Telemann: Harmonischer Gottes-Dienst, Volume 8
This is the eighth album in the first complete recording of the 72 cantatas in Georg Philipp Telemann’s collection Harmonischer Gottes-Dienst, published in Hamburg in 1726 – the first complete set of cantatas for the liturgical year to appear in print. The cantatas are designated for voice, an obbligato instrument (recorder, transverse flute, oboe or violin) and basso continuo, and generally take the form of two da capo arias with an intervening recitative. Although intended for worship, both public and private, Telemann’s cantatas are a masterly blend of tunefulness with skilled counterpoint and vocal and instrumental virtuosity.
Bergen Barokk
Listen To This Recording:
Am sechsten Sonntage nach der heil. Drey Könige (Sixth Sunday after Epiphany)
Was ist das Herz? Ein finstrer Ort, TWV 1:1516 (11:15)
- Rezitativ (0:41)
- Arie (5:20)
- Rezitativ (0:51)
- Arie (4:23)
Invocavit (First Sunday in Lent)
Fleuch der Lüste Zauberauen, TWV 1:549* (9:12)
- Arie (3:13)
- Rezitativ (1:42)
- Arie (4:17)
Judica (Fifth Sunday in Lent)
Wer ist, der dort von Edom kömmt? TWV 1:1584 (10:54)
- Rezitativ (0:58)
- Arie (4:29)
- Rezitativ (2:16)
- Arie (3:11)
2. Ostertag (Easter Monday)
Triumphierender Versöhner, tritt aus deiner Kluft hervor, TWV 1:1422 (10:34)
- Arie (3:04)
- Rezitativ (2:09)
- Arie (5:21)
Misericordia Domini (Second Sunday after Easter)
Hirt’ und Bischof unserer Seelen, TWV 1:805 (10:12)
- Arie (3:07)
- Rezitativ (2:12)
- Arie (4:53)
3. Pfingsttag (Whit Tuesday)
Ergeuss dich zur Salbung der schmachtenden Seele, TWV 1:448 (13:44)
- Arie (5:23)
- Rezitativ (2:10)
- Arie (6:11)
*First Recording
KlassiskMusikk :
‘Den minneverdige første platen kom ut i desember 2006, den åttende platen i 2013 (fem år etter nr. 7, som jeg anmeldte i 2021). I løpet av dette ikke ubetydelige tidsrommet har det ikke vært noen forringelse av kvaliteten, hverken i Toccata Classics’ vakre, klare lyd, Bergen Barokks pulserende fremførelser eller Telemanns uuttømmelige inspirasjon. […]
Her har vi en enkelt sanger, mezzosopranen Marianne Beate Kielland i toppform, akkompagnert av et ensemble bestående av fiolin (Bjarte Eike), theorbe (Thomas C. Boysen), cello (den fantastiske Markku Luolajan-Mikkola) og cembalo (Hans Knut Sveen). Boysen, Luolajan-Mikkola og Sveen er faste utøvere i serien, og deres erfaring i dette repertoaret er av enorm betydning for platenes suksess. Sammen med Kiellands fremragende artikulasjon og intonasjon, og Eikes finnyanserte fiolinspill, kunne denne platen knapt bli bedre i Telemann-repertoaret, muligens med unntak av noen tidlige utgivelser i serien. […]
Og selv om verket – som så mange av Bachs kantater – er skrevet til spesifikke dager i kirkeåret, kan disse utsøkte stykkene, helt ærlig, nytes rent musikalsk når som helst på året, noe jeg anbefaler på det sterkeste.’
—Guy Rickards, KlassiskMusikk
BBC Radio 3’s Record Review :
‘This is actually the eighth volume of the first complete recording of Telemann’s Harmonischer Gottesdienst, 72 cantatas, the first complete cycle for the church year to appear in print. Treasures amongst them; simple pleasures as well – and such musical eloquence and joyful performances. It’s new this week on Toccata Classics.’
—Andrew Stewart, BBC Radio 3’s Record Review
Fanfare Magazine :
‘This set of six cantatas does not disappoint. The format, two pairs of recitatives and arias, occasionally omitting the opening recitative, is simple yet effective. […]
The performance continues the excellence of the remainder of the series. Kielland has a clear and bright voice, with every note enunciated with clarity and good diction, and she handles the often gnarly coloratura with steadfast ease. The violin playing of Eike is equally fine, so that voice and instrument work perfectly in concert with each other. The continuo is nicely discreet, as it should be, though the cello of Markku Luolagan-Mikkola emerges from time to time with a sonorous melodic moment. All in all, this is a wonderful disc and here’s to the series continuing in a like vein. Well worth having.’
—Bertil van Boer, Fanfare Magazine, February 2025