A Film Tale about Love, Faith and the Incomprehensible
with Music by Heinrich Schütz
Giulia Russo
Ensemble Polyharmonique
Christian Zacharas aka Robozee
Click loads YouTube video. Google's privacy policy applies.
"Timeless, electric, beautiful, romantic, dynamic, modern. Modern!"
Holger John, artist
Easter 1623 saw the Auferstehungshistorie, or History of the Resurrection, by Heinrich Schütz (1585–1672) first performed in Dresden. The court conductor in Dresden and first German composer of world renown, Schütz created this musical masterwork at the age of only 38. The Ensemble Polyharmonique, Giulia Russo, Christian Zacharas (Robozee) and CentreFilms now retell the RESURRECTION, with uniquely beautiful singing, expressive dance and technical refinement. They give space to the incredible, the search for truth and certainty, and the touching biblical love story of Jesus and Mary Magdalen, developing current images from this 400-year-old music that are overwhelming and moving. Baroque music interpreted from our contemporary gaze, Early Music combined with an urban dance scene – sound, text and image and the combination of two cultures merge in one highly expressive music film which is quite unlike any that has come before.
At Easter in 2023, this film tale of love, faith and the incomprehensible premiered in Dresden. Welcome to the 21st century, dear Heinrich Schütz! And welcome to a new, magical experience of music, dear viewers!
The Ensemble Polyharmonique consists of renowned experts in 17th and 18th-century music. Together with the music dramaturge Dr. Oliver Geisler, it developed the idea of interpreting Heinrich Schütz’ Auferstehungshistorie in a contemporary manner, staging it as a music film. Encouraged by Schütz’ own phrase, “…das Werck für die Hand zu nehmen…“ (…to take the work in hand), they have found an entirely new approach to this baroque masterwork: today’s viewers are confronted with the ways they deal with doubt, hope, consolation, fear and unbridled happiness. Such new experiences are illustrated by the medium of the music film. The delicate tone of historical instruments, a sumptuous overall sound and touching solo passages, forceful musical imagery and a subtle interpretation of the text – all this makes the film a gripping tale.
In the film, we hear and see Alexander Schneider (alto and primus inter pares) with his Ensemble Polyharmonique and additional vocal soloists from the Early Music scene. Hand-picked musicians accompany them on historical instruments. The music dramaturge Oliver Geisler selected the Zentralwerk Dresden, one of the most intriguing cultural venues in the Dresden neighbourhood of Pieschen, as the location for the shooting. Inside a room with excellent acoustics and a creative, relaxed atmosphere, the epochal work composed by Heinrich Schütz in 1623 is brought into the present day.
With their dance performance, Giulia Russo and Christian Zacharas (Robozee) embody a very special connection between the urban, contemporary dance scene and baroque music. For the viewers, this illustrates the dramatic urgency the biblical story of the resurrection has for our times.
The CentreFilms film team is highly musical, aesthetically sensitive, technically innovative and has a background in hip hop and breakdance. This special perspective onto Schütz’ work and 17th-century music culture contributes to the development of a new kind of visual idiom. State-of-the-art image and stage technology enables the production to transport mystical calm and ecstatic outbursts into our present time, mediated by the special sound of baroque music.
Heinrich Schütz’ Historia der fröhlichen und siegreichen Auferstehung unseres einigen Erlösers und Seligmachers Jesu Christi (History of the Joyful and Victorious Resurrection of our Only Saviour and Redeemer Jesu Christi, or Auferstehungshistorie for short) SWV 50 is one of the most fascinating works of the baroque age. The special aspect was formulated by Schütz himself in his preface to the work, in which he invites a contemporary, experimental approach to his music with the words “… vnd was mehr dergleichen ist“ (…and what similar means there may be). Schütz sets his creation free; he allows us to interpret it and retell it with new means.
It is a quiet, concentrated work with a sophisticated dramaturgy, in which the jubilation of Easter gradually breaks through. The music illustrates the events of the Easter story acoustically and graphically: thus, the listeners can hear the dragging of the stone before Jesus’ grave in rolling eighth-note movements; in the passage “gucket hinein“ (look inside), one can almost hear the physical gesture of bending down to look into a low-lying hole in the rock; the rising vocal line symbolizes the resurrection in the form of a leitmotif. Here, we find musical means of expression which turn the convention of 17th-century music on its head, pointing far into the future. This brings us full circle to the present music film: Schütz’ music is staged within the space, the Auferstehungshistorie visualized by today’s means, and the result is an impressive total work of art.
Click loads YouTube video. Google's privacy policy applies.
The CD was released by accentus music on March 17.
Heinrich Schütz (1585-1672)
Surrexit pastor bonus SWV 469
Auferstehungshistorie SWV 50
Franz Tunder (1614-1667)
Sinfonia „Da pacem“
Michael Praetorius (1571-1621)
Halleluja. Christ ist erstanden
ENSEMBLE POLYHARMONIQUE
ENSEMBLE POLYHARMONIQUE
MUSIc & Artistic Director | Alexander Schneider |
DRAMATURG | Dr. Oliver Geisler |
CONTROLLING | Dr. Anna-Maria Schneider |
PR / Communication | Christel Goldbach |
Dance performance | Giulia Russo & Christian Zacharas aka Robozee |
EVANGELIST | Johannes Gaubitz |
JESUS | Alexander Schneider, Felix Rumpf, Christian Volkmann |
MARIA MAGDALENA | Joowon Chung, Magdalene Harer |
DIE DREI MARIEN | Marie Luise Werneburg, Joowon Chung, Magdalene Harer |
ZWEEN ENGEL | Benjamin Glaubitz, Sören Richter |
KLEOPHAS | Sören Richter |
GESELL | Benjamin Glaubitz |
HOHENPRIESTER | Wolfram Lattke, Felix Rumpf, Matthias Lutze, Cornelius Uhle, Stefan Drexlmeier |
JÜNGLING IM GRABE | Jonathan Mayenschein, Wolfram Lattke |
1. BAROque VIOLIN | Irina Kisselova, Catherine Aglibut |
2. BAROque VIOLIN | Anne Schumann, Irina Kisselova |
VIOLA DA GAMBA I / G-VIOLONE | Juliane Laake |
VIOLA DA GAMBA II | Julia Vetö |
VIOLA DA GAMBA III | Irene Klein |
VIOLA DA GAMBA IV / G-VIOLONE | Frauke Hess |
THEORBo / lute | Magnus Andersson, Thomas Ihlenfeldt (†) |
THEORBo / PANDORA | Johannes Gontarski |
BAROque HARp | Maximilian Ehrhardt |
BAROque trombone | Henning Wiegräbe, Florian Helbich, Sabine Gassner, Yosuke Kunihira |
DULcIAN | Moni Fischaleck |
ORGan / REGAL | Klaus Eichhorn |
IN collaboration with | CentreFilms |
The work was recorded in meantone intonation (a at 465 Hz)..
Fotografie Carsten Beier ©2023
A Film Tale about Love, Faith and the Incomprehensible
with Music by Heinrich Schütz
Ensemble Polyharmonique
Giulia Russo
Christian Zacharas aka Robozee
Click loads YouTube video. Google's privacy policy applies.
"Timeless, electric, beautiful, romantic, dynamic, modern. Modern!"
Holger John, artist
Easter 1623 saw the Auferstehungshistorie, or History of the Resurrection, by Heinrich Schütz (1585–1672) first performed in Dresden. The court conductor in Dresden and first German composer of world renown, Schütz created this musical masterwork at the age of only 38. The Ensemble Polyharmonique, Giulia Russo, Christian Zacharas (Robozee) and CentreFilms now retell the RESURRECTION, with uniquely beautiful singing, expressive dance and technical refinement. They give space to the incredible, the search for truth and certainty, and the touching biblical love story of Jesus and Mary Magdalen, developing current images from this 400-year-old music that are overwhelming and moving. Baroque music interpreted from our contemporary gaze, Early Music combined with an urban dance scene – sound, text and image and the combination of two cultures merge in one highly expressive music film which is quite unlike any that has come before.
At Easter in 2023, this film tale of love, faith and the incomprehensible premiered in Dresden. Welcome to the 21st century, dear Heinrich Schütz! And welcome to a new, magical experience of music, dear viewers!
The Ensemble Polyharmonique consists of renowned experts in 17th and 18th-century music. Together with the music dramaturge Dr. Oliver Geisler, it developed the idea of interpreting Heinrich Schütz’ Auferstehungshistorie in a contemporary manner, staging it as a music film. Encouraged by Schütz’ own phrase, “…das Werck für die Hand zu nehmen…“ (…to take the work in hand), they have found an entirely new approach to this baroque masterwork: today’s viewers are confronted with the ways they deal with doubt, hope, consolation, fear and unbridled happiness. Such new experiences are illustrated by the medium of the music film. The delicate tone of historical instruments, a sumptuous overall sound and touching solo passages, forceful musical imagery and a subtle interpretation of the text – all this makes the film a gripping tale.
In the film, we hear and see Alexander Schneider (alto and primus inter pares) with his Ensemble Polyharmonique and additional vocal soloists from the Early Music scene. Hand-picked musicians accompany them on historical instruments. The music dramaturge Oliver Geisler selected the Zentralwerk Dresden, one of the most intriguing cultural venues in the Dresden neighbourhood of Pieschen, as the location for the shooting. Inside a room with excellent acoustics and a creative, relaxed atmosphere, the epochal work composed by Heinrich Schütz in 1623 is brought into the present day.
With their dance performance, Giulia Russo and Christian Zacharas (Robozee) embody a very special connection between the urban, contemporary dance scene and baroque music. For the viewers, this illustrates the dramatic urgency the biblical story of the resurrection has for our times.
The CentreFilms film team is highly musical, aesthetically sensitive, technically innovative and has a background in hip hop and breakdance. This special perspective onto Schütz’ work and 17th-century music culture contributes to the development of a new kind of visual idiom. State-of-the-art image and stage technology enables the production to transport mystical calm and ecstatic outbursts into our present time, mediated by the special sound of baroque music.
Heinrich Schütz’ Historia der fröhlichen und siegreichen Auferstehung unseres einigen Erlösers und Seligmachers Jesu Christi (History of the Joyful and Victorious Resurrection of our Only Saviour and Redeemer Jesu Christi, or Auferstehungshistorie for short) SWV 50 is one of the most fascinating works of the baroque age. The special aspect was formulated by Schütz himself in his preface to the work, in which he invites a contemporary, experimental approach to his music with the words “… vnd was mehr dergleichen ist“ (…and what similar means there may be). Schütz sets his creation free; he allows us to interpret it and retell it with new means.
It is a quiet, concentrated work with a sophisticated dramaturgy, in which the jubilation of Easter gradually breaks through. The music illustrates the events of the Easter story acoustically and graphically: thus, the listeners can hear the dragging of the stone before Jesus’ grave in rolling eighth-note movements; in the passage “gucket hinein“ (look inside), one can almost hear the physical gesture of bending down to look into a low-lying hole in the rock; the rising vocal line symbolizes the resurrection in the form of a leitmotif. Here, we find musical means of expression which turn the convention of 17th-century music on its head, pointing far into the future. This brings us full circle to the present music film: Schütz’ music is staged within the space, the Auferstehungshistorie visualized by today’s means, and the result is an impressive total work of art.
Click loads YouTube video. Google's privacy policy applies.
The CD was released by accentus music on March 17.
Heinrich Schütz (1585-1672)
Surrexit pastor bonus SWV 469
Auferstehungshistorie SWV 50
Franz Tunder (1614-1667)
Sinfonia „Da pacem“
Michael Praetorius (1571-1621)
Halleluja. Christ ist erstanden
ENSEMBLE POLYHARMONIQUE
ENSEMBLE POLYHARMONIQUE
MUSIc & Artistic Director | Alexander Schneider |
DRAMATURG | Dr. Oliver Geisler |
CONTROLLING | Dr. Anna-Maria Schneider |
PR / Communication | Christel Goldbach |
Dance performance | Giulia Russo & Christian Zacharas aka Robozee |
EVANGELIST | Johannes Gaubitz |
JESUS | Alexander Schneider, Felix Rumpf, Christian Volkmann |
MARIA MAGDALENA | Joowon Chung, Magdalene Harer |
DIE DREI MARIEN | Marie Luise Werneburg, Joowon Chung, Magdalene Harer |
ZWEEN ENGEL | Benjamin Glaubitz, Sören Richter |
KLEOPHAS | Sören Richter |
GESELL | Benjamin Glaubitz |
HOHENPRIESTER | Wolfram Lattke, Felix Rumpf, Matthias Lutze, Cornelius Uhle, Stefan Drexlmeier |
JÜNGLING IM GRABE | Jonathan Mayenschein, Wolfram Lattke |
1. BAROque VIOLIN | Irina Kisselova, Catherine Aglibut |
2. BAROque VIOLIN | Anne Schumann, Irina Kisselova |
VIOLA DA GAMBA I / G-VIOLONE | Juliane Laake |
VIOLA DA GAMBA II | Julia Vetö |
VIOLA DA GAMBA III | Irene Klein |
VIOLA DA GAMBA IV / G-VIOLONE | Frauke Hess |
THEORBo / lute | Magnus Andersson, Thomas Ihlenfeldt (†) |
THEORBo / PANDORA | Johannes Gontarski |
BAROque HARp | Maximilian Ehrhardt |
BAROque trombone | Henning Wiegräbe, Florian Helbich, Sabine Gassner, Yosuke Kunihira |
DULcIAN | Moni Fischaleck |
ORGan / REGAL | Klaus Eichhorn |
IN collaboration with | CentreFilms |
The work was recorded in meantone intonation (a at 465 Hz)..
Fotografie Carsten Beier ©2023
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Copyright © 2023 Polyharmonique
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Copyright © 2023 Polyharmonique