Johann Mattheson “Joseph” — contemplative masterwork
Joseph Mattheson was a close friend of Georg Fredrich Handel. In part because the two shared an affinity for vocal writing.
Mattheson was director of the Hamburg Cathedral. His operas were performed at the famed Oper am Gänsemarkt. Because of these connections, Mattheson had access to the best singers in the city. And that’s who he wrote for.
Mattheson premiered his oratorio “Joseph” in 1727. The vocal parts are extremely demanding, both in the solo and ensemble passages.
Mattheson borrows from opera conventions to add drama to the story. Because this is a sacred work, vocal ornamentation is at a minimum. But the singers still need exceptional breath control for the long flowing melodies.
The oratorio also has an exceptional amount of counterpoint. Several sections are quite complex, with chromatic motion. This is not music for an amateur choir!
Christian Bonath leads his musicians through this challenging work successfully. Each aria and ensemble piece has a delicate beauty to it. Although the drama is subdued, subtle phrasing gives us the underlying conflict.
Mattheson and Handel were friends, but their treatment of religious texts was quite different. Mattheson’s oratorio is contemplative and restrained.
If you’re only familiar with Handel’s oratorios (like “Messiah,”) give Mattheson’s an audition. The genre was more varied than you might think.
Johann Mattheson: Joseph
Cornelia Fahrion, soprano; Jan Jerlitschka, alto; Klemens Mölkner,
Daniel Schmid, tenors; Malte Fial, baritone; Johannes Hill, Chrsitian Banoth, bass
Ensemble Paulinum
Pulchra Musica Baroque Orchestra; Christian Bonath, organ and conductor
Capriccio C5448
