Ambitious Oratorios from Georg Philipp Telemann

This release presents two of Georg Philipp Telemann's "Johannis" oratorios. For the church year 1730-31, Telemann set himself an ambitious task. For every church service, he would compose a full oratorio (rather than a short cantata). 

Few composers other than Telemann could have pulled it off. And an even smaller group could have done so at the quality Telemann maintained. 

The first oratorio recorded here is Gelobet sei der Herr. It relates the birth of John the Baptist, and of the role he would play in preparing the way for Christ.

The second was sung during the Third Sunday of Easter. Bequemliches Leben, gemächlicher Stand is a contemplation of Jesus as the Good Shepherd, and what that role means. 

These are indeed, big works. Soloists include not only the principal characters of the stories. Old Testament prophets comment on the action and provide historical background. Allegorical figures personify concepts such as love and faith.  

The 20 musicians Telemann had at his disposal are given plenty to do, as is the chorus. And yet these oratorios have a lighter feel to them than J.S. Bach's. The choral and instrumental textures have greater transparency. And the relatively straightforward solo lines have a natural clarity to them. 

Michael Alexander Willens and the Kölner Akademie are among the premier practitioners of high German Baroque choral music. Their performances here are fluid and supple. Willens guides the singers (and our ears) through the subtleties of the text. His direction makes a strong connection between the emotional content of Albrecht Jacob Zell's words and the music. 

Will they do all 50+ oratorios? That's a tall order. But I'm glad these two were recorded. Both are works that are worth revisiting time and again.

Georg Philipp Telemann: Johannis Oratorium
Rahel Maas, Harsányi, soprano; Elvira Bill, alto; Mirko Ludwig, tenor; Klaus Mertens, bass baritone; Mauro Borgioni, bass; André Morsch, baritone
Kölner Akademie; Michael Alexander Willens, director
CPO

Ferdinand Hiller Chamber Works Rescued from Obscurity

Ferdinand Hiller definitely qualifies as a forgotten composer. During his lifetime he was a sought-after piano virtuoso. He was a prolific composer (over 450 works). Most of his works were performed, and quite a few were performed frequently. 

Hiller had rock-solid credentials. He was protege of Johann Nepomuk Hummel. He visited (with Hummel) Beethoven during his final days. He heard Franz Schubert and Johan Michael Vogel premier Die Winterreise. 

As a performer, he was admired by Franz Liszt. His pupils include Max Bruch and Englebert Humperdinck.

And yet, within a few years after his death in 1885, Hiller's music virtually disappeared from performance and publication. The current theory is that tastes changed. His music was simply considered too old-fashioned. 

Of course, almost 150 years later, even the New German School that supplanted it is now old-fashioned. And so we can appreciate Hiller's music for what it is, rather than dismiss it for what it is not. 

This release presents two chamber works by Hiller. Both were composed in the early 1870s. The Piano Quartet No. 3 in A minor and the Piano Quintet in G major are great introductions to Hiller. They're both substantial works, each running about 40 minutes.

Hiller was a friend of Mendelssohn, and there's a Mendelssohnian lightness to these works. Hiller develops his themes skillfully. He had studied Bach and was one of the first Romantic pianists to play his music in a recital. But counterpoint is simply a means to an end for Hiller. 

What's most important is that the theme evolves in a logical and emotionally satisfying fashion. And Hiller does that again and again. 

Pianist Oliver Trindl is in top form. A good thing, because piano virtuoso Hiller wrote some challenging piano parts. The Minguet Quartett has a seamless ensemble blend. And their collaboration with Trindl is flawless. 

These are spirited performances indeed! These works were a pleasure to listen to. Solid chamber music delivered with elan. 

Ferdinand Hiller: Piano Quartet Op. 133, Piano Quintet Op.156
Oliver Triendl, piano; Minguet Quartett
CPO

#ClassicsaDay #ForgottenComposers Week 4

This month the Classics a Day team presents a real challenge. And that's to remember forgotten composers. It's a challenge, but remembering the forgotten can be important, too.

The idea here isn't to lift up composers who always labored in obscurity. Rather, the goal is to recall composers that were once popular. 

Throughout this month, many of the composers I'll be featuring will have the same story. During their lifetime they were famous and popular. People flock to hear them play, publishers fight for the rights to their music, and younger composers emulate their style. 

And yet, after their death, it all goes away -- and quite quickly. Usually, within a decade their music's out of print, no one performs or discusses them, and they're virtually eliminated from music history.

Why? The reasons vary. Sometimes it's gender or racial bias. Sometimes it's political upheaval. Sometimes tastes just change.

Here are my posts from the second week of #ForgottenComposers. I'll leave it to you to judge if they deserve to remain so.

11/21/22 Carl Loewe: Erlkonig

In the mid 1800s, Loewe was renowned as a tenor and as a composer of dramtic ballad. He was called the "Schubert of North Germany," and his music was admired by Wolf and Wagner. In time they would overshadow Loewe and his music fell into obscurity.

11/22/22 Thomas Arne: Ouverture to "Alfred"

Thomas Arne was Britain's premier composer of theatrical music, composing one hit after the other. Today, he's remembered for just two tunes: "Rule Britania," and "A Hunting We Will Go." 

11/23/22 John Knowles Paine: Symphony No.2 in A-major, Op.34 "Im frühling"

Paine was a major figure in late 19th Century American music. He founded the AGO, developed Harvard's music curriculum, and was a director of the New England Conservatory of Music. His music was regularly performed until after World War I when European repertoire became the norm in American concert halls.

11/24/22 Hans Pfitzner: "Palestrina," Act I Prelude

Pfitzner was a rising star in 1920s Germany. His contentious relationship with the Nazis hampered his career somewhat. But because he didn't fully break with the regime, his music wasn't performed much after the war.

11/25/22 Moritz Moszkowski: Piano Concerto in E major, Op. 59

Moszkowski was considered the greatest Polish composer/pianist after Chopin. His tours were always successful, and he was one of the most sought-after piano teachers of the 1890s. His health declined in the early 1900s, and his fame soon vanished -- as did his music from the concert hall.

Next month:

Matthias Weckmann Sonatas given good account by Musica Fiata

Collegium Musicum societies sprang up across Germany during the Reformation. Originally, they were amateur musical groups created to perform instrumental works. 

In time, many incorporated professional musicians. These expanded groups provided instrumental ensembles for large civic and church functions. 

And in many cities, it wasn't long before the leading local composers joined. They often wrote music for their collegiums and conducted performances.  

The Hamburg Collegium Musicum of the 1650s was one of the most prestigious. Composers from other cities would send scores for the collegium to perform. This was the organization Matthias Weckmann founded.

Weckmann was a student of Heinrich Schutz and organist at JakobKirche in Hamburg. He was very much interested in the music of Italy, especially contrapuntal music. The works he composed for the Collegium Musicum reflect that interest.

The eleven sonatas recorded here use a variety of instrumental combinations. These were the musicians Weckmann worked with professionally, and he knew their capabilities. Every one of these sonatas pushes the limits of the instruments involved.

The Musica Fiata directed by Roland Wilson is up to the challenge. Wilson also plays cornetto with the ensemble. Wilson's direction brings out the contrasting sections in Weckmann's music. To my ears, there were hints of Gabrielli and his use of contrasting choirs. 

The ensemble is well-recorded. There's a little ambiance, but not a lot. And that's appropriate. These would have been performed in a coffee house or other secular gathering place. So the sound would have been closed in. 

There's no harpsichord used here, only a chamber organ. That gives these works a very different sound quality than many Baroque chamber recordings. And, I think, one truer to the vision of organist Mathias Weckmann.

Matthias Weckmann: Eleven Sonatas for the Hamburg Collegium Musicum
Musica Fiata; Roland Wilson, director
CPO

Joanna Gutowska beautifully performs Kaija Saariaho cello music

This release presents four works for solo cello by Kaija Saariaho. It also includes a fifth, let in on a technicality. Saariaho is a composer who continually explores the nature and texture of sound. And in these works, those explorations range far. 

Two compositions for cello and electronics are included. "Petals" was composed in 1988 and focuses on the sound possibilities of the instrument. Saariaho seamlessly combines the acoustic with the electronics.  The cello seems to transform into something greater than itself. 

"Pres," written six years later, has a clearer structure. The work has three distinct movements, Here the electronics use real-time processing. This makes them more responsive to the performer, making them an extension of the instrument. 

The two acoustic works are "Sept Papillons" for solo cello, and "Spins and Spells" for cello with scordatura. Scordatura means alternate tuning. Saariaho's scordatura changes the pitches of the open strings on the cello. These create subtly different colorations that she then exploits. 

Joanna Gutowska is a fantastically talented performer. Her mastery of this material is superb. Her technique is flawless. And she seems comfortable interacting with the electronics. This is an important addition to Saariaho's catalog of recorded works. 

Oh - that piece that got in on a technicality? It's Neiges for eight cellos. Although in this case, all eight parts are performed by Gutowska with overdubs. I'm not normally a fan of this type of performance, but here it works. Gutowska manages to make each line sound like it's interacting with the others. It's as if eight musicians were indeed performing together. Well done. 

Kaija Saariaho: Works for Cello
Joanna Gutowska, cello
DUX 1686