Page 65 - NovemberDecember25

in unison or octaves, and are frequently supported by own writing to create the libretto. While not strictly
orchestration. People comfortable with German can atonal or twelve tone, this oratorio is full of chromat-
sing the parts written specifically for the “Gemeinde,” or icism. The singers are often, but not always, doubled
congregation. Otherwise, these parts can be done by the by one or more instruments. Recitative-like material is
full choir or even a smaller subset of singers. The baritone notated and metered yet retains a speech-like feel.
solo is accompanied by two flutes who are sometimes The oratorio almost ends with Jesus on the cross and
in octaves with the soloist, and at other times filling in the earth rumbling. At that point, an unexpected ep-
harmonies in modest ways, perhaps recalling the “halo ilogue opens on a train station in Danzig, Poland, in
effect” used by Johann Sebastian Bach centuries prior. August of 1942. The brief scene is based on the real
story of Janusz Korczak, a Polish children’s book au-
thor, child advocate, and director of an orphanage.
Die Weihnachtsgeschichte in Liedern When given the opportunity to escape, Korczak re-
[The Christmas Story in Songs] (1973) fused to leave the nearly two hundred children in his
Möseler Verlag care and boarded the train to Treblinka concentration
camp with them. The soloist who sang Jesus in the first
This collection of seven pieces for mixed choir (and part of the oratorio now sings the part of Korczak. The
soloists, when available) was printed in 1973. Each piece final words of the oratorio are “I am not guilty,” sung
recounts part of the Christmas Story. In Kukuck’s time, by the soloist who previously sang the role of Pilate and
it was common to have Christmas celebrations in pub- now assumes the role of the soldier who offered to help
lic schools as well as church, and these pieces would suit Korczak escape.
both occasions. They vary in mood and tempo, provid-
ing opportunities for creating dramatic interest. Three
different places in the score indicate that the congre- Und es ward: Hiroshima. Eine Collage über
gation could sing a hymn or carol that pairs with the Anfang und Ende der Schöpfung [And it Was:
part of the story outlined in the song. The writing is Hiroshima. A Collage About the Beginning and
accessible and can be adapted for different voicings and End of Creation] (1995)
instrumentation as needed. Möseler Verlag

This oratorio was written for mixed choir, organ
Ecce Homo: Die letzten Tage des Jesus aus and/or woodwinds, percussion, and soprano and tenor
Galiläa [Behold the Man: The Last Days of soloists. Despite living through so much war, Kukuck
Jesus of Galilee] (1990) didn’t address it as a theme in her music until sometime
Möseler Verlag in the 1980s when she joined Germany’s burgeoning
anti-war movement. This difficult and powerful piece
This ambitious work was written in 1990 for mixed explores the tragedy of the bombing of Hiroshima
choir, vocal soloists, and an ensemble consisting of flute, through texts from the Bible, poetry written by Hiro-
oboe, clarinet, bassoon, alto and tenor recorders, per- shima survivor Mitsue Furuta, and additional texts by
cussion, saxophones, trombone, string quartet and or- Kukuck’s daughter. The forty-five-minute-long work
gan (or synthesizer). The structure recalls the Passions features unaccompanied chorus with arias and rec-
of J. S. Bach, with soloist roles for Narrator (similar to itatives accompanied by the organ and/or woodwind
Bach’s Evangelist), Jesus, Judas, Petrus, Kaiphas, and instruments, and percussion. Many of the choruses
Pilate; a choir singing the role of the People (like Bach’s will be accessible for church or community ensembles;
turba choruses) and reflective chorales; and groupings there are, however, moments of rhythmic and harmon-
of notes signifying crosses throughout the piece. Mar- ic complexity that merit careful attention and may be
gret Johannsen compiled Bible verses and added her better suited for more experienced ensembles.

CHORAL JOURNAL November/December 2025 Volume 66 Number 4 63