Music Millennium

The seven works brought together on Vol. 4 of our complete recording of Kuhnau's cantatas offer a remarkable cross section featuring sacred works - and more. They have also been transmitted in all sorts of different ways. The spectrum ranges from extant autographs and original printed editions leaving no doubt about Kuhnau's authorship to copies from what was clearly a later time or sources from rather peripheral lines of transmission in which the materials themselves as well as the stylistic findings offer reasons for critical skepticism about the ascription of the works to Kuhnau. The most reliable sources as far as authenticity is concerned are those for the two burial songs "Gott hat uns nicht gesetzt zum Zorn" and "Ach, Gott, wie lässt du mich verstarren." These two works are from Kuhnau's early period but nonetheless pieces of great artistic mastery and have to be regarded as model examples of the church style that exercised an absolutely enormous influence on the formation of the church styles of Bach, Handel, and Telemann.
The seven works brought together on Vol. 4 of our complete recording of Kuhnau's cantatas offer a remarkable cross section featuring sacred works - and more. They have also been transmitted in all sorts of different ways. The spectrum ranges from extant autographs and original printed editions leaving no doubt about Kuhnau's authorship to copies from what was clearly a later time or sources from rather peripheral lines of transmission in which the materials themselves as well as the stylistic findings offer reasons for critical skepticism about the ascription of the works to Kuhnau. The most reliable sources as far as authenticity is concerned are those for the two burial songs "Gott hat uns nicht gesetzt zum Zorn" and "Ach, Gott, wie lässt du mich verstarren." These two works are from Kuhnau's early period but nonetheless pieces of great artistic mastery and have to be regarded as model examples of the church style that exercised an absolutely enormous influence on the formation of the church styles of Bach, Handel, and Telemann.
761203519026

Details

Format: CD
Label: CPO
Rel. Date: 01/04/2019
UPC: 761203519026

Complete Sacred Works 4
Artist: Gregor Meyer
Format: CD
New: In Stock $16.99
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DISC: 1
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1. Ich Hebe Meine Augen Auff: I. Sonata
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2. Ich Hebe Meine Augen Auff: II. Ich Hebe Meine Augen Auf Zu Den Bergen
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3. Ich Hebe Meine Augen Auff: III. Meine Hülfe Kömmt Vom Herren
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4. Ich Hebe Meine Augen Auff: IV. Er Wird Deinen Fuß Nicht Gleiten Lassen
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5. Ich Hebe Meine Augen Auff: V. Siehe, Der Hüter Israel
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6. Missa Brevis: I. Kyrie
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7. Missa Brevis: II. Gloria
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8. Ach Gott, Wie Lässt Du Mich Erstarren
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9. Muss Nicht Der Mensch Auf Dieser Erden: I. Muss Nicht Der Mensch Auf Dieser Erden
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10. Muss Nicht Der Mensch Auf Dieser Erden: II. Doch Wer Sich Tapfer Hält
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11. Muss Nicht Der Mensch Auf Dieser Erden: III. Drum So Lasset Uns Mit Haufen
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12. Muss Nicht Der Mensch Auf Dieser Erden: IV. Ach, Aber Ach, Wir Sind Ja Viel Zu Schwach
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13. Muss Nicht Der Mensch Auf Dieser Erden: V. Du Musst Uns Und Unsern Waffen
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14. In Te Domine Speravi: I. Sinfonia - In Te, Domine, Speravi
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15. In Te Domine Speravi: II. In Iustitia Tua Libera Me
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16. In Te Domine Speravi: III. Esto Mihi In Deum Protectorem
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17. In Te Domine Speravi: IV. Quoniam Fortitudo Mea
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18. In Te Domine Speravi: V. Educes Me De Laqueo Hoc
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19. Gott Hat Uns Nicht Gesetzt Zum Zorn
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20. Was Gott Tut, Das Ist Wohlgetan: Versus 1, Chorale
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21. Was Gott Tut, Das Ist Wohlgetan: Versus 2, Andante
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22. Was Gott Tut, Das Ist Wohlgetan: Versus 3, Andante Con Moto
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23. Was Gott Tut, Das Ist Wohlgetan: Versus 4, Andante, Quasi Allegretto
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24. Was Gott Tut, Das Ist Wohlgetan: Versus 5, Andante
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25. Was Gott Tut, Das Ist Wohlgetan: Versus 6, Allegro Moderato
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The seven works brought together on Vol. 4 of our complete recording of Kuhnau's cantatas offer a remarkable cross section featuring sacred works - and more. They have also been transmitted in all sorts of different ways. The spectrum ranges from extant autographs and original printed editions leaving no doubt about Kuhnau's authorship to copies from what was clearly a later time or sources from rather peripheral lines of transmission in which the materials themselves as well as the stylistic findings offer reasons for critical skepticism about the ascription of the works to Kuhnau. The most reliable sources as far as authenticity is concerned are those for the two burial songs "Gott hat uns nicht gesetzt zum Zorn" and "Ach, Gott, wie lässt du mich verstarren." These two works are from Kuhnau's early period but nonetheless pieces of great artistic mastery and have to be regarded as model examples of the church style that exercised an absolutely enormous influence on the formation of the church styles of Bach, Handel, and Telemann.
        
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