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De PROFUNDIS ... German Baroque Cantatas

Mr Bassil A MARDELLI | Riad El-SOLH , Beirut Lebanon | 04/09/2008

(5 out of 5 stars)

"Thus begins "The placing of a single work by Heinrich Schutz alongside composition by younger North German musicians does not represent an arbitrary piece of program building, but illustrates one aspect of the many-stranded texture of North German music history before Bach ....."



This bemoaning, a Penitential Psalm, is the De Profundis used in liturgical prayers for the faithful departed. In affectionate grief the psalmist calls out to God asking for His clemency. The psalmist's trust becomes a model for the people.



Whether one is familiar with the German language or not, one can appreciate these German baroque Cantatas as if one had heard them long ago. They simply come out in reminiscences of something happened before our times and in which we must have taken a part.



The depths of supplications here is a metaphor of total misery. Deep anguish makes the psalmist feel "like those who go down to the pit". Reinhard Goebel points out such works that originated from sixteenth through the seventeenth centuries.



""""Soprano: How doth the city sit solitary, that was full of people! How is she become a widow! She that was great among the nations, and princess among the provinces, how is she become tributary!



Bass: Is it nothing to you, all ye that pass by? Behold, and see if there be any sorrow like unto my sorrow which is done unto me.



Soprano: She weepeth sore in the night, and her tears are on her cheeks, among all her lovers she hath none to comfort her.



Bass: Wherewith the Lord hath afflicted me in the day of his fierce anger.



Soprano: Jerusalem hath grievously sinned; therefore she is removed; all her friends have dealt treacherously with her, they are become her enemies...""""



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