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Telemann: Cantatas For Bass Voice / Mertens, Il Gardellino


Release Date: 02/27/2007 
Label:  Accent   Catalog #: 24167   Spars Code: DDD 
Composer:  Georg Philipp Telemann
Performer:  Joao SebastiaoKlaus MertensAlain DerijckereMarleen Hermans,   ... 
Orchestra/Ensemble:  Il Gardellino Ensemble
Number of Discs: 1 
Recorded in: Stereo 
Length: 1 Hours 9 Mins. 

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Notes and Editorial Reviews



TELEMANN Es sind schon die letzten Zeiten. Die Liebe gegen meinem Gott. In allen meinen Taten. Wo soll ich ich fliehen hin. Trios: in d; in g Klaus Mertens (bs); Liesbeth Hermans (sop); Marleen Schampaert (alt); João Sebastião (ten); Il Gardellino (period instruments) ACCENT 24167 (69:01 Text and Translation)


Most recordings of Telemann’s sacred solo cantatas tend to concentrate on the published collections, in particular the Read more small-scale works of the Harmonische Gottesdienst (1725/26) and its successor Fortsetzung des Harmonische Gottesdienst (1731/32). The four bass cantatas recorded here are however MS works housed in the library of Brussels Conservatoire, although they have received recent publication. So far as I’m aware, none has previously been recorded. All date from the composer’s Hamburg years, possibly 1751 or 1752, and may have been intended for the smaller churches in the city for which Telemann was responsible for providing music. An excellent note by Eric F. Fiedler reminds us that Telemann was a baritone, and suggests that he may even have written them to sing himself. There is, however, no evidence to support such a theory, and given Telemann’s huge workload in Hamburg it is surely unlikely that he would willingly have given himself such extra work.


The four recorded here, which may form a part of an annual cycle, follow a similar format, with an opening and closing four-part chorale harmonization (here very well sung by a well integrated ensemble of solo voices) framing a sequence of two pairs of recitative and aria. They are modestly scored for strings, in this case one-on-a-part, with an occasional role for oboe(s) and flute. Each has its own special quality that reflects Telemann’s always painstaking approach to the word-setting of the anonymous texts based on the Gospel for the day. The most dramatic is Es sind schon , TWV 1:529, for the 25th Sunday after Trinity, which deals with the awesome horrors that await man on the Day of Judgment. The opening aria presents a vivid contrast inspired by the juxtaposition of those who “remain asleep with your sins” (an eloquent oboe solo over pizzicato) with the martial vigor of the cry “up, up, awaken, tremble,” with its fanfare-like motifs for the strings. This kind of vivid imagery was of course grist to Telemann’s mill throughout his life, and occurs again with even more potent force in the second aria, which promises “thunder and lightning will make a terrible end,” a forecast projected by Klaus Mertens with superb authority and dramatic intensity. The penitence of the sinner is the theme of Wo soll ich , TWV 1: 1724 (for 12th Sunday after Trinity), but its opening aria, with its exquisite exchanges between voice, flute, and oboe, speaks more of redemption, and a hope all but extinguished in the second aria, with its dark minor mode and sighing oboe interjections. If the other two cantatas have less immediately striking features, both are fine works, and the lovely siciliana, with flute doubling the first violin part, that forms the opening aria of Die Liebe gegen , TWV 1: 350, certainly deserves special mention.


No bass (probably no singer) has more experience of this type of repertoire than Mertens, who throughout sings with his customary musical intelligence and an enviable firmness and tonal security. But more important, his vast experience means that both musical and grammatical syntax now come to Mertens almost as second nature, allowing him consistently to make rhetorical points without a trace of artificiality or mannerism. His is an unassuming art that is all the more impressive for being just that.


Regrettably, the instrumental contribution is less convincing than the singing. This may, at least in part, have much to do with sound that gives a bright, sharp edge to the violins and a strangely hollow ambience to the bass. Since I noticed not dissimilar characteristics on another recent Il Gardellino disc recorded in the same Haarlem (Netherlands) church, it is hard to know whether it is the ensemble or the location that is to blame. Obviously such shortcomings are even more noticeable in the two Trios (from the Essercizii Musici , TWV 42) used to complete the CD, in itself a strange idea, given that we might have had another unrecorded cantata rather than works that are relatively familiar. Nevertheless, Telemann collectors and admirers of Klaus Mertens will certainly wish to hear these fine cantatas in such persuasively sung performances.


FANFARE: Brian Robins
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Works on This Recording

1.
Es sind schon die letzten Zeiten, TV 1 no 529 by Georg Philipp Telemann
Performer:  Joao Sebastiao (Tenor), Klaus Mertens (Bass), Alain Derijckere (Bassoon),
Marleen Hermans (Alto), Mika Akiha (Violin), Frank Coppieters (Double Bass),
Liesbeth Hermans (Soprano), René Schiffer (Cello), Deirdre Dowling (Viola),
François Ryelandt (Harpsichord), Mira Glodeanu (Violin), Ann Vanlancker (Oboe),
Marcel Ponseele (Oboe), Jan De Winne (Flute), Adel Shalev (Organ)
Orchestra/Ensemble:  Il Gardellino Ensemble
Period: Baroque 
Written: Germany 
Date of Recording: 11/2005 
Venue:  Mennonite Community Church, Haarlem 
Length: 10 Minutes 57 Secs. 
Language: German 
2.
Die Liebe gegen meinen Gott, TV 1 no 350 by Georg Philipp Telemann
Performer:  Frank Coppieters (Double Bass), Mira Glodeanu (Violin), Deirdre Dowling (Viola),
René Schiffer (Cello), Mika Akiha (Violin), Alain Derijckere (Bassoon),
Marleen Hermans (Alto), Joao Sebastiao (Tenor), Klaus Mertens (Bass),
Liesbeth Hermans (Soprano), Jan De Winne (Flute), Marcel Ponseele (Oboe),
Ann Vanlancker (Oboe), François Ryelandt (Harpsichord), Adel Shalev (Organ)
Orchestra/Ensemble:  Il Gardellino Ensemble
Period: Baroque 
Written: Germany 
Date of Recording: 11/2005 
Venue:  Mennonite Community Church, Haarlem 
Length: 12 Minutes 38 Secs. 
Language: German 
3.
In allen meinen Taten, TV 1 no 928 by Georg Philipp Telemann
Performer:  Jan De Winne (Flute), Ann Vanlancker (Oboe), Mika Akiha (Violin),
Alain Derijckere (Bassoon), Marleen Hermans (Alto), Joao Sebastiao (Tenor),
Klaus Mertens (Bass), Deirdre Dowling (Viola), Frank Coppieters (Double Bass),
Liesbeth Hermans (Soprano), Adel Shalev (Organ), Marcel Ponseele (Oboe),
François Ryelandt (Harpsichord), Mira Glodeanu (Violin), René Schiffer (Cello)
Orchestra/Ensemble:  Il Gardellino Ensemble
Period: Baroque 
Written: Germany 
Date of Recording: 11/2005 
Venue:  Mennonite Community Church, Haarlem 
Length: 11 Minutes 16 Secs. 
Language: German 
4.
Wo soll ich fliehen hin, TV 1 no 1724 by Georg Philipp Telemann
Performer:  Liesbeth Hermans (Soprano), Jan De Winne (Flute), Marcel Ponseele (Oboe),
Adel Shalev (Organ), Ann Vanlancker (Oboe), Mira Glodeanu (Violin),
Klaus Mertens (Bass), Joao Sebastiao (Tenor), Alain Derijckere (Bassoon),
Deirdre Dowling (Viola), René Schiffer (Cello), Mika Akiha (Violin),
Frank Coppieters (Double Bass), François Ryelandt (Harpsichord), Marleen Hermans (Alto)
Orchestra/Ensemble:  Il Gardellino Ensemble
Period: Baroque 
Written: Germany 
Date of Recording: 11/2005 
Venue:  Mennonite Community Church, Haarlem 
Length: 14 Minutes 0 Secs. 
Language: German 
5.
Essercizii musici, P 47: no 22, Trio Sonata no 11 in D minor, TV 42 no d 4 by Georg Philipp Telemann
Performer:  Jan De Winne (Flute), Adel Shalev (Organ), Marcel Ponseele (Oboe),
Alain Derijckere (Bassoon), Mika Akiha (Violin), François Ryelandt (Harpsichord),
Ann Vanlancker (Oboe), Mira Glodeanu (Violin), Frank Coppieters (Double Bass),
René Schiffer (Cello), Deirdre Dowling (Viola)
Orchestra/Ensemble:  Il Gardellino Ensemble
Period: Baroque 
Written: by 1740; Germany 
Date of Recording: 11/2005 
Venue:  Mennonite Community Church, Haarlem 
Length: 7 Minutes 53 Secs. 
6.
Essercizii musici, P 47: no 6, Trio Sonata no 3 in G minor, TV 42 no g 5 by Georg Philipp Telemann
Performer:  Mira Glodeanu (Violin), Ann Vanlancker (Oboe), Frank Coppieters (Double Bass),
René Schiffer (Cello), Deirdre Dowling (Viola), Mika Akiha (Violin),
Alain Derijckere (Bassoon), Marcel Ponseele (Oboe), Adel Shalev (Organ),
Jan De Winne (Flute), François Ryelandt (Harpsichord)
Orchestra/Ensemble:  Il Gardellino Ensemble
Period: Baroque 
Written: by 1740; Germany 
Date of Recording: 11/2005 
Venue:  Mennonite Community Church, Haarlem 
Length: 10 Minutes 58 Secs. 

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