Die Passion opus 93

Herzogenberg is a composer who has until now been somewhat underestimated. His merit lies particularly in his sense of synthesis, his systematism and his appreciation of historical values. Bach and Brahms provided him with fine examples. Encouraged by Philipp and Friedrich Spitta Herzogenberg wrote three oratorios: Die Geburt Christi, Die Passion and Die Erntefeier. Friedrich Spitta compiled the text for Die Passion, stressing Christ’s silent triumph - ‘Es ist vollbracht’. The number of voices and instruments used was fairly limited and the form of the work is in parts reminiscent of Baroque. What is striking, however, is the almost complete absence of solo arias, and the active and contemplative part played by the chorus, with homophonic and polyphonic passages alternating in an atmosphere of expressive and sometimes highly chromatic harmony. Herzogenberg’s recitatives, based on choral melodies, are really ingenious. Die Passion is historically important because of its functional purpose, as well as its power and musical content. But there is much more to it than that: even today, we are irresistibly attracted by the expressive power of his harmonic inventions and his dramatic expression of deep faith. Ivan Goossens sang at major festivals and performed with renowned orchestras and ensemble. Jan Van der Crabben sings barok to contemporary music. He works with La Petite Bande, the Nederlandse Bachvereniging, Musica Antiqua Köln, a.o. Ex Tempore concentrates on a stylistically clear and musically captivating approach to Early, Romantic and Modern vocal music. In its original choice of programmes and its highly qualitative interpretations the ensemble makes an important contribution to the expansion and renewal of the vocal repertoire. Florian Heyerick’s premiere of Der Tod Jesu by Telemann was internationally acclaimed. His efficient and fresh approach, stylistic insight into many different styles and periods and his striving for professionalism in vocal music are greatly valued.