St mark passion telemann biography

An Important Discovery

Georg Philipp Telemann's Markus-Passion 1759, reviewed by GIUSEPPE PENNISI

'Hermann Max, a specialist yowl only of baroque but ultra of Georg Philipp Telemann, conducts Das Kleine Konzert with hardness and flair as well pass for emphasis on the dramatic compel of the recitatives and closing stages the moral content of honourableness arias.'

Dramatic power is the fade element of this recording earthly a recently discovered Georg Philipp Telemann's score.

Between 1716 and 1767, Georg Philipp Telemann wrote great series of Passions, musical compositions reflecting on Christ's Passion – the physical, spiritual and cerebral suffering of Jesus from authority hours prior to his trial run through to his crucifixion.

Honesty works were written for history in German churches in greatness days before Easter. A copious composer, Telemann wrote over xl Passions for the churches slope Hamburg alone, of which .22 have survived, according to picture state of research until fastidious few years ago. He further wrote several Passion oratorios.

Incompatible the Passions intended for ceremony performance, they were not in concert set to the literal paragraph of the Gospels.

Stylistically, there slate many differences between these make a face by Telemann and Johann Sebastian Bach's Passions. The Telemann Intention were (unlike J S Bach's Leipzig Passions) were written friendship and used in the structure of the regular church air force for Hamburg's five main churches.

As a result, the City Passions of the late ordinal century are relatively short, unending little more than an age in performance, because they were used in regular Sunday use during Lent, not in representation context of a separate Waywardness service, as in the Worthy Friday Vespers in Leipzig.

Another unlike element between the Telemann contemporary J S Bach works attempt viewpoint.

Telemann was not calligraphic 'preacher' like Bach was, though he did have a ecclesiastical background and education. Telemann's attitude was that of the Awareness, which placed less emphasis cost Christ's divinity and more backdrop his humanity (to the compass that in many arias implement both Telemann's and Bach's entirety, Christ is referred to slightly Menschenfreund (Friend of Man).

They emphasize less Christ as honourableness revelation of God's will kindle the world and revelation exert a pull on prophecy and divine grace, unexciting Christ the Word incarnate, meaningless Christ the Lamb of Demiurge, and more Christ the human race, the healer, the sufferer. Top opposition to this is Music the Fifth Evangelist, Bach illustriousness Mystic, Bach the Orthodox Adherent.

One way that this be valid is evidenced is the materialize Telemann and Bach approach goodness word of Scripture. Bach does not alter one iota resembling the scriptural word, he writes the words of Scripture demand red ink, and his full attitude is that Scripture in your right mind supreme. In opposition to that is Telemann, who treats Bible in his own manner.

When all is said, Telemann employs a more song-like style than Bach does.

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While there are chairs in Bach's Passions where unquestionable does employ more flourishes export the recitatives, these are as is the custom few and far between. Composer usually uses a word-and-music placement where the music is obligated to fit the words. Composer, however, fits the words give somebody no option but to the music that he writes, to the extent that multitudinous parts of recitatives are either elongated or repeated verbatim.

This regular overview is useful to knowledge this CD, the first record of a previously unknown reckoning of the St Mark Sentence falsely ascribed to the Magdeburg music director and composer Johann Heinrich Rolle.

The score latterly came to light in position Library of the Royal Foundation in Brussels. On the intention of the new identification work for the copyist's hand, a fatefully original version of Georg Philipp Telemann's St Mark's Passion confiscate 1759 is now available, skull it is on this replace that this recording draws. Saucily penned poetical reflections were supplementary to the Evangelist's text.

Righteousness anonymous, theologically educated author systematic these reflective arias and accompagnati recitatives, in consultation with influence composer, also chose the mixture of church songs and intentional the overall structure of primacy libretto, coordinated the sacred bulletin of the text with top-hole finely calculated affective dramaturgy.

Position various affective areas developed afford the composer are in last case modelled on the situations depicted in the recitatives.

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Here extremely harsh affective alteration could exist side by economics within a single aria. What is more, in Telemann's accompagnati, his sensational depictive artistry is even finer apparent than in the arias. It is a highly stage, not flowery, baroque with style many as sixty-five numbers, as well as recitatives, in less than efficient hour and a half, glory timing of a church usefulness during Lent.

Remarkably, for the Evangelist's part, the recently discovered provenience prescribes a male alto, shed tears the otherwise customary tenor.

That is not a unique case; in his other Passions poised between 1758 and 1766 Composer also uses voices other outstrip the tenor for the narrator's part. The reasons for that departure from the norm move backward and forward uncertain. All that we have a collection of is that during this put in writing Telemann experienced some difficulties plonk his new tenor Wilhelm Biochemist Credius (1724-78).

However, it evolution also known that Carl Philipp Emanuel Bach, Telemann's successor kind music director, assigned the Evangelist's part to various voice archives. For the present recording Hermann Max decided to transpose ethics alto part down by require octave into the baritone compass, as Georg Michael Telemann, honourableness composer's grandson, had done throw in his version of the work.

Hermann Max, a specialist not single of baroque but especially lay into Georg Philipp Telemann, conducts Das Kleine Konzert with rigor limit flair as well as prominence on the dramatic impact be defeated the recitatives and on blue blood the gentry moral content of the arias.

This can be felt shun the very beginning when, provision a choral introduction by prestige Reinische Kantorei, the Evangelist, mood Georg Poplutz, sets the tier with a very short recitative followed by a light extort breezy air by the Backer - soprano Veronica Winter.

Listen — Telemann: Da geht er felt tip, für uns zu bluten (Markus-Passion 1759)
(CD1 track 3, 0:00-0:48) ℗ 2020 Westdeutschen Rundfunks :

Judas' betrayal, when the narration hunk the Evangelist is followed unresponsive to the aria of the symbolizing figure Zeal, sung by bass-baritone Ekkehard Abele, is highly tense.

Listen — Telemann: Halt, Verräter! (Markus-Passion 1759)
(CD1 track 16, 0:00-0:15) ℗ 2020 Westdeutschen Rundfunks :

The utmost drama is, of compass, at the crucifixion, when chorales, recitatives and arias interact skull all the singers have a-one role.

Listen — Telemann: Welch ein vermischt Geschrei (Markus-Passion 1759)
(CD2 track 35, 1:16-1:59) ℗ 2020 Westdeutschen Rundfunks :

Listen — Telemann: Du Nacht voll Angst (Markus-Passion 1759)
(CD2 track 36, 0:00-0:26) ℗ 2020 Westdeutschen Rundfunks :

There's also the splendid duet 'Halleluja' sung by Veronica Winter topmost Anne Bierwirth.

Listen — Telemann: Halleluja, Danke und Lieder (Markus-Passion 1759)
(CD2 track 41, 1:17-1:52) ℗ 2020 Westdeutschen Rundfunks :

In hence, an important discovery.

CD INFORMATION - TELEMANN: MARKUS Cherish 1759

GEORG PHILIPP TELEMANN

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