Göttlichs Kind. Advent and Christmas music
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(22)
- Corale: In deinem Wort und Sakrament
- Aria: Ich bin ja dessen gar nicht wert
- Aria: O was ist das für Seligkeit
- Aria: Dein ganz Verdienst
- Corale: Du bleibest mein, ich bleibe dein
- Aria: Lauter Wonne, lauter Freude
- Aria: Ein stetes Zagen, ein ewig's Klagen
- Tutti: Meine Seele erhebt den Herrn
- Solo (S): Denn er hat seine elende Magd
- Tutti: Denn er hat große Dinge an mir getan
- Solo (A): Und seine Barmherzigkeit währet
- Tutti: Er übet Gewalt mit seinem Arm
- Solo (T): Die Hungrigen füllet er
- Solo (B): Wie er geredt hat unsern Vätern
- Tutti: Lob und Preis sei Gott
- Aria: Göttliches Kind, lass mit Entzücken
- Aria: Steige, falle, kreise, walle
- Corale: Allein Gott in der Höh sei Ehr
- Coro: Ehre sei Gott in der Höhe
- Aria: O Freudengetöne
- Aria: Willkommen, mein Jesu
- Corale: O liebstes Kind, o süßer Knab
Contents
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Composer
Georg Philipp Telemann
| 1681-1767Telemann's extremely rich compositional output, the fruits of three quarters of a century's work, encompasses almost all genres of music; in his vocal works it ranges from songs with basso continuo accompaniment to chamber and church cantatas, and to opera. In his own assessment, church music played a central role in his output; he alone probably composed over 1,600 church cantatas, as well as cantata-style funeral music settings (such as Du aber, Daniel, gehe hin), psalm settings (for example, Deus judicium tuum) and oratorios. Throughout his works Telemann showed himself to be a progressive composer, open to new trends and keen to experiment whilst exploring new directions; not without reason was he called a forerunner of classicism. However, his compositions constitute only a part of his importance to music history: as a music publisher, the author of publications for teaching, the director of middle-class music societies and initiator of public concerts, he made a considerable contribution to creating the preconditions for the support of the musically-educated middle classes in the ensuing era of music. Personal details
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Preface writer
Klaus Hofmann
| 1939
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Ensemble
solistenensemble stimmkunst
The solistenensemble stimmkunst was founded by Kay Johannsen in 2003 for a highly regarded concert cycle of Bach’s cantatas. The ensemble sings mostly in the formation of 12 professional singers who take on both solo as well as choral roles. The emphasis of their work currently lies in the area of early music. They have already recorded a CD entitled Göttlichs Kind for Carus containing Advent and Christmas cantatas by Georg Philipp Telemann (Carus 83.180). A number of concerts performed in the Stiftskirche and at the Europäisches Musikfest Stuttgart with works by Charpentier, Monteverdi, Bach, Brahms and Reger were recorded by the Southwest German Radio. Personal details
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Ensemble
Ensemble 94
The Ensemble 94 was founded by Kay Johannsen in 1994 to participate in musical activities in the Stiftskirche (collegiate church) in Stuttgart, but since then it has also performed in many independent orchestral projects. Its members come from Germany, Holland, Belgium, Italy and Switzerland, and they are widely experienced as soloists and in chamber music. An uncommon feature of the ensemble is the fact that the players have the ability to play either baroque or modern instruments, in accordance with the stylistic epoch of the music being performed. The concert master of the ensemble is Christine Busch, Professor of violin at the Stuttgart Conservatory. According to the Stuttgarter Nachrichten, this ensemble is characterized by “boundless zest for music making” as well as “subtile dynamic” and “joy in articulatory detail.” The Stuttgarter Zeitung stated “soloists performing with verve, elegance and stylistic sensitivity” and found that the group “need not shun comparison with the best Baroque orchestras.” The Württembergische Blätter für Kirchenmusik wrote about the Telemann-CD “In the accompaniment by Ensemble 94, founded by Johannsen in 1994, the singers were provided with an appropriate ensemble of exquisite articulation, at all times subservient to the vocal line, which left nothing to be desired.” Personal details
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Conductor
Kay Johannsen
| 1961
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Soloist - soprano
Susanne Rydén
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Soloist - alto
Britta Schwarz
The alto Britta Schwarz studied singing in Berlin and Dresden and then joined the studio at the Staatsoper Dresden. In the following years she won numerous international prizes. She has performed regularly with renowned orchestras such as the Berliner Philharmoniker, the Staatskapelle Dresden, the Dresden Philharmonic Orchestra and the Academy of St. Martin in the Fields and sung with leading conductors including Philippe Herreweghe, Helmuth Rilling, Bruno Weil, Reinhard Göbel, Marcus Creed and Hans-Christoph Rademann. Concerts and Lieder recitals in international music centers complement her musical activities. For several years she has specialized in Baroque music, and works with leading ensembles such as the Freiburger Barockorchester, Cantus Cölln, Ensemble Musica Antiqua Köln and the Akademie für Alte Musik, Berlin. Her extensive repertoire has been recorded in numerous radio programs and CDs. Personal details
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Soloist - tenor
Andreas Karasiak
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Soloist - bass
Sebastian Noack
The baritone Sebastian Noack was born in Berlin and studied singing with Dietmar Hackel, Ingrid Figur and Dietrich Fischer-Dieskau. He became known after being awarded 1st prize at the Bundeswettbewerb Gesang; other prizes followed. Since then he has made a name for himself, particularly as a concert singer, performing under renowned conductors such as Frieder Bernius, Marcus Creed, Christoph Eschenbach, and Roy Goodman. His repertoire includes all of the significant oratorios from the Renaissance to the present time. On numerous tours he has travelled through all of Europe, the USA and Southeast Asia. He is a welcome guest at international festivals. Noack sings with the large broadcasting networks and well-known Baroque orchestras as well as with chamber music ensembles, e.g., the Sharoun Ensemble or Sabine Meyer’s Trio di Clarone. He has participated in CD productions under Philippe Herreweghe and Andreas Spering. Noack is particularly interested in lieder. Together with the pianist Manuel Lange, he founded the new concert series “Meisterlied im Musikinstrumenten-Museum”, for which – in addition to his own recitals – he has already been able to engage renowned guests. After having previ - ously performed concertante or semi-scenic operas, Noack made his stage debut in Donizetti’s Viva la Mamma at the Berlin State Opera in June 2009. He is a visit ing professor at the Hochschule für Musik Hanns Eisler in Berlin. Personal details
Reviews
Telemann: Göttlichs Kind
Telemann zum Advent
Der arbeitsame Georg Philipp Telemann soll zeit seines Lebens allein rund 1700 Kantaten komponiert haben. Kein Wunder also, dass es noch immer Unbekanntes zu entdecken und dokumentieren gibt. Die vorliegende CD mit Advents- und Weihnachtsmusiken wartet mit drei Welt-Ersteinspielungen auf, und trotzdem kommt dem Hörer vieles bekannt vor. Denn Telemann verarbeitet, elegant und sinnfällig wie immer, neben den eigenen Einfällen eine Reihe bekannter Kirchen- und Weihnachtslieder. Obwohl die Werke ohne übertriebenen Aufwand auskommen, sind die Solopartien mit Sängern wie Susanne Rydén oder Sebastian Noack erstklassig besetzt. Für die meditative, heimlich funkelnde Chor- und Instrumentalbegleitung sorgen das Ensemble Stimmkunst und das Ensemble 94 unter ihrem gemeinsamen Gründer Kay Johannsen.
Quelle: Rheinischer Merkur, CD-Tipp, 1.12.2005
Weihnachtskantaten mal nicht von Bach
[...] Gleich drei der in den SWR Studios in Stuttgart aufgezeichneten fünf Werke sind Weltersteinspielungen: die 1742 komponierte Kantate 'In deinem Wort und Sakrament', das Deutsche Magnificat und die Weihnachtskantate 'Allein Gott in der Höh sei Ehr'. Mit derselben Akkuratesse, die sein eigenes Musizieren an der Orgel auszeichnet, setzt Kay Johannsen die Faktur der Musik Telemanns in klingende Zeugnisse ihrer Qualität um. Ihm zur Seite: Susanne Rydén, Britta Schwarz, Andreas Karasiak und Sebastian Noack – ein Solistenensemble kraftvoller, flexibler und artikulationssicherer Stimmen, das ausgereifte Timbres mit jugendlicher Frische, binnengespannter Phrasierung und deutlicher Textdarstellung verbindet und sicherlich zum Besten zu zählen ist, was die Interpretation Alter Musik zu bieten hat. Weltniveau, an dem sich zukünftige Aufnahmen dieser Werke werden messen lassen müssen. In barocker Phrasierung bietet das solistenensemble stimmkunst, ein Chor aus zwölf professionellen Sängerinnen und Sängern, eine Lehrstunde sängerischer Homogenität, Transparenz und Punktgenauigkeit. Man höre nur das Tutti 'Er übet Gewalt mit seinem Arm' aus dem Deutschen Magnificat! Johannsens 1994 gegründetes Ensemble 94 besticht durch sich immer kongenial in die Textur einbindende Instrumentalisten, die sich zurücknehmend dem Vokalen zum Recht verhelfen, aber auch die intrikaten Konturen des orchestralen Apparats im Blick haben. Ein engagiertes Spiel, subtil und doch kraftvoll, das gleichfalls dazu beiträgt, dass diese Einspielungen eine wahre Entdeckung sind. Ein klug an der barocken Textur der Musik orientiertes Klangbild rundet diese hervorragende Veröffentlichung ab.
Quelle: klassik.com, Eric Daumann, 15.12.2005
Advent- und Weihnachtskantaten inklusive einem Magnificat aus der Feder von Georg Philipp Telemann vereint diese CD des Ensembles „Stimmkunst” unter Kay Johannsen, Musik des großen Bach-Antipoden, der verbindlicher, weniger streng in der Setzweise, aber mit enormem Schwung und innerer Kraft die Kirchenmusik Hamburgs belebte, während Bach das Thomaskantorat innehatte. Eine Lektion in deutscher Musikgeschichte, ansprechend und mit viel Geschmack realisiert - für ein besinnliches Hörerlebnis in adventu.
Wilhelm Sinkovicz
Quelle: Die Presse, 9.12.05
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