Sacred Works
Der 100. Psalm Jauchzet dem Herrn alle Welt (1780) [12:32]
Sinfonia à 14 zur Kantate Die ihr das Glück geniesset [8:40]
Choral-Kantate Ich ruf zu dier, Herr Jesu Christ [23:30]
Motette über Ich halte dich und will dich nicht lassen [3:38]
Motette über Freuet euch! Dass eure namen im Himmel geschrieben sind [3:27]
“Eine Kirchen=Musik Zur Feyer des Frieden-Festes” (1763) [15:06]
Katrin Hübner (soprano ); Andreas Weller (tenor)
Mecklenburgisches Barockorchester “Herzogliche Hofkapelle”/Johannes Moesus
rec. 23-25 August 2011, Kirche St. Johannis, Hamburg-Harvestehude, Germany
CPO 777732-2 [67:41]
The CPO label is serving Johann Wilhelm Hertel well, and this admirable
programme of Sacred Works follows on from a fine recording of
his cantata Die Geburt Jesu Christi (review).
Hertel’s education followed in a line traceable to J.S. Bach, and
with a large dose of orchestral experience via the instruction of Franz
Benda, as a violinist Hertel also performed with and was known to the
flute-playing King Frederick II and the likes of C.P.E. Bach.
This programme begins with a work from later in Hertel’s career,
the Cantata on Psalm 100, with festive trumpets and timpani adding colour
and an emphatic edge to the orchestral sound, reflecting the celebratory
nature of the occasion for which the piece was composed, the sixty-third
birthday of Duke Friederich, the ruling prince of Mecklenburg and its
environs. There are also some striking quiet moments and sinuous chord
progressions, adding up to a very fine work indeed. All texts are given
in German and English in the booklet, which has instructive notes from
Stefan Fischer. The Sinfonia which follows is another piece with
a feeling of celebration, with trumpet trills and considerable support
from the horns. The central movement of the three is a charmingly lyrical
duet for two flutes over strings.
The Choral Cantata “Ich ruf zu dir, Herr Jesu Christ” takes
us into a different world with its slow, expressive opening. The association
of each of these works with particular chorales is the result of Duke
Friederich’s idea of a unique form of music intended to “instruct
and strengthen his subjects in the pietistic faith”. This is certainly
heard at its strongest in this particular cantata, with Hertel bringing
out plenty of compositional tricks to tug at the heartstrings: descending
lines, sighing harmonies and melodic shapes, and gently transparent orchestration.
Solos are nicely performed by both soprano Katrin Hübner and tenor Andreas
Weller. Right up to the at times achingly beautiful final choral movement
this work certainly holds the beating emotional heart of this programme.
If the Choral Cantatas can be said to be more forward-looking, the two
Motets hark back more to standard settings for liturgical use. Their simple
clarity, with a light organ accompaniment and some nice expressive touches
enhancing the text, make for a pleasant if unchallenging intermezzo to
precede the final Peace Music. This was also written for religious
use as a thanksgiving after the conclusion of the Seven Years’ War.
Framed by stately processional music with a central orchestral Allegro
maestoso and a final optimistic Allegro, this work sets
two chorales in praise of God. The words are ornamented with obbligato
instrumental parts which weave around the simple melodies in a not always
entirely convincing fashion. It's like a church service which has
been crashed by a folk-fiddler bored by ecclesiastical four-squaredness.
Altogether this is another superbly performed selection of music by one
of the eighteenth century's less well-known composers, and as such
can be welcomed wholeheartedly. With moments of genuine beauty and a general
feel of festive celebration this is more than likely to put you in a very
good mood indeed.
Dominy Clements
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