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Georg Philipp Telemann (1681-1767) - Passion Cantatas

Жанр: Baroque Cantatas
Страна-производитель диска: Germany
Год издания диска: 2009
Издатель (лейбл): CPO
Номер по каталогу: 777 299-2
Дата записи: 2006-2007
Аудиокодек: APE
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 69'53
Источник: собственный рип
Наличие сканов в содержимом раздачи: да
Треклист:
Der am Ölberg zagende Jesus, TVWV 1:364
1. Accompagnato: 'Die stille Nacht umschloß den Kreis der Erden'
2. Arie: 'Ich bin betrübt bis in den Tod'
3. Rezitativ: 'Er rung die heilgen Hände aus überhäuftem Schmerz'
4. Arie: 'Mein Vater!'
5. Rezitativ: 'Allein, die Angst nahm jeden Nu mit Haufen zu'
6. Arie: 'Kommet her, ihr Menschenkinder'
Was gibst du denn, o meine seele, TVWV 1:1510
7. Choral: 'Was gibst du denn, o meine Seele'
8. Rezitativ: 'Was, Herz, was wählest du?'
9. Arie: 'Zerreiße die Bande, ersticke die Triebe'
10. Rezitativ: 'Weg Welt, hinaus'
11. Arie: 'Jesu, dem ich angehöre'
12. Choral: 'Ich hab' ihn eingeschlossen in meines Herzens Schrein'
Jesus liegt in letzten Zügen, TVWV 1:983
13. Arie: 'Jesus liegt in letzten Zügen'
14. Rezitaitv: 'Erbarmenswürdiger Blick!'
15. Arie: 'Mein liebster Heiland, könnt ich doch mit dir erblassen'
16. Rezitativ: 'Jedoch, da dirs gefällt'
17. Arie: 'Darauf freuet sich mein Geist'
Ich will den Kreuzweg gerne gehen, TVWV 1:884
18. Arie: 'Ich will den Kreuzweg gerne gehen'
19. Rezitativ: 'Ach, wer die Furcht des Kreuzes nur bedächte'
20. Arie: 'Ich küsse die Rute mit freudigem Mute'
21. Rezitativ: 'Und zwar, was sag ich weiter?'
22. Arie: 'Ach, mein Heiland'
Ach Herr! Lehr uns Bedenken wohl, TVWV 1:24
23. Choral: 'Ach Herr, lehr uns Bedenken wohl'
24. Rezitativ: 'Ihr, die ihr in der Welt das Ende eures Lebens'
25. Arie: 'Wie der Blumen schönste Pracht'
26. Rezitativ: 'So nehm ich dann, indem ich noch zu leben habe'
27. Arie: 'Jesu komme mir entgegen'
28. Choral: 'Herr, meinen Geist befehl ich dir'
Исполнители:
Georg Philipp Telemann (1681-1767) - Passion Cantatas
Klaus Mertens (bass-baritone)
Accademia Daniel
Shalev Ad-El

Код:

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Telemann / Passion Cantatas, Ad-El
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Код:

REM GENRE "Baroque Vocal"
REM DATE 2006
REM DISCID A9105F1C
REM COMMENT "ExactAudioCopy v1.0b3"
CATALOG 0761203729920
PERFORMER "Telemann"
TITLE "Passion Cantatas, Ad-El"
FILE "Telemann - Passion Cantatas, Ad-El.ape" WAVE
  TRACK 01 AUDIO
    TITLE "Der am Ölberg zagende Christus - Accompagnato: 'Die stille Nacht umschloß den..."
    PERFORMER "Telemann"
    ISRC DEB200629901
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "Der am Ölberg zagende Christus - Arie: 'Ich bin betrübt bis in den Tod'"
    PERFORMER "Telemann"
    ISRC DEB200629902
    INDEX 01 03:04:01
  TRACK 03 AUDIO
    TITLE "Der am Ölberg zagende Christus - Rezitativ: 'Er rung die heilgen Hände aus üb..."
    PERFORMER "Telemann"
    ISRC DEB200629903
    INDEX 01 06:59:64
  TRACK 04 AUDIO
    TITLE "Der am Ölberg zagende Christus - Arie: 'Mein Vater!'"
    PERFORMER "Telemann"
    ISRC DEB200629904
    INDEX 01 07:41:48
  TRACK 05 AUDIO
    TITLE "Der am Ölberg zagende Christus - Rezitativ: 'Allein, die Angst nahm jeden Nu ..."
    PERFORMER "Telemann"
    ISRC DEB200629905
    INDEX 01 11:02:74
  TRACK 06 AUDIO
    TITLE "Der am Ölberg zagende Christus - Arie: 'Kommet her, ihr Menschenkinder'"
    PERFORMER "Telemann"
    ISRC DEB200629906
    INDEX 01 11:41:42
  TRACK 07 AUDIO
    TITLE "Was gibst du denn, omeine Seele - Choral: 'Was gibst du denn, o meine Seele'"
    PERFORMER "Telemann"
    ISRC DEB200729907
    INDEX 00 16:18:19
    INDEX 01 16:25:26
  TRACK 08 AUDIO
    TITLE "Was gibst du denn, omeine Seele - Rezitativ: 'Was, Herz, was wählest du?'"
    PERFORMER "Telemann"
    ISRC DEB200729908
    INDEX 01 17:23:72
  TRACK 09 AUDIO
    TITLE "Was gibst du denn, omeine Seele - Arie: 'Zerreiße die Bande, ersticke die Tri..."
    PERFORMER "Telemann"
    ISRC DEB200729909
    INDEX 01 18:36:60
  TRACK 10 AUDIO
    TITLE "Was gibst du denn, omeine Seele - Rezitativ: 'Weg Welt, hinaus'"
    PERFORMER "Telemann"
    ISRC DEB200729910
    INDEX 01 23:10:16
  TRACK 11 AUDIO
    TITLE "Was gibst du denn, omeine Seele - Arie: 'Jesu, dem ich angehöre'"
    PERFORMER "Telemann"
    ISRC DEB200729911
    INDEX 01 23:53:73
  TRACK 12 AUDIO
    TITLE "Was gibst du denn, omeine Seele - Choral: 'Ich hab' ihn eingeschlossen in mei..."
    PERFORMER "Telemann"
    ISRC DEB200729912
    INDEX 01 26:15:49
  TRACK 13 AUDIO
    TITLE "Jesus liegt in letzten Zügen - Arie: 'Jesus liegt in letzten Zügen'"
    PERFORMER "Telemann"
    ISRC DEB200729913
    INDEX 00 27:30:33
    INDEX 01 27:37:71
  TRACK 14 AUDIO
    TITLE "Jesus liegt in letzten Zügen - Rezitaitv: 'Erbarmenswürdiger Blick!'"
    PERFORMER "Telemann"
    ISRC DEB200729914
    INDEX 01 33:19:19
  TRACK 15 AUDIO
    TITLE "Jesus liegt in letzten Zügen - Arie: 'Mein liebster Heiland, könnt ich doch m..."
    PERFORMER "Telemann"
    ISRC DEB200729915
    INDEX 01 34:44:64
  TRACK 16 AUDIO
    TITLE "Jesus liegt in letzten Zügen - Rezitativ: 'Jedoch, da dirs gefällt'"
    PERFORMER "Telemann"
    ISRC DEB200729916
    INDEX 01 39:56:31
  TRACK 17 AUDIO
    TITLE "Jesus liegt in letzten Zügen - Arie: 'Darauf freuet sich mein Geist'"
    PERFORMER "Telemann"
    ISRC DEB200729917
    INDEX 01 40:53:39
  TRACK 18 AUDIO
    TITLE "Ich will den Kreuzweg gerne gehen - Arie: 'Ich will den Kreuzweg gerne gehen'"
    PERFORMER "Telemann"
    ISRC DEB200729918
    INDEX 00 43:32:67
    INDEX 01 43:37:67
  TRACK 19 AUDIO
    TITLE "Ich will den Kreuzweg gerne gehen - Rezitativ: 'Ach, wer die Furcht des Kreuz..."
    PERFORMER "Telemann"
    ISRC DEB200729919
    INDEX 01 49:21:34
  TRACK 20 AUDIO
    TITLE "Ich will den Kreuzweg gerne gehen - Arie: 'Ich küsse die Rute mit freudigem M..."
    PERFORMER "Telemann"
    ISRC DEB200729920
    INDEX 01 51:46:17
  TRACK 21 AUDIO
    TITLE "Ich will den Kreuzweg gerne gehen - Rezitativ: 'Und zwar, was sag ich weiter?'"
    PERFORMER "Telemann"
    ISRC DEB200729921
    INDEX 01 54:16:71
  TRACK 22 AUDIO
    TITLE "Ich will den Kreuzweg gerne gehen - Arie: 'Ach, mein Heiland'"
    PERFORMER "Telemann"
    ISRC DEB200729922
    INDEX 01 55:06:60
  TRACK 23 AUDIO
    TITLE "Ach Herr! lehre uns bedenken wohl - Choral: 'Ach Herr, lehr uns Bedenken wohl'"
    PERFORMER "Telemann"
    ISRC DEB200729923
    INDEX 00 57:54:24
    INDEX 01 57:57:19
  TRACK 24 AUDIO
    TITLE "Ach Herr! lehre uns bedenken wohl - Rezitativ: 'Ihr, die ihr in der Welt das ..."
    PERFORMER "Telemann"
    ISRC DEB200729924
    INDEX 01 58:43:64
  TRACK 25 AUDIO
    TITLE "Ach Herr! lehre uns bedenken wohl - Arie: 'Wie der Blumen schönste Pracht'"
    PERFORMER "Telemann"
    ISRC DEB200729925
    INDEX 01 59:30:48
  TRACK 26 AUDIO
    TITLE "Ach Herr! lehre uns bedenken wohl - Rezitativ: 'So nehm ich dann, indem ich n..."
    PERFORMER "Telemann"
    ISRC DEB200729926
    INDEX 01 62:50:16
  TRACK 27 AUDIO
    TITLE "Ach Herr! lehre uns bedenken wohl - Arie: 'Jesu komme mir entgegen'"
    PERFORMER "Telemann"
    ISRC DEB200729927
    INDEX 01 63:57:46
  TRACK 28 AUDIO
    TITLE "Ach Herr! lehre uns bedenken wohl - Choral: 'Herr, meinen Geist befehl ich dir'"
    PERFORMER "Telemann"
    ISRC DEB200729928
    INDEX 01 68:51:20

Here is a splendidly sonorous and sensitively performed CD of five sacred cantatas by the extremely prolific Telemann. Amongst the musical attributes which the composer describes in his application in 1712 for the post of Kapellmeister at Frankfurt is his own singing voice…"zwischen Tenor und Baß" (between tenor and bass) - or baritone. Taken together with at least one letter to city authorities complaining that because of an absence of singers, Telemann had to 'hire [him]self', it seems likely that he wrote this music at least partly with himself in mind. Indeed, an unusually large proportion of the 1,400 cantatas which Telemann wrote did include a part for such a voice (range, timbre and delivery style, as far as we can tell) as Telemann's.
A lot is resting on Klaus Mertens shoulders in these performances, then. He has worked, of course, with many 'early music' specialists…Ton Koopman (the staple baritone on the latter's superb Bach cantata series) and Frans Brüggen, Nicholas McGegan, Philippe Herreweghe, René Jacobs, Sigiswald Kuijken, Gustav Leonhardt and Nikolaus Harnoncourt.
Here he is in fine form. His voice has a solidity and generosity slightly redolent of Dietrich Fischer-Dieskau's. This results in an authority in the way that each piece is structured and articulated. Listen, for example, to the opening of 'Mein liebster Heiland' [tr.15] in Jesus liegt in letzten Zügen. Absent are any notions of rushing, self-indulgent pondering, speculating, wavering - uncertainties about the place of the words in the context of the cantata itself, and its meaning within the wider liturgical milieu. But equally important is the complete absence in Mertens' approach of woodenness, rigidity or inflexibility. Particularly impressive is the extent to which Martens infuses his solos with such drama… Telemann, after all, was also an opera composer. But the drama here is only that inherent in the Passion itself; the Passion is never 'used' as a vehicle for other ideas.
His is a singing style that inspires confidence while knowing that we are also hearing singing full of the Affekt that was so important to Baroque composers. We are moved, emotionally compelled and taken with the sentiment of the music, which is, after all, concerned with Christ's death. But our feelings change in accordance with the bar to bar, almost - certainly phrase to phrase - alternations of circumstance …regret, hope, anger, resignation as the Passion story is told. Mertens avoids any hint of perfunctoriness. Despite the fact that the story is so familiar and the resonances or sympathies which Telemann intended to evoke so huge, Mertens sets them out with an attention and freshness that are somehow very genuine and trusted. His exposition of the opening first number, 'Ich will den Kreuzweg gerne gehen' [tr.18], in Ich will den Kreuzweg gerne gehen itself is poignant in the extreme. But because Mertens sings from within the circumstances of this affirmation - not just because we know what poignancy means.
The Accademia Daniel under Shalev Ad-El play their period instruments with support where that is all that Martens needs and with vigour and spirit in passages requiring greater presence. The tendency, given the theme, is for sombre and melancholy. Yet nowhere is the playing lugubrious or maudlin. A wonderful balance, which would seem to come from great familiarity with the music. The scoring is necessarily spare and understated. At most Accademia Daniel comprises a dozen players. But their sound is focused, tender and expressive. Such numbers as 'Wie der Blumen' [tr.25] in Ach Herr! Lehr uns Bedenken wohl show the touching and very real empathy between Martens and the Accademia.