Conversations avec Dieu
Georg Philipp TELEMANN (1681-1767)
Ach Herr, straf mich nicht in deinem Zorn (TWV 7,3) [9:01]
Heinrich SCHEIDEMANN (1595-1663)
Erbarm dich mein, O Herre Gott (WV 4): primus versus [2:12]
Andreas HAMMERSCHMIDT (1611-1675)
Erbarm dich mein, o Herre Gott [4:54]
Heinrich SCHEIDEMANN (1595-1663)
Erbarm dich mein, o Herre Gott (WV 4): secundus versus [2:57]
Andreas HAMMERSCHMIDT
Pavane I à 5 [5:05]
Ach Gott, warum hast du mein vergessen? [4:46]
Johann ROSENMÜLLER (1619-1684)
Sinfonia XI à 5 [4:25]
Andreas HAMMERSCHMIDT
Herr, wie lange willst du mein so gar vergessen? [5:17]
Heinrich SCHEIDEMANN
Prelude No. 5 in d minor (WV 33) [2:39]
Andreas HAMMERSCHMIDT
Ergo sit nulla ratio salutis [4:18]
Claudio MONTEVERDI (1567-1643)
Sinfonia [1:18]
Samuel SCHEIDT (1587-1654)
Ist nicht Ephraim mein teurer Sohn? [6:18]
Warumb betrübstu dich mein Hertz (SSWV 106) [6:35]
Nicolaus BRUHNS (1665-1697)
Hemmet eure Tränenflut [13:44]
Andreas HAMMERSCHMIDT
Inter brachia salvatoris mei [3:39]
Le Concert Étranger/Itay Jedlin; Anne-Marie Blondel (organ)
rec. 16-19 June 2015, church of Notre-Dame de l'Assomption de la Très
Sainte Vierge, Champcueil, France. DDD
Texts and translations included
AMBRONAY AMY045 [77:17]
"Conversations with God" is the unusual title
of this disc. It refers to compositions in which the believer addresses God.
It should not be taken too literally: only in a few cases such pieces include
God's answer, either directly or otherwise. The latter is the case
in Scheidt's Ist nicht Ephraim mein teurer Sohn, a setting
of a text from the prophet Jeremiah.
The items are ordered in a kind of dramaturgical sequence. The largest part
is about sin and the longing for forgiveness. The last section consists of
a cantata for Easter and a piece which expresses the joy about a life without
fear as a result of Jesus' Passion and resurrection.
The programme opens with compositions on two of the seven penitential psalms
which were especially sung during Lent. In his cantata Straf mich nicht
in deinem Zorn Telemann has set Psalm 6: "Oh Lord, do not punish
me with your fury". After an instrumental introduction the soprano sings
the first line of the cantata. It is followed by a sequence of solos and tutti
episodes. The sixth verse - "For in death no one thinks of you; who will
thank you in hell" - is scored for bass and the key words 'death'
and 'hell' are set to very low notes. Telemann effectively splits
the word "Seufzen" (sighing) into two by a short pause.
The second penitential psalm included here is Psalm 50 (51), known under the
Latin title of Miserere mei Deus. The two compositions by Scheidemann
and Hammerschmidt are based on the versification of this psalm by Erhart Hegenwalt,
Erbarm dich mein, O Herre Gott. Scheidemann is considered the founder
of the north German organ school. Anne-Marie Blondel plays two variations
on two stanzas from this hymn. The second includes echo effects which betray
the influence of Jan Pieterszoon Sweelinck. They embrace a vocal arrangement
of the first stanza by Andreas Hammerschmidt. He takes a central place in
the programme and that is well justified because his oeuvre is of excellent
quality and has been given relatively little attention to date. He was certainly
influenced by Heinrich Schütz but was no epigone.
After a dance by Hammerschmidt - taken from one of the three volumes with
instrumental music published between 1636 and 1650 - we hear his dialogue
for four voices, one instrument and bc Ach Gott, warum hast du mein sogar
vergessen. It is from a collection from 1645 which has the title of Dialogi,
oder Gespräche zwischen Gott und einer gläubigen Seelen - 'Dialogues
or Conversations between God and a faithful soul'. That is the explanation
of the title of this disc. Here the tenor (Geoffrey Thompson) represents the
faithful soul, the reply comes from three other voices (two sopranos and bass).
It is a setting of a free text which includes references to Psalm 13 and quotations
from Psalm 42 (43): "Why are you so aggrieved, my soul, and so restless
within me? - Trust in God, our God who gives us succour". The piece ends
with the tenor joining the three other singers in a repetition of the latter
text and the concluding Alleluia.
Psalm 13 is also the starting point of Herr, wie lange willst du mein
so gar vergessen, again from the pen of Hammerschmidt: "How long,
Lord, will thou thus forget me?" The text of the Psalm is extended by
a free text. It is scored for five voices and bc but surprisingly it is performed
here a cappella. The rather short liner-notes don't mention
the issue and the reason for this decision is anybody's guess. However,
it is a little masterpiece which shows Hammerschmidt's skills in the
setting of a text.
Next - after an organ prelude by Scheidemann - follows a solo motet for soprano
and bc, Ergo sit nulla ratio salutis which refers to Jesus'
Passion. It is divided into four sections. In the first and second the believer
asks whether there is no salvation "amidst the clouds of hell?"
In the third he says: "Sweetest Jesus, your wounds are my rock and my
safe asylum". In the fourth he expresses his joy about his salvation.
The contrasts in content are eloquently translated into music. In the third
section Hammerschmidt uses the rhetorical tool of the exclamatio
on the name of Jesus.
Ist nicht Ephraim mein teurer Sohn which I already mentioned above
is also about God's salvation: "Is not Ephraim (referring to the
Jewish people) my dear son and my delightful child? (...) I will surely have
mercy upon him, saith the Lord". Samuel Scheidt, a composer of the generation
of Schütz and for most of his life director musices in Halle, juxtaposes
high and low voices by splitting the six voices into two groups which join
each other at the end of a verse. This sacred concerto is followed by a set
of organ variations on the hymn Warum betrübst du dich, mein Herz?
- the words from Psalm 42 (43) quoted above.
Nicolaus Bruhns is best-known for his small number of organ works; he worked
as organist in Husum from 1689 until his early death. He also composed twelve
cantatas which show the influence of the Italian style. Hemmet eure Tränenflut
is for Easter: "The tomb is empty, the corpse is no longer there; the
Lord is resurrected among the dead". It is scored for four voices, strings
and bc and is divided into five sections. The bass has an important role here,
for instance in the third section in which the stone that closed the tomb
is used as a metaphor for the "heavy burden of sins".
It is notable that the programme ends not with a piece for the whole ensemble
but with a solo motet. The alto Leandro Marziotte sings another piece by Hammerschmidt,
Inter brachia salvatoris mei: "In the arms of my Saviour I wish
to live and die". This motet is about the effects of Jesus' Passion
and resurrection: "[You] have lifted me up; you did not wish my enemies
to rejoice about me".
The start of this disc is a little shaky. First we hear the ringing of bells,
probably inspired by the sinfonia which opens Telemann's cantata and
also includes bell ringing motifs. Fortunately it is very short and not very
loud - it is something you don't want to hear every time. Then Mailys
de Villoutreys sings the first phrase with considerable vibrato. When I heard
this I feared this disc would be a disappointment, but it is only a short
aberration. I am happy to say that Le Concert Étranger presents itself here
as a very fine ensemble which has a really good feeling for this repertoire.
The German pronunciation is remarkably good, considering that none of the
singers is a German speaker. Much attention has been given to the texts and
the Affekts which they want to express. Telemann's cantata
receives an incisive performance. The singers and players here turn out to
be eloquent advocates of Hammerschmidt's music which is unjustly neglected.
The ensemble is excellent as is amply demonstrated in Hammerschmidt's
Herr, wie lange willst du mein so gar vergessen. The organ works
are very well played; it is a shame that the booklet doesn't give any
information about Anne-Marie Blondel's instrument. On the internet
I have found that the organ was built in 2010 and is modelled after 17th-century
Franco-Flemish instruments.
This is not just another disc with German 17th-century music; we have here
a production which is an essential addition to the discography. I hope to
hear more from this ensemble. A disc entirely devoted to Hammerschmidt would
be very welcome.
Johan van Veen
www.musica-dei-donum.org
twitter.com/johanvanveen
Support
us financially by purchasing this from |
|
 |
|