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Telemann: O Erhabnes Gluck Der Ehe

Telemann / Morrison / Das Kleine Konzert / Max
Release Date: 10/29/2013 
Label:  Cpo   Catalog #: 777808   Spars Code: DDD 
Composer:  Georg Philipp Telemann
Performer:  Christos PelekanosHannah MorrisonMatthias ViewegImmo Schröder,   ... 
Conductor:  Hermann Max
Number of Discs: 2 
Recorded in: Stereo 
Length: 1 Hours 43 Mins. 

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Notes and Editorial Reviews



TELEMANN Herr Gott, dich loben wir TWV 11:15a/b. Serenata O erhabnes Glück der Ehe TWV 11:15c Herman Max, cond; Hannah Morrison (sop); Margot Oitzinger (alt); Markus Schäfer (ten); Immo Schröder (ten); Matthias Vieweg (bs); Christos Pelekanos (bs); Das Kleine Konzert (period instruments) CPO 777 808 (2 CDs: 103:02 Text and Translation)


One Read more of the perquisites of being the city composer in 18th-century Hamburg was the ability to take on special commissions from the local gentry. For Georg Philipp Telemann, this meant extra income and a chance to become intimately involved socially, and indeed Paul Hindemith might have found a model for his Gebrauchsmusik (a term that Hindemith hated, of course) in his two-century old predecessor. The prolific Telemann was especially adept at writing for these sorts of occasions, knowing who the soloists would be and probably also being able to pretty much name his own ensemble (restricted only by cost and possibly the social status of the commissioners). According to the excellent booklet notes by Eckart Klessmann, apparently there were over 20 of these pieces, of which 11 have survived. I would probably venture to guess that, given his proclivity towards rapidly turning out such music, the overall number may eventually be increased.


In any case, the two works, an oratorio and a lighter-hearted serenata, were composed in 1732 for the golden wedding anniversary of Matthias Mutzenbecher and Maria Catharina, which was held with great pomp and circumstance in the St. Nicolas Church in Hamburg. Mutzenbecher was a town councilor and therefore someone of considerable importance (which is probably why he rated one of the large churches for the celebration), and Telemann probably could not have refused the commission even if he had wanted to. One of the prominent city poets, Michael Richey, provided the texts for both of these works, the first to be performed as part of the church celebrations, and the second during the more secular banquet that followed in the home of their eldest son. Since the text was provided in printed form, this was meant to be a signal event in Hamburg’s annual calendar.


For Telemann, the choice of the usual cantata oratorio was probably a given. Unlike those of his colleague Handel, it lacks narrative plot, excess instrumental insertions (such as an overture), and conspicuous musical display. It is larded throughout with chorales, each of which seems to use consequent phrases where the composer can insert the trumpets and timpani as some sort of reinforcement. Florid lines for these instruments are replaced by a kind of punctuation, indicating the solemn function of the chorales. The arias are all of the sort that would not be out of place in any cantata of the period, and indeed, the third, “Paar dem tausend andre weichen,” seems like the meandering line was taken straight out of the Harmonisches Gottesdienst that occupied Telemann at about this time. There is a hint of counterpoint in the quartet “Siehe, also wird gesegnet,” which seems a bit of an anomaly, given that the rest of the work is pretty homophonic. I especially like the quartet “Erschallender Lobgesang,” with its vigorous, modern style that is pure galant. The serenata, on the other hand, seems to imply that Telemann had more fun at its composition. There are a host of non-characters, names such as Eucharius, Polycarpus, and Macrobius, who as a rule have absolutely no dramatic function other than to outline various paeans to the couple. I cannot ever imagine the serenata as suitable for any staging whatsoever (though of course something must have been done at its performance). This makes it absolutely viable for a recording, however, where the music can be appreciated without paying too much close attention to the characterization. From a musical standpoint, it is interesting that Telemann chooses to link the two works by a 6/8 meter gigue rhythm in the final quartet of the oratorio and the first of the serenata. There is the obligatory chorale in between, but it is clear that the composer was thinking of both as part of an extended whole, and therefore not to be used separately. There is a nice passage of repeated laughter, which immediately tells one that this is tongue-in-cheek. In the next aria, “In scherzende Bande,” there is an imitation hurdy-gurdy drone, even as the strings spin out cascades of triplets. Fortunately, tenor Immo Schröder’s flexible voice handles his tortuous line with decided ease. There is a nod to Handel in the spare bass and continuo of the aria “Wo der Brottkorb,” noting that the lower tessitura reflects the full breadbasket indicative of wealth and security. Telemann uses two liquid sounding chalumeaux at the final quintet to make the lyrical line featuring “watery eyes and swelling hearts” flow in an aqueous manner as the benediction is given.


The serenata is a neat work, but one also must realize that it is highly specialized, containing material that would not really work elsewhere, something Telemann too must have realized. As usual, Hermann Max and the Kleine Konzert turn out an excellent performance. He has a knack for choosing singers who have clear voices with the appropriate sense of blend and phrasing to be able to integrate well into the highly nuanced playing of the ensemble. In short, this achieves the same sort of high standard that one has come to expect of Max. If you have by now reformed your vision of Telemann’s music, this is another side that allows him to have the descriptor “multifaceted” as a composer. It will make an excellent addition to your Telemann collection and is to be highly recommended.


FANFARE: Bertil van Boer
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Works on This Recording

1.
Herr Gott, dich loben wir, wedding cantata for chorus, flute, oboe, bassoon, 3 trumpets, timpani, st by Georg Philipp Telemann
Performer:  Christos Pelekanos (), Hannah Morrison (), Matthias Vieweg (),
Immo Schröder (), Markus Schäfer ()
Conductor:  Hermann Max
Period: Baroque 
Written: 1732 
Venue:  Basilika, Knechtsteden 
Length: 1 Minutes 7 Secs. 
2.
O erhabnes Glück der Ehe, wedding serenata for chorus, flute, chalumeau, oboe, bassoon, strings & co by Georg Philipp Telemann
Performer:  Christos Pelekanos (), Markus Schäfer (), Immo Schröder (),
Matthias Vieweg (), Hannah Morrison ()
Conductor:  Hermann Max
Period: Baroque 
Written: 1732 
Venue:  Basilika, Knechtsteden 
Length: 2 Minutes 1 Secs. 

Sound Samples

Herr Gott dich loben wir, TWV 11:15a/b: Chorale: Herr Gott dich loben wir
Herr Gott dich loben wir, TWV 11:15a/b: O dreimal heilger Herr der Scharen (Bass)
Herr Gott dich loben wir, TWV 11:15a/b: Aria: Lass nebst den starken Cherubinen (Soprano)
Herr Gott dich loben wir, TWV 11:15a/b: Recitative: Hier nahert sich zu deines Thrones Fussen (Bass)
Herr Gott dich loben wir, TWV 11:15a/b: Chorale: Dein gottlich Macht und Herrlichkeit
Herr Gott dich loben wir, TWV 11:15a/b: Recitative: So recht, ihr graubekronten beiden (Tenor)
Herr Gott dich loben wir, TWV 11:15a/b: Siehe, also wird gesegnet der Mann (All)
Herr Gott dich loben wir, TWV 11:15a/b: Recitative: Erwagt, Gluckselge, wie ihr tut (Soprano)
Herr Gott dich loben wir, TWV 11:15a/b: Aria: Paar, dem tausend andre weichen (Bass)
Herr Gott dich loben wir, TWV 11:15a/b: Recitative: So sprecht demnach, ihr Hochbegabten (Tenor)
Herr Gott dich loben wir, TWV 11:15a/b: Chorale: Du Konig der Ehren, Jesu Christ
Herr Gott dich loben wir, TWV 11:15a/b: Recitative: Nun aber, o du nie verkurzte Hand (Bass)
Herr Gott dich loben wir, TWV 11:15a/b: Aria: Erschallender Lobgesang (All)
Herr Gott dich loben wir, TWV 11:15a/b: Chorale: Es danke, Gott, und lobe dich
Herr Gott dich loben wir, TWV 11:15a/b: Chorale: Nun hilf uns Herr, den Dienern dein
Herr Gott dich loben wir, TWV 11:15a/b: Aria: Wundergott von Tat und Namen (Bass)
Herr Gott dich loben wir, TWV 11:15a/b: Recitative: Ja Herr, du kannst und wirst's nicht lassen (Tenor)
Herr Gott dich loben wir, TWV 11:15a/b: Aria: Ermudet nicht, ihr Vaterhande (Tenor)
Herr Gott dich loben wir, TWV 11:15a/b: Recitative: Schau, milder Gott (Bass)
Herr Gott dich loben wir, TWV 11:15a/b: Aria: Wirst du unsre Tage mehren (All)
Herr Gott dich loben wir, TWV 11:15a/b: Chorale: Taglich, Herr Gott, wir loben dich
O erhabnes Gluck der Ehe, TWV 11:15c: Aria a 5: O erhabnes Gluck der Ehe
O erhabnes Gluck der Ehe, TWV 11:15c: Recitative a 5: Der Liebe muss als Konigin der Preis
O erhabnes Gluck der Ehe, TWV 11:15c: Recitative: Ich lasse die Erfahrung sprechen (Eucharius)
O erhabnes Gluck der Ehe, TWV 11:15c: Aria: Im scherzenden Bande vereinter Gemuter (Eucharius)
O erhabnes Gluck der Ehe, TWV 11:15c: Recitative: Mich deucht, ich kann an unserm Jubelpaare (Eucharius)
O erhabnes Gluck der Ehe, TWV 11:15c: Aria: Erlaubet mir, ihr hocherfahrnen beide (Eucharius)
O erhabnes Gluck der Ehe, TWV 11:15c: Recitative: Erkuhnst du dich zu fragen (Polycarpus)
O erhabnes Gluck der Ehe, TWV 11:15c: Aria, Recitative: Wem sein Geschlecht (Polycarpus)
O erhabnes Gluck der Ehe, TWV 11:15c: Aria: Der lebt gedoppelt aus der Welt (Polycarpus)
O erhabnes Gluck der Ehe, TWV 11:15c: Recitative a 2: Was gilt's, o wohlbeerbte zwei (Polycarpus, Trophimus)
O erhabnes Gluck der Ehe, TWV 11:15c: Aria: Wo der Brotkorb niedrig hanget (Trophimus)
O erhabnes Gluck der Ehe, TWV 11:15c: Recitative: O niedrige Vollkommenheiten (Philotimus)
O erhabnes Gluck der Ehe, TWV 11:15c: Aria: Die Ehre wirft bei Wohlvermahlten (Philotimus)
O erhabnes Gluck der Ehe, TWV 11:15c: Recitative: Ich muss in euren Sachen (Macrobius)
O erhabnes Gluck der Ehe, TWV 11:15c: Aria: Edle Krone grauer Haare (Macrobius)
O erhabnes Gluck der Ehe, TWV 11:15c: Recitative a 5: Ist jemand noch, der Zweifel hat
O erhabnes Gluck der Ehe, TWV 11:15c: Aria: Schoner Wettstreit edler Gaben (Pantyches)
O erhabnes Gluck der Ehe, TWV 11:15c: Recitative: Ihr Freunde, lasst den holden Zwist (Pantyches)
O erhabnes Gluck der Ehe, TWV 11:15c: Aria: Wo so viel Strahlen sich vereinen (Pantyches)
O erhabnes Gluck der Ehe, TWV 11:15c: Recitative a 5: Wohlan! So seid vielmehr gebeten
O erhabnes Gluck der Ehe, TWV 11:15c: Aria a 5, Recitative: Der hat es auf der Welt im Vorzug
O erhabnes Gluck der Ehe, TWV 11:15c: Aria a 2: Teure Seelen, bleibt vertraut! (Eucharius, Polycharpus)
O erhabnes Gluck der Ehe, TWV 11:15c: Recitative: Ist noch was Kostlichs auszufinden (Pantyches)
O erhabnes Gluck der Ehe, TWV 11:15c: Aria a 2: Gehaufter Mittel Uberfluss (Trophimus, Philotimus)
O erhabnes Gluck der Ehe, TWV 11:15c: Recitative: Setzt diesen Pflichen noch kein Ziel (Macrobius)
O erhabnes Gluck der Ehe, TWV 11:15c: Aria a 5: Mit schwimmenden Augen
O erhabnes Gluck der Ehe, TWV 11:15c: Recitative: Bald hatt' ich selbst entzuckt ... (Pantyches)
O erhabnes Gluck der Ehe, TWV 11:15c: Aria a 6: O allgewaltiges Geschicke

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