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Friedrich SCHNEIDER (1786 - 1853): Das Weltgericht
Viola Blache (Eva, Maria), Martina Rüping (Gabriel), soprano;
Marie Henriette Reinhold (Michael), contralto;
Patrick Grahl (Raphael), tenor;
Daniel Blumenschein (Uriel), Joachim Holzhey (Satan), bass
GewandhausChor; camerata lipsiensis
Dir: Gregor Meyer
rec: Nov 16 & 20, 2016 (live), Leipzig, Gewandhaus
CPO - 555 119-2 (2 CDs) (© 2019) (94'47")
Liner-notes: E/D; lyrics - translations: E
Cover, track-list & booklet
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The oratorio was one of the main genres of vocal music in the baroque era. Originally intended for liturgical use, it gradually developed into the sacred counterpart of opera. Whereas baroque oratorios are regularly performed and are well represented on disc, those written in the second half of the 18th century and during the romantic period are far less frequently performed. The largest part is unknown and it seems that the music world is not really interested in rescuing them from oblivion. The main exceptions, as far as the 19th century are concerned, are the two oratorios by Felix Mendelssohn-Bartholdy, Elias and Paulus. Robert Schumann's Das Paradies und die Peri and Der Rose Pilgerfahrt are sometimes called oratorios (not by Schumann himself, though), but have a secular content. That said, some German oratorios of the time also have subjects which are not strictly religious and certainly not biblical; examples are oratorios on historical subjects, such as Johann Hus by Carl Loewe and Luther in Worms by Ludwig Meinardus.
It is notable that quite some oratorios were based on apocalyptic librettos, which does fit in with the atmosphere we also meet in poems of the time, set by the likes of Schubert, Schumann and Wolf. The oratorio Das Weltgericht by Friedrich Schneider is a good example of this genre. The composer does not ring a bell with most music lovers; he and others, whom musicologists like to label 'minor composers', suffer from the dominance of the likes of Beethoven and Schubert, and - from a later generation - Schumann and Mendelssohn. In his time he was greatly appreciated, and for some decades he played a key role in the music scene in Leipzig. He was born in Alt-Waltersdorf, near Zittau, learnt the piano from his father and started to compose at an early age. In 1804 he published his first works; in 1805 he entered Leipzig University. In 1806 he was appointed singing teacher, and in 1807 he obtained the position of organist at the University church. In 1812 he was appointed organist at the Thomaskirche and in 1816 he became conductor of the Singakademie. In 1811 he was responsible for the first performance of Beethoven's fifth piano concerto. In 1820 he was appointed Hofkapellmeister at Anhalt-Dessau, where he gave music life a strong boost: he founded a Singakademie, a choral society of schoolmasters, a Liedertafel and a music school. Among his pupils was Robert Franz. Between 1820 and 1851 he directed many music and singing festivals, one of the most notable phenomena of German music life in the first half of the 19th century.
It is due to the popularity of choral singing that his oratorio Das Weltgericht, which was first performed in 1820 at the Leipzig Gewandhaus, developed into one of the most popular works of his time. One of the notable features of this oratorio is the importance of the choir. It takes many different roles, and in comparison, the contribution of the soloists is limited.
The libretto is from the pen of Johann August Apel, who also wrote the novella Der Freischütz, which was the basis of the opera of the same name by Carl Maria von Weber. Apel first approached Peter von Winter, but he did not know what to do with the libretto. He then turned to Schneider, who also struggled with it: he received it in 1815 and it was only five years later that his setting was finished. Apel had already given an important part to the choir, but Schneider even increased the number of choral episodes by turning some solo passages into choral numbers. The scoring is relatively modest: apart from a choir and an orchestra six soloists are needed: two sopranos, alto, tenor and two basses. The main solo parts are quartets for four angels: Gabriel (S), Michael (A), Raphael (T) and Uriel (B). Only Raphael has one aria to sing. A second soprano is taking the roles of Eve and Maria, a second bass that of Satan, who also has one aria.
The oratorio is divided into three parts. Part I presents Heaven, Hell and Earth and announces the impending Judgment. Part II is dominated by joy at the resurrection of the righteous and the evildoers' fear of the eternal flames. Part III depicts the actual Day of Judgment as Mary, Mother of God, introduces the decisive turning point and
redeems humankind. The choir takes different roles, such as angels, infernal spirits, believers and conquerors and evildoers. These often follow each other without interruption, which creates strong and dramatic contrasts. As one may expect in a piece of an apocalyptic nature, the orchestra includes trombones and timpani, which play a major role, not only to create an atmosphere of threat, but also to depict the sounds that are associated with the end of the world and the Last Judgement. Although the subject of this work is based on the Bible, the way it has been worked out has not that much to do with what especially its last book, Revelation, has to say about the Last Judgement. That goes, for instance, for the role of Satan in this work, and also that of Mary and Eve. At the end of the work, the chorus of the damned asks to be crushed. This is followed by a long pause, and then a chorus of angels describes the end of the world. Then Mary intervenes, begging her son for mercy: "Your blood, my Son, my God!" The voices of the Apostles and Holy Warriors cry: "Compassionate!" and the chorus of humans: "And merciful". The plea for mercy has effect, as the chorus of angels sings: "The sacrifice of Eternity is finished! He summons them all unto his majesty." This is an expression of the doctrine of universal reconciliation, which is at odds with the tenor of Revelation.
In a work about the apocalypse and the Last Judgement one probably can't expect much subtlety. That is indeed not what makes this work stand out. In its depiction of the events that are described, it reminds me of the way Handel depicts the ten plagues of Egypt in Israel in Egypt. The fact that there are almost no arias is also something it has in common with Handel's oratorio. The least dramatic parts are the quartets of the four angels. The liner-notes explain why this oratorio sank in oblivion in later times. One factor was the fugal writing, which was ridiculed by Wagner, who also wrote: "Is it not a blatant misconstruction of our times that a composer should write oratorios in whose contents and form no one believes anymore?" An important factor was that with time the choral societies lost popularity and with them the many festivals where such works were performed. Personally, I don't expect a recording like the present to cause a revival of this oratorio or comparable works. Whereas music lovers have embraced baroque oratorios, which are often not that different from opera, and probably despite their content, oratorios like this one by Schneider are too far away of what music lovers of our time expect to hear in 19th-century music. Even the oratorios by Mendelssohn don't meet universal approval.
However, recordings of such works are important as they represent a part of the romantic music scene that is little-known. In their own particular way they represent the spirit of the romantic period, and in that respect they are probably closer to the songs of the time than to opera. That spirit has been caught perfectly in this performance. The soloists, the choir and the orchestra deliver a pretty much ideal interpretation. The soloists all have fine voices, which are perfectly suited to the music. The choir is excellent, and the choral episodes are the most impressive parts of this recording. The orchestra is colourful and powerful and does depict the text convincingly.
Lovers of 19th-century (German) music should definitely investigate this recording.
Johan van Veen (© 2022)
Relevant links:
Viola Blache
Daniel Blumenschein
Patrick Grahl
Marie Henriette Reinhold
Martina Rüping
GewandhausChor