Telemann Cantatas for Alto
View record and artist detailsRecord and Artist Details
Composer or Director: Georg Philipp Telemann
Genre:
Vocal
Label: Musica Practica
Magazine Review Date: 12/1992
Media Format: CD or Download
Media Runtime: 50
Mastering:
DDD
Catalogue Number: CHR77119
Tracks:
| Composition | Artist Credit |
|---|---|
| Tirsis am Scheidewege |
Georg Philipp Telemann, Composer
(Il) Parnaso Musicale Annette Markert, Contralto (Female alto) Georg Philipp Telemann, Composer |
| Seufzen, Kummer, Angst und Tränen |
Georg Philipp Telemann, Composer
(Il) Parnaso Musicale Annette Markert, Contralto (Female alto) Georg Philipp Telemann, Composer |
| Ach Herr, strafe mich nicht |
Georg Philipp Telemann, Composer
(Il) Parnaso Musicale Annette Markert, Contralto (Female alto) Georg Philipp Telemann, Composer |
Author: Nicholas Anderson
Only last month I welcomed a Capriccio disc of cantatas and songs by Telemann sung by Rene Jacobs. The programme included a fine work hitherto commercially unrecorded, In einem Tal, umringt von hohen Eichen (''In a valley surrounded by tall oak trees''). That piece features on this new Christophorus release, but sung by a contralto, Annette Markert. The remaining cantatas are Seufzen, Kummer, Angst und Tranen for voice and continuo, and Ach Herr, strafe mich nicht which is a setting of the sixth Psalm for voice, two violins and continuo.
The modern performing edition of In einem Tal goes under the title of Tirsis am Scheidewege and is identified as such on this disc. It comes from the first of three collections of ''Moral Cantatas'' which Telemann compiled during the 1730s. Set in pastoral surroundings the story tells of the predicament of Thyrsis, who is torn between alluring Sylvia and wealthy Phyllis. A nightingale in a nearby tree provides the solution to his problem. Freedom is worth more than love or honour, Thyrsis will be better off without either of them. Musically, this is an attractive work effectively scored for treble recorder, two violins, viola and continuo. Annette Markert sings with a lively attention to detail and with a feeling for the style of the period. Her technique is strong though not flawless and, in one or two instances, she is confounded by Telemann's by no means elementary demands. But for the most part she succeeds well and is stylishly supported by Il Parnaso Musicale, an ensemble of period instruments.
The remaining cantatas perhaps come over marginally less convincingly. Markert's vocal timbre is warm and rounded but she does not make allowances for contrasts in light and shade. Both pieces are sombre in character as their texts imply and singer and instrumentalists respond affectingly to Telemann's poignant writing; the accompanied recitative ''Denn im Tode'', and the subsequent aria ''Ich bin so mude von Seufzen'' fromAch Herr, strafe mich nicht are particularly successful, but I longed for just a little more in the way of varied colour. Even so, these artists do some justice to the music and readers will find Tirsis am Scheidewege (''Thyrsis at the Crossroads'') especially beguiling. In short this is an enterprising release from a small company which over a number of years has shown a willingness to explore seldom trodden paths. Recorded sound is clear, though perhaps a little too resonant. The booklet contains full texts in four languages. Enjoyable.'
The modern performing edition of In einem Tal goes under the title of Tirsis am Scheidewege and is identified as such on this disc. It comes from the first of three collections of ''Moral Cantatas'' which Telemann compiled during the 1730s. Set in pastoral surroundings the story tells of the predicament of Thyrsis, who is torn between alluring Sylvia and wealthy Phyllis. A nightingale in a nearby tree provides the solution to his problem. Freedom is worth more than love or honour, Thyrsis will be better off without either of them. Musically, this is an attractive work effectively scored for treble recorder, two violins, viola and continuo. Annette Markert sings with a lively attention to detail and with a feeling for the style of the period. Her technique is strong though not flawless and, in one or two instances, she is confounded by Telemann's by no means elementary demands. But for the most part she succeeds well and is stylishly supported by Il Parnaso Musicale, an ensemble of period instruments.
The remaining cantatas perhaps come over marginally less convincingly. Markert's vocal timbre is warm and rounded but she does not make allowances for contrasts in light and shade. Both pieces are sombre in character as their texts imply and singer and instrumentalists respond affectingly to Telemann's poignant writing; the accompanied recitative ''Denn im Tode'', and the subsequent aria ''Ich bin so mude von Seufzen'' from
Telemann Cantatas for Alto
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