Telemann was one of the most famous composers of Germany at the
end of the baroque era. That found expression in requests to compose
music for special occasions, for example the consecration of a
newly built church. During his career as a composer he wrote several
works for such occasions, mostly in and around Hamburg, where
he worked from 1721 until his death, but in 1738 even for a church
in Nuremberg, in the far south of Germany. The longest piece on
this disc is also written for the consecration of the church in
Neuenstädten (today called Nienstedten and part of Hamburg) in
May 1751. The more Telemann's vocal music is explored the more
one is impressed by the quality and the originality of his music.
That is also the case here.
Most
compositions of this kind are divided into two parts, the first
of which was to be performed before, and the second after the
sermon. It is therefore remarkable that this cantata is in three
parts. It isn't quite known what reason Telemann had to split
this piece into three. The second and third are much shorter
than the first: the second even consists of just one duet. In
this cantata Telemann shows to be able to adapt his style of
composing to the changing taste of his time. The baroque principle
of the unity of Affekt, for example, is left here in favour
of strongly contrasting Affekts. The very first aria is proof
of this: it begins with the bass singing "Smash the idols,
away! Hurl them down from the temple of the Most High",
accompanied by trumpets and timpani. This is followed by a most
introverted passage on the words: "The Ancient of Days
comes on the wings of the winds, gently, slowly, mildly",
and here he is accompanied softly by the strings. After this
passage the trumpets and timpani return when the bass sings:
"his presence shakes all the walls". After an accompanied
recitative soprano and bass sing a short duet: "The Lord
of hosts is with us, the God of Jacob is our refuge. Selah."
Here Telemann causes a surprise by the contrapuntal setting
of this last word. Then the bass returns to the first part of
the opening aria. A recitative and aria for soprano – in the
latter the soloist is accompanied by flute and two violins playing
unisono - and a recitative for bass lead to a chorale which
concludes the first part. Like the whole cantata it is set for
soprano and bass, with a violin contributing a third voice to
this chorale. As already stated the second part consists of
a duet, which is again quite remarkable because of the mixture
of old-fashioned imitation and modern text expression. The
phrase "o then always be near us" receives special
attention here. The third and last section of the cantata contains
a recitative, an aria for bass and another chorale.
The
two other cantatas on this disc are from a much earlier date,
and were probably written during Telemann's time in Frankfurt,
where he acted as city director of music and Kapellmeister at
the Barfüsserkirche from 1712 to 1721. 'Der geliebte und verlorne
Jesus' is connected to the events on the morning of Easter:
Mary Magdalene is going to the tomb where Jesus has been laid
to rest, but finds the tomb empty. She then thinks someone has
taken Jesus' body away and tries to find him. Her feelings and
actions are depicted in the form of references to the Song of
Songs, which had a long tradition of being interpreted as an
allegory about the love between God and the soul. The first
aria indicates what this cantata is about: "My speech is
saddened because I miss my Jesus, who gives me wonderfully sweet
kisses". The A-section of this aria is dominated by sighing
figures ('Seufzer') expressing the despair of Mary Magdalene,
whereas the last sentence is accompanied by lively figures in
the oboe part. In this cantata Telemann again surprises by the
structure: after the recitative the soprano sings another dacapo
aria: the A-section is the same as that of the first aria, but
the B-section has new text and new music. Here we find another
strong reference to the Song of Songs as Mary Magdalene asks
the watchmen: "Have you seen my friend, him whom my soul
loves?" Another surprise follows with the third aria: no
dacapo this time, but an aria in two stanzas on the same music.
The following recitative leads into the closing aria without
interruption.
The
last item is a cantata for soprano and bass, representing the
soul and Jesus respectively. It belongs to a category of cantatas
which we also come across in Bach's oeuvre, like BWV 49, 'Ich
geh und suche mit Verlangen'. In 'Jesus und die Seele' the soul
is seeking for forgiveness which Jesus is ready to grant but
only after the soul is showing true remorse. The turning point
is the recitative 'Komm zu mir', where Jesus says: "Just
come to me with faith, remorse and prayer" and the soul
answers: "I reserve the same, my Jesus and my protector,
for you alone" which is followed by an aria in which Jesus
sings: "Now hear this word: your guilt is forgiven you".
After a recitative of the soul the cantata ends with a duet.
In this cantata we find another less conventional practice in
that the first aria of the soprano is regularly interrupted
by short recitatives. The use of keys in the last aria of this
cantata shows Telemann's mastery of the baroque Affekt.
Dorothee
Mields and Klaus Mertens belong to the most experienced and
knowledgeable singers of German sacred music. In this recording
they show their thorough understanding of the musical language
of Telemann, and they sing their parts with great sensitivity.
In the duets their voices blend excellently, and their diction
in the recitatives is exemplary. The instrumental scoring is
modest: transverse flute, oboe, two violins, viola, cello, double
bass and organ, with two trumpets and timpani in the first cantata.
The instruments are effectively used by Telemann to depict the
Affekt he wants to express. The playing of the Accademia Daniel
leaves nothing to be desired.
This
disc is an important addition to the catalogue of vocal works
by Telemann. It can only enhance the admiration for a composer
who during his whole career has displayed an astonishing creativity
and freshness and time and again surprises the listener with his
original ideas.
Johan van Veen
