirsten Blaise Soloist
 Annelie Sophie Müller Soloist
     
 Jürgen Budday Conductor


This recording is part of a cycle of oratorios and masses, performed at Maulbronn monastery over the past years. The series combines authentically performed baroque oratorios with the optimal acoustics and atmosphere of this unique monastic church. This ideal location demands the transparency of playing and the interpretive unveiling of the rhetoric intimations of the composition, which is especially aided by the historically informed performance. The music is exclusively performed on reconstructed historical instruments, tuned in the pitch, which was customary during the composer’s lifetime (a = 415 Hz)..

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