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Telemann: Kapitänsmusik 1724 / Rémy, Podoscielna, Post, Vieweg, Abele, Et Al


Release Date: 09/30/2008 
Label:  Cpo   Catalog #: 777176   Spars Code: n/a 
Composer:  Georg Philipp Telemann
Performer:  Magdalena PodkoscielnaEkkehard AbeleAndreas PostMatthias Vieweg
Conductor:  Ludger Rémy
Orchestra/Ensemble:  Michaelstein Telemannisches Collegium
Number of Discs: 1 
Recorded in: Multi 
Length: 1 Hours 19 Mins. 

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Notes and Editorial Reviews

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

3242640.az_TELEMANN_Captain_Music_1724.html

TELEMANN Captain’s Music 1724: Rejoice in the Lord, you righteous ones; Beloved abode of blissful serenity Ludger Rémy, cond; Magdalena Podkoscielna (sop); Andreas Post (ten); Matthias Vieweg (bs); Ekkehard Abele (bs); Michaelstein Telemann Collegium (period instruments) cpo Read more 777 176 (Hybrid multichannel SACD: 78:52 Text and Translation)


The breadth and depth of Telemann’s music continues to astound. We all know that the adjectives of “most prolific composer ever” may or may not be true (he definitely ranks up there), and we have all heard music by him that seems, well, to be kind, less than inspired. But what is far more amazing is the number of works that are truly extraordinary creations by a man who tossed off concertos and vocal pieces in such an effortless manner. Quality, in other words, is very high among most all of Telemann’s compositions, and the often-common view that he was basically a second rate workman who knew how to create on demand is put to the lie by any number of his efforts.


I was not familiar with his so-called “Captain’s Music”; it is not a name he gave to anything, only a category that explains the number of pieces he created in the yearly celebrations of honoring the military captains of the some 10,000 soldiers stationed in Hamburg, where the composer had ascended to the position of city music director. This happened in 1721, and two years later began these great tributes to the 50 or 60 men who were responsible for the order of the city, a veritable flypaper for conflicts of all kinds, since its increasing prominence as a place of trade and economic importance (the Elbe river provided it a most favorable physical locale). The military presence in the city was not only needed, but held in great regard.


There were, of course, many speeches and opulent addresses, followed by a many-coursed meal and lots of toasts. When Telemann took over this functional music, it was declared that the future order of the music was to be as he had established it, that is, an oratorio followed by a serenade. Telemann wrote this music for a total of 36 celebrations spanning 44 years, though only nine of these pieces have survived in their original bipartite form. The first piece was religious in nature, the second secular, though of a noble type, emphasizing the virtues of unity, valor, etc. The music is simply wonderful, some of the best I have heard by this composer, though I must confess that the serenade is to me more striking; the vocal lines are taut and florid, while the composer’s harmony almost reminds one of Vivaldi in spots. He seems determined to present his texts in music that is uncomplicated while at the same time engrossing enough to engage a pack of celebratory listeners. (One can only imagine what the soldiers present thought of it—perhaps it was a different time.) The many arias and choruses are varied and contrasting in their essences, with a clever mixing of the vocal roles to keep the presentation lively. Worthy music, this, and a real surprise to this listener.


Ludger Rémy is a name new to me, as are all of these forces, but he keeps a controlling hand on each of these works, and is well supported by the great engineering that cpo provides for this surround-sound presentation. Generally recommended, but especially for those who think they have heard enough Telemann.


FANFARE: Steven E. Ritter
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Works on This Recording

1.
Kapitänsmusik 1724, TV 15 no 2 by Georg Philipp Telemann
Performer:  Magdalena Podkoscielna (Soprano), Ekkehard Abele (Bass), Andreas Post (Tenor),
Matthias Vieweg (Bass)
Conductor:  Ludger Rémy
Orchestra/Ensemble:  Michaelstein Telemannisches Collegium
Period: Baroque 
Written: 1724; Hamburg, Germany 

Sound Samples

Freuet euch des Herrn, ihr Gerechten, TWV 15:2: Freuet euch des Herrn, ihr Gerechten (Chorus)
Freuet euch des Herrn, ihr Gerechten, TWV 15:2: Recitative: Der Augenmerk, warauf die Lust des Frommen zielet (Bass 1)
Freuet euch des Herrn, ihr Gerechten, TWV 15:2: Aria: Wie wunderbar sind deine Werke (Soprano)
Freuet euch des Herrn, ihr Gerechten, TWV 15:2: Recitative: Eine solches andachtvolles Denken (Tenor)
Freuet euch des Herrn, ihr Gerechten, TWV 15:2: Aria: Ich liege und schlafe ganz mit Frieden (Bass 1)
Freuet euch des Herrn, ihr Gerechten, TWV 15:2: Recitative: Ja, diese Zuversicht ist unerschroken (Bass 2)
Freuet euch des Herrn, ihr Gerechten, TWV 15:2: Aria: Bebet, ihr Berge, turmt euch, ihr Wellen (Bass 2)
Freuet euch des Herrn, ihr Gerechten, TWV 15:2: Recitative: Hammonia! Du Krone dieses Landes (Soprano)
Freuet euch des Herrn, ihr Gerechten, TWV 15:2: Chorale: Lobet den Herren, denn er ist freundlich (Tutti)
Freuet euch des Herrn, ihr Gerechten, TWV 15:2: Recitative: Absonderlich lass jetzt ein susses Opfer brennen (Tenor)
Freuet euch des Herrn, ihr Gerechten, TWV 15:2: Aria: Danke dem Hochsten mit freudigem Mute (Tenor)
Freuet euch des Herrn, ihr Gerechten, TWV 15:2: Recitative: Doch seufze mitten in der Lust (Bass 1)
Freuet euch des Herrn, ihr Gerechten, TWV 15:2: Aria: Streiget, hiesse Seufzer, steiget (Soprano)
Freuet euch des Herrn, ihr Gerechten, TWV 15:2: Chorale: Der ewig reiche Gott (Tutti)
Geliebter Aufenthalt, TWV 15:2: Geliebter Aufenthalt begluckter Stille (Chorus)
Geliebter Aufenthalt, TWV 15:2: Recitative: Hammonia, die in Tuiscons Reich (Die Gluckseligkeit)
Geliebter Aufenthalt, TWV 15:2: Aria: Ihr saumenden Wellen (Die Gluckseligkeit)
Geliebter Aufenthalt, TWV 15:2: Recitative: Es gehn dein Feld, die Garten, Anger (Die Gluckseligkeit, Die Einigkeit)
Geliebter Aufenthalt, TWV 15:2: Interlocutio: Geliebter Aufenthalt begluckter Stille (Die Einigkeit)
Geliebter Aufenthalt, TWV 15:2: Recitative: Schon bist du in der Pracht (Die Einigkeit)
Geliebter Aufenthalt, TWV 15:2: Aria: Wie lieblich sind die Harmonien (Die Einigkeit)
Geliebter Aufenthalt, TWV 15:2: Recitative: Erkenne, werter Ort, dein gutiges Geschike (Die Tapferkeit)
Geliebter Aufenthalt, TWV 15:2: Aria: Unverzaget, unerschrocken (Die Tapferkeit)
Geliebter Aufenthalt, TWV 15:2: Recitative: Kommt, Werteste! (Die Einigkeit, Der Neid, Die Gluckseligkeit)
Geliebter Aufenthalt, TWV 15:2: Aria: Bei anderer Steigen fallt mein Ergotzen (Der Neid)
Geliebter Aufenthalt, TWV 15:2: Recitative: Wer solche Meinung heget (Die Einigkeit, Der Neid, Die Gluckseligkeit, Die Tapferkeit)
Geliebter Aufenthalt, TWV 15:2: Aria: Hamburg ruht im sussen Schlafe (Die Einigkeit)
Geliebter Aufenthalt, TWV 15:2: Recitative: Du kannst von dessen Gluck unwidertreiblich schleissen (Die Einigkeit, Der Neid, Die Gluckseligkeit, Die Tapferkeit)
Geliebter Aufenthalt, TWV 15:2: Beehret mit munterem Jubelgetone (Chorus)
Geliebter Aufenthalt, TWV 15:2: Recitative: Doch wie! Ist uns ein langrer Wunsch entfallen? (Die Einigkeit, Der Neid, Die Gluckseligkeit, Die Tapferkeit)
Geliebter Aufenthalt, TWV 15:2: Dem Glucke zu Ehren (Chorus)

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