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The Hamburger Ratsmusik - an ensemble looking back on a five-hundred-year history - teams up with the young countertenor Benno Schachtner on this recording of Georg Philipp Telemann's Six Moral Cantatas. During the decades between 1720 and 1750 the middle class of the early Enlightenment sought moral education and ethical improvement deriving from human nature and reason as part of it's never-ending quest for earthly happiness. It was with wit and charm that in his Moral Cantatas of 1735 Telemann set to music a poetic document conveying the spirit of this Enlightenment period. His only recently rediscovered Fantasies for Solo Viola da Gamba, published at the same time, are presented here in alternation with his Moral Cantatas, the title with which they were announced in a catalogue dating from August 1735. These two collections first performed together during a concert of the Hamburger Ratsmusik at the last Telemann Festival are now being presented here for the first time. These two works by Telemann were intended for professional and amateur musicians alike, and they seem to have met with special resonance among those interested parties who wanted to perform at home in smaller ensembles.
The Hamburger Ratsmusik - an ensemble looking back on a five-hundred-year history - teams up with the young countertenor Benno Schachtner on this recording of Georg Philipp Telemann's Six Moral Cantatas. During the decades between 1720 and 1750 the middle class of the early Enlightenment sought moral education and ethical improvement deriving from human nature and reason as part of it's never-ending quest for earthly happiness. It was with wit and charm that in his Moral Cantatas of 1735 Telemann set to music a poetic document conveying the spirit of this Enlightenment period. His only recently rediscovered Fantasies for Solo Viola da Gamba, published at the same time, are presented here in alternation with his Moral Cantatas, the title with which they were announced in a catalogue dating from August 1735. These two collections first performed together during a concert of the Hamburger Ratsmusik at the last Telemann Festival are now being presented here for the first time. These two works by Telemann were intended for professional and amateur musicians alike, and they seem to have met with special resonance among those interested parties who wanted to perform at home in smaller ensembles.
761203514120

Details

Format: CD
Label: CPO
Rel. Date: 01/04/2019
UPC: 761203514120

Moralische Cantaten / Fantasien Fur Viola Da Gamba
Artist: Benno Schachtner
Format: CD
New: In Stock $16.99
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1. 6 Moralische Cantaten, Die Zeit, Twv 20:23: No. 1, Die Zeit Verzehrt Die Eignen Kinder
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2. 6 Moralische Cantaten, Die Zeit, Twv 20:23: No. 2, Der Anfang Lieget Stets Beym Ende
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3. 6 Moralische Cantaten, Die Zeit, Twv 20:23: No. 3, Fahrt, Reitet, Spielt Karten
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4. 12 Fantaisies, No. 8 In A Major, Twv 40:33: I. Allegro
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5. 12 Fantaisies, No. 8 In A Major, Twv 40:33: II. Grave
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6. 12 Fantaisies, No. 8 In A Major, Twv 40:33: III. Vivace
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7. 6 Moralische Cantaten, Der Geiz, Twv 20:26: No. 1, Ihr Hungerleider! Ruht Einmal Von Eurer Selbstgemachten Qual
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8. 6 Moralische Cantaten, Der Geiz, Twv 20:26: No. 2, Wem Hebt Ihr Alles Auf?
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9. 6 Moralische Cantaten, Der Geiz, Twv 20:26: No. 3, Ihr Thaler, Lasst Euch Nicht Verlangen!
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10. 12 Fantaisies, No. 6 In G Major, Twv 40:31: I. Scherzando
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11. 12 Fantaisies, No. 6 In G Major, Twv 40:31: II. Dolce
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12. 12 Fantaisies, No. 6 In G Major, Twv 40:31: III. Spirituoso
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13. 6 Moralische Cantaten, Die Falschheit, Twv 20:27: No. 1, Lasst Mich Über Falschheit Klagen
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14. 6 Moralische Cantaten, Die Falschheit, Twv 20:27: No. 2, Man Sehe Doch, Mit Welcher Freundlichkeit
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15. 6 Moralische Cantaten, Die Falschheit, Twv 20:27: No. 3, Entweich Von Mir, Verstellte Tücke!
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16. 6 Moralische Cantaten, Das Glück, Twv 20:25: No. 1, Guten Morgen, Faules Glücke
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17. 6 Moralische Cantaten, Das Glück, Twv 20:25: No. 2, Erwache Doch Und Reiss Mich Heute Noch
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18. 6 Moralische Cantaten, Das Glück, Twv 20:25: No. 3, Schlaf Indessen, Wehrtes Glücke
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19. 12 Fantaisies, No. 7 In G Minor, Twv 40:32: I. Andante
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20. 12 Fantaisies, No. 7 In G Minor, Twv 40:32: II. Vivace
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21. 12 Fantaisies, No. 7 In G Minor, Twv 40:32: III. Allegro
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22. 6 Moralische Cantaten, Grossmut, Twv 20:28: No. 1, Furchtsam Weinen, Ängstlich Schweigen
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23. 6 Moralische Cantaten, Grossmut, Twv 20:28: No. 2, Ein Mann, Der Raum Im Herzen Hat
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24. 6 Moralische Cantaten, Grossmut, Twv 20:28: No. 3der Himmel Führt Die Seinen Oft Durch Schmerzen Und Kummer
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25. 12 Fantaisies, No. 11 In D Minor, Twv 40:36: I. Allegro
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26. 12 Fantaisies, No. 11 In D Minor, Twv 40:36: II. Grave
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27. 12 Fantaisies, No. 11 In D Minor, Twv 40:36: III. Allegro
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28. 6 Moralische Cantaten, Die Hoffnung, Twv 20:24: No. 1, Hoffe Nur, Geplagtes Herze!
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29. 6 Moralische Cantaten, Die Hoffnung, Twv 20:24: No. 2, Die Hoffnung Stützt Mich Noch
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30. 6 Moralische Cantaten, Die Hoffnung, Twv 20:24: No. 3, Mein Glücke Nimmt Sich Zeit
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The Hamburger Ratsmusik - an ensemble looking back on a five-hundred-year history - teams up with the young countertenor Benno Schachtner on this recording of Georg Philipp Telemann's Six Moral Cantatas. During the decades between 1720 and 1750 the middle class of the early Enlightenment sought moral education and ethical improvement deriving from human nature and reason as part of it's never-ending quest for earthly happiness. It was with wit and charm that in his Moral Cantatas of 1735 Telemann set to music a poetic document conveying the spirit of this Enlightenment period. His only recently rediscovered Fantasies for Solo Viola da Gamba, published at the same time, are presented here in alternation with his Moral Cantatas, the title with which they were announced in a catalogue dating from August 1735. These two collections first performed together during a concert of the Hamburger Ratsmusik at the last Telemann Festival are now being presented here for the first time. These two works by Telemann were intended for professional and amateur musicians alike, and they seem to have met with special resonance among those interested parties who wanted to perform at home in smaller ensembles.
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