Six choral works on the Old and New Testaments and Canticum triumphale
for solo, mixed choir and piano
1. Mein Herz ist voll Freude (Hannahs Lobgesang)
2. In meiner Not rief ich zum Herrn (Jonas Lobgesang)
3. Gepriesen und gelobt bist du (Lobgesang des Asarja)
4. Gepriesen sei der Herr (Lobgesang des Zacharias)
5. Meine Seele preist die Größe des Herrn (Lobgesang Mariens)
6. Nun lässt du Herr, deinen Knecht (Lobgesang des Simeon)
7. Canticum triumphale (Lobgesang der Heiligen)
Anhang mit erläuternden Texten
Hermann Grollmann created an innovative cycle of three Old Testament hymns, three New Testament hymns and one early church hymn. with an independent layout and orientation.
These are textual-contentual jewels and central statements of the Christian faith.
The Cantica cycle traverses 2,000 years of faith history and practice.
Beginning with the time before the first temple (11th century B.C.), to Jonah in the time of the Assyrian Empire (7th century B.C.), to Azariah in the Babylonian Exile (6th century B.C.), to the pioneer John the Baptist. John the Baptist, the Annunciation (c. 5 B.C.) and the Presentation of the Lord (c. 4 B.C.).
The paschal aspect of descending and ascending, of rescue from adversity and hopelessness and the joy of overcoming death and adversity permeates the entire work.
Hannah, Jonah and Azariah are beacons of the Old Testament. Zechariah, Mary and Simeon have enjoyed exceptional esteem since ancient times and the and the New Testament Canticles have enjoyed a worldwide liturgical circulation.
The Triumphal Song, which is probably Old Church in origin is a core text of the medieval Easter and mystery plays.
Pairs of themes (birth / death, chaos / triumph, Hannah / Mary) or trilogies from the Old or New Testaments, fire / water, etc. can be used for a programme. New Testament, Fire / Water / Light or Hope / Faith / Love.
The complete seven-part cycle culminates in the Alleluia of the Easter Triumph. Some texts are a first setting for mixed choir.
Hermann Grollmann chose a moderate, appealing, tone-painting language that adapts to the text content in character and mood, interprets the text in a meaningful and interpretative way and carries the listener along.
In this way, the situations of the protagonists can be directly grasped, heard and experienced: Hannah's song of jubilation after the announcement of her pregnancy (joy), Jonah's supplication in the whale (floods of water), Azariah's praise of God in the burning furnace (fire), Zechariah's song of praise after speechlessness (light, glow), Mary's song of praise in the experience of salvation (throbbing, certainty) and Simeon's song of rest and peace in the encounter with the promised Messiah (detachment) and the triumph at the end (transition, metamorphosis).
The instrumentation requires a demanding four-part mixed choir (occasionally six-part with divided voices), a soloist soloist (who can be replaced by a good chorister) and an experienced pianist. The accompanying chord notation ad lib. serves as an orientation orientation and possible accompaniment by a combo.
The seventh piece is additionally scored with two fanfares (trumpets in C) and two timpani. and two timpani. Qualified pedal use in the piano part is provided throughout.
Excerpt from the choral book "Cantica" >>>
Excerpt of live recording 2020 - with kind permission:
- About the work
- About the author Hermann Grollmann
- Table of Contents
- Sheet music examples
- About the protagonists Hannah, Azariah, Zachariah, Mary, Simeon, Saints
- About illustrations
Hermann Grollmann, Ensemble Mio Nakamune: Hyun min Kim, Mio Nakamune, Theresa Maria Romes (Sopran), Seona Kim, Saemi Lee, Kea Niedoba (Alt), Marcel Hubner, Stefan Schneider, Yuli Zhang (Tenor), Uli Bützer, Jakob Ewert, Felix Lodel (Bass), Richard Steuart, Mike Bräutigam (Trompete), Bernd Kremling (Pauke)