With a composer as
prolific as Telemann and with an oeuvre
covering so many different styles and
genres, it must be difficult to make
a selection of his works for CD. For
this latest disc in the Telemann series,
German music publishers Carus have issued
an attractive selection of Telemann’s
motets and psalms based on Biblical
texts.
The two substantial
Psalm settings, Ich danke dem Herrn
von ganzem Herzen, TVWV 7:14 (setting
Psalm 111) and Singet dem Herr nein
neues Lied TVWV 7:30 (setting Psalm
96) survive in manuscripts which give
little clue to the works’ dates. The
Psalm 111 setting is attractive, scored
for choir and soloists with an accompanying
ensemble of trumpet, oboes and strings.
The result is imaginatively scored by
Telemann and alternates solos for each
of the soloists (soprano Ruth Ziesak,
alto Arnon Zlotnik, tenor Jan Kobow
and bass Konstantin Wolf) with choral
movements.
The Psalm 96 setting
is probably an early work. Though the
manuscript comes from a collection in
Frankfurt-am-Main, the work probably
pre-dates Telemann’s period as Musikdirektor
in Frankfurt (1712 – 1721). Written
for choir, soloists and string accompaniment,
it opens with a short, lively instrumental
sonata. Attractive duets for alto Arnon
Zlotnik and tenor Michael Berner and
for soprano Sonja Erwide, alternate
with choruses and solos for alto Arnon
Zlotnik and bass Konstantin Wolf.
The other substantial
work here is the Hamburgischer Trauermusik.
This dates from Telemann’s later, Hamburg
period and consists of instrumental
music which he wrote for the funerals
of two Mayors of Hamburg. Part 1 was
written for a funeral in 1723 and part
2 in 1739. Written for an ensemble consisting
of 2 oboes, 3 trumpets, timpani and
strings, the resulting suite displays
some of the most sophisticated music
on the disc. Telemann’s use of muted
trumpets and muffled timpani imparts
a muted, funereal air but the music
is richly orchestrated, full of wonderful
felicities and deep-toned orchestral
colours.
The disc is completed
by three motets from the library of
Princess Anna Amalia, sister of Frederick
the Great of Prussia. They are very
traditional in style, with just continuo
accompaniment. Halt, was du Hast,
TVWV 8.9 follows the structure of the
traditional 17th century
Lutheran chorale motet with the chorale
melody O du allersüsseste Freude
used as a cantus firmus in the third
section. Es segne uns Gott, TVWV
8:8, is a short piece; a late composition
notable mainly for its use of German
expression markings, something Telemann
started doing after 1730. Ein Feste
Burg, TVWV 8:7 was written whilst
he was musical director in Hamburg (1721
– 1767). Written for the celebrations
in 1730 of the bicentenary of the Confession
of Augsburg, it sets five verses of
Luther’s well known hymn.
All these are given
attractive performances by soli, choir
and orchestral ensemble. The choir,
Vocalensemble Rastatt (numbering around
two dozen singers), makes an admirably
crisp sound and their German diction
seems to be good; something which is
important in these works written in
the vernacular for popular edification.
They are accompanied by the instrumental
ensemble, Les Favourites, who respond
in an admirably crisp and flexible manner
to Holger Speck’s direction. In the
purely instrumental pieces they display
real enjoyment of Telemann’s lovely
orchestration.
The soloists are all
admirable, singing with style and a
fine sense of line. A particular mention
must be made of the hard working alto,
Arnon Zlotnik, and bass Konstantin Wolff,
who both sing solo on four tracks a-piece
whereas the other soloists perform on
just one track each.
This is an attractive
disc, with a well put together and varied
programme played in fine style by performers
who convey real enjoyment. It would
make an admirable introduction to Telemann’s
art.
Robert Hugill
for details
Ruth Ziesak (soprano) 
