G. P. Telemann | Ich will den Kreuzweg gerne gehen | Kantate TWV 1:884

G. P. Telemann | Ich will den Kreuzweg gerne gehen | Kantate TWV 1:884 | capella sollertia

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Cantate um 1715 - eine Konzertreihe von St. Peter München
Georg Philipp Telemann: Kantate TWV 1:884 - Ich will den Kreuzweg gerne gehen
capella sollertia
Johanna Soller | Leitung
0:22 | Ich will den Kreuzweg gerne gehen (Arie)
5:23 | Ach, wer die Frucht des Kreuzes nur bedächte (Rezitativ)
7:53 | Ich küsse die Rute mit freudigem Mute (Arie)
10:59 | Und zwar, was sag ich weiter? (Rezitativ)
11:49 | Ach, mein Heiland (Arie)
Sebastian Myrus | Bass
Rebecca Raimondi | Violine
Philine Lembeck | Violoncello
Johanna Soller | Orgel & Leitung
aufgenommen im August 2020 in St. Stephan München
Audio: Sebastian Kienel
Video: Bettina Sandhäger
1715 vollendete J. S. Bach seinen ersten Zyklus von Kirchenkantaten in Weimar. Seine Ernennung zum Konzertmeister war an die Bedingung geknüpft, alle vier Wochen eine Kantate für den jeweiligen Sonntag zu komponieren. Damit begann eine intensive Schaffensperiode, die in den späteren Kantaten-Jahrgängen von Leipzig seine Vollendung fand.

In der Konzertreihe Cantate um 1715 wird dieser Idee folgend monatlich eine Bachkantate als Hauptwerk aufgeführt. Gegenübergestellt wird eine weitere Kantate der barocken Tradition. Zwei Lesungen geben wie im liturgischen Gebrauch den thematischen Rahmen vor - zum einen der Evangeliumstext, der Bach als Vorlage seiner Kantate diente, zum anderen eine zeitgenössische Lesung, die sich assoziativ mit dem Thema befasst. Dazwischen schaffen kleinere instrumentale und vokale Werke Raum zur Kontemplation.
Immer am Sonntag, immer um 17.15 Uhr.

Пікірлер: 6

@sameash3153 Жыл бұрын

What starts out simple, almost minimalistic, reveals itself to be deep and profound thr longer you listen.

@deadcuddles 2 жыл бұрын

i am constantly checking for new performances by Cantate um 1715. Easily one of the top 3 performing groups of Bach's music. Unique sound. Great musicians, great recording work by the engineers. More please.

@user-qm7qd1ri9u 4 ай бұрын

Yes! Totally agree! Looking forward to new recordings.

@avrealisation6004 3 жыл бұрын

Sehr schön musiziert und technisch perfekt umgesetzt in Bild und Ton, Gratulation!

@alexandersandved6664 2 жыл бұрын

Beautiful

@stefanstamenic3640 Жыл бұрын

As he wrote @AVRealisation: "Beautifully played and technically perfectly implemented in image and sound, congratulations!" I would only add Telemann showed flexibility by composing in accordance with the changing fashions of his time. In his main creative phase, he turned to a style that can be attributed in the historical sense - more Rococo than Baroque - and built a bridge to the Viennese classics; he often combined - a gallant style with contrapuntal elements. At the heart of Telemann's creative principle is a vocally sound melodic ideal. He himself repeatedly emphasized the fundamental importance of this compositional element; Matheson also characterized Telemann during his lifetime as - a composer of beautiful melodies. In harmony, Telemann penetrated areas of sound that were then unknown. He made judicious use of chromaticism and enharmonicity, and often used shifts, unusual (augmented and diminished) intervals, and altered chords. Expressive dissonances are especially pronounced in his late works. The functionally reliable use of major/minor parallel tones and leading-tone alternations goes back in part to Jean-Philippe Rameau. In the sensitive style, the upper voice with chordal accompaniment was of great importance. Telemann therefore considered polyphony obsolete and used it only where it seemed appropriate.