Telemann Danish Cantatas

Georg Philipp Telemann (1681-1767)

DANISH CANTATAS

1-20 De Danske, Norske og Tÿdske Undersaatters Glaede

21-25 Lad, o Herre, Ordets Saed riigelid til os uddeeles

26-30 Ha-ha! wo will wi hüt noch dansen

31-35 Herre lad til Hviile, mig din Tiener iile

dep: download

upl: download

Telemann - Kapitansmusik 1744

Georg Philipp Telemann (1681-1767)

Oratorio - Vereint euch, ihr Burger, und singet mit Freuden TWV 15:15a

Serenata - Freiheit! Gottin, die Segen und Friede begleitet, TWV 15:15b

Weser-Renaissance - Manfred Cordes

Dep: Part1  Part2  Part3

Upl: Part1  Part2  Part3

Enjoy!

Baroque Trio Sonatas (Sonatas a tres) - Danubius Ensemble

Georg Philipp Telemann (1681-1767)

1-3 . Sonata a tres en Re menor

Antonio Vivaldi (1678-1741)

4-6 . Sonata a tres en Si bemol mayor Op5, RV76

Georg Philipp Telemann

7-10 . Sonata a tres en Sol mayor

 Antonio Vivaldi

11-14 . Sonata a tres en Si menor RV 79

 Johann Friedrich Fasch

15-18 . Sonata a tres en Sol menor

Giuseppe Tartini (1692-1770)

19-21 . Sonata a tres en Mi bemol mayor

Antonio Vivaldi

 22-41 . Sonata a tres en Re menor RV 63 "La follia"

Upl: Download

Dep: Download

Enjoy!

Telemann - Late Cantatas (Komm Geist des Herrn)

Georg Philipp Telemann

(1681-1767)

LATE CANTATAS

1-10. Komm Geist des Herrn, TWV 1:999
11-16. Kaum wag ich es, TWV 1:992
17-23. Er Kam, lobsingt ihm, TWV 1:462

Dep: Download
Upl: Download

Enjoy!     

Telemann - Early Cantatas

Georg Philipp Telemann

(1681-1767)

EARLY CANTATAS

1. Ach Herr, strafe mich nicht, TWV 7:3
2. Dazu ist erschienen der Sohn Gottes, TWV 1:208
3. Siehe, ich komme, TWV 1:1332, "Passions-Actus"
4. Ich freue mich, TWV 1:826
5. Sei getreu bis in den Tod, TWV 1:1284

Dep: Download
Upl: Download

Enjoy!     

Telemann - Ein' Feste Burg ist unser Gott

Georg Philipp Telemann

(1681-1767)

Festliche Kantaten zum Reformationstag und Michaelisfest

1-7   Wertes Zion sei getrost TVWV 1:1606

8-12   Jesu wirst Du bald erscheinen TVWV 1:988

13-18   Herr Gott, der du uns hast von unsrer Jugend an TVWV 1:742

19-22   Ein’ feste Burg ist unser Gott TVWV 1:419

23-31   Welch’ Getümmel erschüttert den Himmel TVWV 1:1546

Kammerchor Bad Homburg

Johann Rosenmüller Ensemble

Upl: Part1

Dep: Part1

Enjoy :)

Telemann - Ich hoffete aufs Licht (Funeral music for emperor Karl VII)

EAC+LOG+CUE | FLAC: 268 MB | Scans

Georg Philipp Telemann

Trauermusik für kaiser Karl VII. (Hamburg 1745)

La Stagione Frankfurt

Michael Schneider

Upl: Part1

Dep: Part1

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Splendors of the Baroque (Esplendores del Barroco)

Johann Pachelbel (1653-1706)
1.- Canon

Sammartini (Not specified whether Giuseppe or Giovanni)
2.- Concierto para trompeta, oboe y cuerdas en Mi bemol

Giuseppe Tartini (1692-1770)
3-5 Concierto para trompeta y orquesta en Re Mayor

Francesco Geminiani (1687-1762)
6-7 Concerto grosso op. 3 No 1 en Re Mayor

Henry Purcell (1659-1695)
8 Chaconna en Fa Mayor

Georg Philipp Telemann (1681-1767)
9-12 Concierto para trompeta y cuerdas en Re Mayor

Tomaso Albinoni (1671-1751)
13-15 Concierto a cinco Op 7 No 3 en Si bemol

Enjoy :)
Here

Telemann Concertos

Georg Philipp Telemann (1681-1767)
CD1
Concerto in D major for 3 trumpets, 2 oboes, strings and b.c.
Symphony "Il Grillo". Concerto for flute, piccolo, oboe, chalumeau, 2 double-basses, 2 violins, viola and b.c.
Concerto in E major for flute, oboe d'amore, viola d'amore, strings and b.c.
Concerto in E minor for flute, recorder, strings and b.c.
Concerto in D major for violin, trumpet, strings and b.c.

Wiener Akademie - Martin Haselbock

CD2
Concerto in E minor for oboe, strings and b.c.
Concerto in A major for oboe d'amore, strings and b.c.
Concerto "gratioso" in D major for oboe, 2 violins, strings and b.c.
Concerto in C minor for oboe, strings and b.c.
Concerto in D minor for oboe, strings and b.c.
Concerto in G major for oboe d'amore, strings and b.c.

English Chamber Orchestra - Thomas Indermuhle

CD3
Concerto in E minor for flute, violin, strings and b.c.
Suite in A minor for flute, strings and b.c.
Ouverture in C major for 3 oboes, strings and b.c.
Concerto in D major for trumpet, 2 oboes, strings and b.c.

Musica ad Rhenum - Jed Wentz
Amsterdam Bach Soloists

Enjoy :)

Part1   Part2   Part3

Heilig, heilig, heilig ist Gott - Telemann

Monika Mauch (Soprano)
Ralf Popken (Countertenor)
Andreas Post (Tenor) 
Albrecht Pöhl (Bass)  

Collegium Vocale Siegen,  Hannover Hofkapelle,  Friedemann Immer Trumpet Consort
Conductor:  Ulrich Stötzel 

Enjoy:)

Here

Telemann - Das Befreite Israel

Georg Philipp Telemann (1681-1767)

1-13 Das Befreite Israel TWV 6:5
14-22 Overture in F minor TWV 55:f1
23-30 Der May TWV 20:40

Rheinische Kantorei - Das Kleine Konzert : Hermann Max

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Here

Der Tag Des Gerichts (The day of Judgment) - Telemann

Georg Philipp Telemann (1681-1767)

Rheinische Kantorei - Das Kleine Konzert : Hermann Max

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Here

Orpheus - Telemann

The mythological tale "Orpheus" set to music by many composers, between them are: Peri, Caccini, Monteverdi of course, Lully, Telemann, Gluck, etc. as the more famous and more studied among musicologists. 

The rediscovery of this masterpiece  placed a landmark regarding Telemann's operatic output, and this recording directed by Renè Jacobs is between his finest.

Enjoy :)

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Part3

Six Concertos - Telemann

Here Six concertos that appeared also in my last post (Telemann's Concerts and Suites). 

You may say that in fact are Sonatas, and in fact they are since there is no tutti (orchestral) part that contrast and imitates the solo parts, in this case the flute that goes along the harpsichord in which both are in the same status. 

I found this interpretation higher in sound quality and in performing, flawless and more lively in comparison with the interpretation of camerata koln of my last post. Take a look (sound look indeed) to both posts and judge by yourself..

Enjoy :)

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Concerts and Suites - Telemann

Sublime music that always one expect from a genius of the gauge of Telemann, a musician that mastered maybe everything on the field of his time, a very special time by the way, because it was the time in which baroque attained its pick, and when the galant style started to gain force, but telemann always was an step in advance.

"Thanks to the original releaser"

Enjoy  :)

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Part3

Harmonischer Gottesdienst (Easter and Pentecost Cantatas) - Telemann

The Harmonischer Gottesdienst is a collection of cantatas to be played every sunday in the Lutheran Calendar. In fact it is the most famous Telemann's set of vocal music.

Telemann was not just an excellent musician, admired and respected by everyone, he was moreover an extraordinary instrumentalist, capable of playing almost all the instruments of the orchestra; he was also poet, pedagogue, theoretician, he studied law and was attached to sciences and classic letters and arts, adding to all this his skill to make business, enthusiasm for traveling and his easiness to speak various languages. 

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All the skills Telemann had facilitate his fame to be spread to all corners of Europe and his music to be acquired almost by everyone who can afford it.

Apart, Telemann was very versatile, a quality that enable him to write music no matter the circumstances, music for the most prodigious musicians and singers, and music for dilettantes, which is the case in great part of the Harmonischer Gotesdienst, because the oeuvre is intended for both performances, church and in private meetings or domestic, so the writing is aim mostly to dilettantes, but despite of it, the mastery and beauty is undeniable.

Enjoy :)

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Part2

Die Auferstehung (The Resurrection) - Telemann

Telemann never stops fascinating us, and doesn’t matter the time, because his music will delight many generation ahead, because his fame and glory are immortal. Telemann’s genius filled music with his everlasting creativeness, always fitted to the new requirements and tastes of the always avid public in his time.  

Enjoy :)

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Cantatas and chamber music with recorder - Telemann

Telemann wrote more than any other composer of the baroque period for my instrument, the recorder – and with idiomatic success which is what has encouraged me to get to know the composer and his music in greater depth-.

Telemann was originally supposed to study law, but insisted that music would be his focus. Moreover, he proved to be not only a great composer, but also an organizer of concerts and a publisher of musical scores. He was a highly versatile entrepreneur as well as a remarkable and curiously “modern” musician: a man who took hard work in his stride, becoming one of the most prolific composers of all times.

Stylistically Telemann was an eclectic, schooled in a huge range of idioms, embracing both the utmost rigor as well as a more light-hearted vein (see for instance the collection of Trietti metodichi e scherzi). This latter style was considered highly advanced at the time, and was to achieve the finest outcome with Mozart, who is the most loved and performed composer of our own times. Telemann certainly owed a lot to the Italian school exemplified by Arcangelo Corelli, but at the same time he was also a great admirer of the French style. He often included folk music, mixing everything together with consummate skill, and appealing to audiences in a manner unparalleled by other musicians of the period.

The four cantatas in this recording are fully representative of those belonging to the Harmonischer Gottesdienst (music for religious services), a collection of cantatas for solo voice and flute, oboe or violin, and harpsichord. The originality of many of the copious musical ideas makes the collection an outstanding repertoire for a small ensemble comprising voice, a high-pitched instrument and the continuo. The idiomatic writing for the voice, its relation to the instrumental parts and the many indications concerning interpretation place the Harmonischer Gottesdienst among the great achievements of the period. They also greatly facilitate the task of the performer.

One of Telemann’s characteristic skills was his ability to imbue the arias of these cantatas with the sort of brilliance that we normally associate with solo concertos. A case in point is deine Toten warden leben, where the radiance of the initial aria counterbalances the sweetness of the concludins one. The first aria of Hemmet den Eifer again reveals Telemann’s compositional skills, and at the same time testifies to his familiarity with the recorder. In fact the recorder part is full of demanding passage work of the sort one might expect in a solo concerto. The vocal score, on the other hand, is smooth and linear, which makes for a particularly effective contrast. The opening aria of Du bist verflucht, o Schreckensstimme features some unusual chromaticism that conjures up a sense of expressive anger, further emphasized by the tense instrumental interplay and the active participation of the basso continuo.

The two rarely heard instrumental pieces here are not only particularly enjoyable, but also significant within the wider context of Telemann’s oeuvre. The various movements of the E minor Partita in the Kleine Kammermusik collection create a fluctuating range of atmospheres, and there is a wide-ranging expressive universe in the G minor Trio Sonata. To judge from the quantity and quality of the music Telemann wrote for the recorder, the composer must have been a more than competent player himself; he chooses convenient keys and pitches, and also exploits the entire range of the instrument. Features of this sort are not as common in the music of Vivaldi and Haendel, although both also wrote important works for the recorder. The highly varied virtuoso nature of Telemann’s compositions for the instrument is undeniably demanding for the performer. Because the overall impact of the works is so extraordinary, however, to play them is also uniquely rewarding.                                                                                 Stefano Bagliano

Enjoy :)

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