At the time of Johann Kuhnau’s succession to the post of Cantor of St.Thomas’ Church, on the death of the previous incumbent, Johann Schelle, in March 1701, Georg Philipp Telemann’s presence in Leipzig was not without irritation to the newly appointed Cantor. Although ostensibly a law student, Telemann’s compositions had so impressed one of the city’s Burgomasters that he was rewarded with a fortnightly commission for St.Thomas’, to be accompanied by ‘ample remuneration’. Perhaps noting Telemann’s own observation of Kuhnau – ‘his frail constitution leads one to expect his early death’ – the council reassured the twenty-one year old student of his suitability for the post. Defying all predictions, however, they had to wait over twenty years for a similar opportunity. Kuhnau died on 5th June 1722. Telemann was by this time a musician of considerable repute, established in Hamburg. There were five initial applicants for the newly vacant post, including Telemann. The Leipzig council weren’t going to let him slip the net a second time, and, after complying with his request to be exempted from teaching Latin, he was unanimously elected to the post. Whether Telemann gave serious consideration to the post or not remains unclear, but following the success of his petition to the Hamburg city council for a pay increase, he declined the position. After a second election in 1723, the Darmstadt court capellmeister Christoph Graupner was appointed, but when he failed to obtain release from his employer, Johann Sebastian Bach took his place. And so the two great composers’ paths crossed; yet the different directions their lives would take was evident from early on: for Telemann the new galant style, for Bach the perfecting of his contrapunctal skills….. When Johann Sebastian Bach was appointed Kantor in 1723 to the church of St Thomas, Leipzig, he may have hoped to augment his salary by regular commissions for the composition of secular cantatas for special occasions. But in the event, his expectations were only partially realised. The few commissions Bach received were for royal occasions, such as birthdays, a royal visit to Leipzig by King August III of Poland, homages to University professors and weddings….
Total time: 01:08:19
van den Hul
Meitner A/D DSD / Meitner DA
B&W 803 diamond series
Bruel & Kjaer, Schoeps
Rens Heijnis custom design
|Original Recording Format|
Jared Sacks, Ashley Solomon
London England 2008
Pyramix bij Merging
|Recording Type & Bit Rate||
|Release Date||February 15, 2014|
American Record Guide
Intriguing, sparklingly-played comparison of Baroque greats HMV Choice Wonderfully fluent and expressive (…) a certain French suavity in the playing, which comes into its own most fully in the Telemann work.
Buoyant Baroque coupling sparkles with a sense of proportion and balance.
Another fine effort from Britain’s Florilegium () I have enjoyed almost every disc I have heard from them, and this well-recorded baroque recital holds to those high standards. The Telemann is played with such an obvious relish for the music that you cannot help but be drawn in, and the soloists are a delight from first to last. Lucy Crowe joins the ensemble for the Bach and the ensemble easily adapts to the change of mood without sacrificing any of their earlier enthusiasm. (…) The flute and strings give it a cheerful feeling, as the boy looks forward to getting home and serving his country. Lucy Crowe sings the work probably better than the text deserves! (…) this well-recorded baroque recital holds to those high standards (…) A beautiful album then, with surround sound that engulfs us nicely.
Vaardig geschreven en gespeeld entertainment van Telemann (…) En dan komt Bach met in de ‘wereldlijke’ cantate ‘Non sa che sia dolore’ BWV 209 met de sopraan Lucy Crowe als soliste, en dan zijn we weer in de Champions League, muziek van extreeem hogekwaliteit en prachtig door Crowe gezongen (…) Schitterende opname.
The Sunday Times
Few can match Florilegium’s interpretative flair and technical accomplishment in this repertoire
Cd of the Week
Dem sensiblen Vortrag der Sopranistin Lucy Crowe, deren warmes Timbre ebenso wie ihre nuancenreiche Phrasierung eine wunderbare, emotionale reiche Atmosphäre erzeugt.
International Record Review
Florilegium’s accomplished music making in each case surpasses all previous recordings (…) The playing is universally of the utmost refinement and clarity. (…) Lucy Crowe’s bright and agile soprano brought nothing but delight. (…) a well-balanced programme.
Verzorgd en adembenemend spel (…) barok in optima forma uitgevoerd door een ensemble met uitstekende reputatie op het gebied van authentieke uitvoeringspraktijk.
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