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Telemann: Die Auferstehung (The Resurrection), De Danske, Norske Og Tydske / Magdeburger Kammerchor, Mields, Schwarz, et al

4.3 out of 5 stars 3 customer reviews

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Audio CD, June 22, 1999
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Track Listings

Disc: 1

  1. Die Auferstehung TWV 6:7, Oratorio: Accompagnato - Dorothee Mields
  2. Die Auferstehung TWV 6:7, Oratorio: Accompagnato - Klaus Mertens
  3. Die Auferstehung TWV 6:7, Oratorio: Accompagnato - Britta Schwarz
  4. Die Auferstehung TWV 6:7, Oratorio: Coro - Magdeburger Kammerchor/Lothar Hennig
  5. Die Auferstehung TWV 6:7, Oratorio: Recitativo/Accompagnato - Reinhard Decker/Klaus Mertens
  6. Die Auferstehung TWV 6:7, Oratorio: Coro - Magdeburger Kammerchor/Lothar Hennig
  7. Die Auferstehung TWV 6:7, Oratorio: Accompagnato - Dorothee Mields
  8. Die Auferstehung TWV 6:7, Oratorio: Aria - Dorothee Mields
  9. Die Auferstehung TWV 6:7, Oratorio: Accompagnato - Andreas Post
  10. Die Auferstehung TWV 6:7, Oratorio: Aria - Andreas Post
  11. Die Auferstehung TWV 6:7, Oratorio: Accompagnato - Klaus Mertens
  12. Die Auferstehung TWV 6:7, Oratorio: Aria-Coro - Klaus Mertens
  13. Die Auferstehung TWV 6:7, Oratorio: Recitativo - Reinhard Decker
  14. Die Auferstehung TWV 6:7, Oratorio: Coro - Magdeburger Kammerchor/Lothar Hennig
  15. Undersaaters Glaede TWV 12:10, Cant: Sinf - Telemann-Kammerorchester Michaelstein/Ludger Remy
  16. Undersaaters Glaede TWV 12:10, Cant: Recitativo - Dorothee Mields
  17. Undersaaters Glaede TWV 12:10, Cant: Aria - Dorothee Mields
  18. Undersaaters Glaede TWV 12:10, Cant: Recitativo - Dorothee Mields
  19. Undersaaters Glaede TWV 12:10, Cant: Coro - Dorothee Mields/Britta Schwarz/Andreas Post/Klaus Mertens
  20. Undersaaters Glaede TWV 12:10, Cant: Recitativo - Dorothee Mields
  21. Undersaaters Glaede TWV 12:10, Cant: Aria - Dorothee Mields
  22. Undersaaters Glaede TWV 12:10, Cant: Recitativo - Dorothee Mields
  23. Undersaaters Glaede TWV 12:10, Cant: Coro - Dorothee Mields/Britta Schwarz/Andreas Post/Klaus Mertens
  24. Undersaaters Glaede TWV 12:10, Cant: Recitativo - Dorothee Mields
  25. Undersaaters Glaede TWV 12:10, Cant: Aria - Dorothee Mields
  26. Undersaaters Glaede TWV 12:10, Cant: Coro - Dorothee Mields/Britta Schwarz/Andreas Post/Klaus Mertens
  27. Undersaaters Glaede TWV 12:10, Cant: Recitativo - Dorothee Mields
  28. Undersaaters Glaede TWV 12:10, Cant: Aria - Dorothee Mields/Britta Schwarz/Andreas Post/Klaus Mertens
  29. Undersaaters Glaede TWV 12:10, Cant: Aria - Dorothee Mields
  30. Undersaaters Glaede TWV 12:10, Cant: Recitativo - Dorothee Mields
  31. Undersaaters Glaede TWV 12:10, Cant: Aria - Dorothee Mields
  32. Undersaaters Glaede TWV 12:10, Cant: Coro - Dorothee Mields/Britta Schwarz/Andreas Post/Klaus Mertens
  33. Undersaaters Glaede TWV 12:10, Cant: Duet - Dorothee Mields/Britta Schwarz/Andreas Post/Klaus Mertens
  34. Undersaaters Glaede TWV 12:10, Cant: Coro - Dorothee Mields/Britta Schwarz/Andreas Post/Klaus Mertens


Product Details

  • Audio CD (June 22, 1999)
  • Number of Discs: 1
  • Label: CPO
  • ASIN: B00000J8XU
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Best Sellers Rank: #377,938 in Music (See Top 100 in Music)

Customer Reviews

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Top Customer Reviews

Format: Audio CD
This CD in the CPO label's ongoing rediscovery of Telemann's vocal music includes two 30 minute pieces: The first is a Resurrection oratorio (Die Auferstehung TWV6:7) from 1761 and the second a real rarity commissioned from Telemann by the Kingdom of Denmark in 1757 to a Danish text with a Latin coda (De Danske, Norske og Tydske Underssates Glaede TWV12:10). It has to be said that the cantata is a bit of a novelty, and one detects that Telemann found his lack of Danish inhibited any word painting, but it is still quality Telemann, and the German oratorio is truly lovely in its own right.
As usual with CPO presentation is excellent, and includes both texts in German, Danish/Latin and English translations.
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Format: Audio CD
I suppose this excellent CD was recorded in a very large space. That is at least how it sounds. It starts out almost inaudibly with a solo bit that sounds fairly distant then ... BOOM the orchestra fires up and the bass particularly is loud by comparison. Once I got used to the sonic level I noticed that the orchestra is substantially more distant than the vocal soloists. That's all the criticism I can offer however. THese compositions are excellent baroque oratorios and the musical detail is nicely captured. The singers -- particularly the soprano soloists -- are beautiful.
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Ignore the tepid ratings of the two previous reviewers! Forget the common perception of Telemann as a charming lightweight. The Resurrection cantata recorded here is superb, distinctive music, a bridge between Bach and Haydn with the best of both combined coherently. At times Telemann is so effortlessly masterful that his innovations sound like "just what we expected", and that's the case in Die Auferstehung, which Telemann composed in 1761, his 80th year of life, not as a liturgical work but as a concert setting of a poem by his colleague Friedrich Wilhelm Zachariae. Thus Telemann was paralleling the path of Handel, from opera to commercial oratorio, in the far more conservative milieu of Lutheran Germany. Drama is everything in this cantata, from the hushed vocal/instrumental lament at the Tomb with which it begins, to the frenzied depiction of the harrowing of Hell by the angry Messiah, to the hesitant and then triumphant proclamation of resurrection for all the faithful at the End of Days. I'm not the first listener to suggest that Telemann's Auferstehung foreshadows Haydn's Creation Oratorio by several decades, but frankly I'll go a little farther; Telemann's work has more energy and originality in roughly a quarter the number of measures. Die Auferstehung is a work of theatrical contrasts, not only of mood but of musical dynamics, beginning with spare pianissimo arpeggios and the plaintive murmurs of Mary Magdalene at the Tomb following by the stunning eruption of tympani and trumpets with the announcement that the tomb is empty. Such acoustic drama is another marker of Telemann's innovative intentions, his transformation of a genre previously bound by the decorous solemnity of congregational worhsip into a public, audience-pleasing aesthetic.Read more ›
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