Nach einer im Original deutsch gesungenen Adaption des antiken griechischen Stoffs muss man suchen wie nach der bekannten Stecknadel im Heuhaufen. Und hat man sie irgendwann gefunden, stellt sich heraus: Neben deutschem Text gibt es in Georg Philipp Telemanns rund zweistündiger Version aus dem Jahre 1726 ("Orpheus oder die wunderbare Beständigkeit der Liebe") tatsächlich auch Gesangsstücke, die italienisch, und solche, die französisch gesungen werden.
In this premiere recording, René Jacobs leads a cast of outstanding singers and musicians in a grand production of Georg Philipp Telemann's 'Orpheus.' The manuscripts of this operatic drama were only recently rediscovered and because of some missing material, the version presented here cleverly interpolates other music by Telemann (and his contemporaries) to complete the story.
German musician Hans-Martin Linde has established impressive credentials in so many fields of endeavor that it is difficult to give him a primary classification. Some biographers will call him a flutist and recorder player first, then a conductor. He began his career as a flutist, but eventually turned to conducting, without, however, abandoning the flute or recorder. He has also performed in concert as a baritone singer; has drawn notice as a composer, particularly for his 1993 Concerto for recorder and strings; and has authored several authoritative books on flute and recorder performance.
From the Middle Ages Hamburg was an economically important city, especially since it joined the Hanseatic League. Its economic position resulted in many political conflicts, in particular with Denmark with which it was in almost constant rivalry. It also had led to Hamburg being declared an imperial city in 1510. Because of this the city couldn't count on the protection provided by the imperial army and had to organise its own defence. The city founded a civic guard for defence from attacks from outside as well as for deployment in the fighting of natural catastrophes. From 1619 it was a permanent institution.
Germany's CPO label has presented the efforts of performers who have doggedly unearthed unknown music of various periods, especially the eighteenth century. With the voluminous corpus of concertos by Telemann, many of which exist only in manuscript, they enter a field with a lot of still-uncharted territory. This set of wind concertos is one of the label's most useful releases despite a few quirks.
Helig, heilig, heilig ist Gott ("Holy, Holy, Holy is God") comes from a portion of the catalog of Georg Philipp Telemann not often sampled on recordings, the cantatas he composed for the consecration of churches. They are 13 in number, minus two that are lost, and certain ones contain some of Telemann's biggest and boldest conceptions in sacred music outside of his Passions. It was written in 1747 for the re-opening of the Dreieinikeitskirche in St. Georg, a suburb of Hamburg. St. Georg was growing rapidly as Hamburgers fled disease and overcrowding in the city.
The quadri or quartets of Georg Philipp Telemann were among the first works to use that name and have sometimes been proposed as ancestors of the string quartet. They may or may not be that, but they're among Telemann's most progressive works, exploiting instrumental contrasts and pairing them with harmonic experiments. Sample the Quadro in E major for two transverse flutes and two cellos, TWV 43:E1, which could almost be early Haydn. The weakening role of the basso continuo in later Telemann chamber music like that on this album is shown by the fact that the quadro or trio designated by the work title sometimes includes the continuo and sometimes does not…