Search - Georg Philipp Telemann, Ludger Remy, Telemannisches Collegium Michaelstein :: Telemann: Der Messias; Concerti

Ludger Remy and the "Messiah" problem

Frank T. Manheim | Fairfax VA | 11/22/2003

(4 out of 5 stars)

"I agree with Scott Morrison about the technical quality of this performance: dazzling voices, superb precision in all the musical forces, and an outstanding recording. But for people used to hearing Handel's Messiah, I believe there is a performance problem that may prejudice against Telemann's Der Messias. When we hear the Messiah we usually hear it with modern instruments and "living tradition style". That lets us hear it as "absolute music", i.e. focuses us on the melodic inspiration, the understandable English words, the sonorous string color (as well as the brilliant trumpet part in the Hallelujah chorus) and also the spiritual message for those open to it. Telemann's Messias, though much smaller in scale, also contains some inspired writing. However, the Ludger Remy performance is in "period instrument style". Its use of a limited number of instrumentalists, greatly restrained string sound, clipped phrases especially in the wind instruments, and stylized ornamentation can to the ear used to the Handel work sound as though the instruments are weak in comparison with the magnificent voices of the vocal soloists. There is a more "historical recreation" flavor to the performance rather than a contemporary and spiritual experience. While cognoscenti may be able to transport themselves into the past or inferred past, much may be lost to the more general music lover. Understandably, nearly all of the rediscovered Telemann oratorios are now performed by period ensembles, who deserve great credit for bringing out new musical gems from this master of the Baroque. But I'd like to let my ear as well as that of other music lovers get an opportunity to savor more of Telemann's music in "living tradition" style."

An Alternate Messiah

Giordano Bruno | Wherever I am, I am. | 07/02/2010

(5 out of 5 stars)

"Telemann -- or rather the ghost of Telemann taking the form of his musical stature -- has gotten a lucky break in the timing of the revival of his music in out lifetimes. Unlike Bach and Handel, Telemann hasn't had to listen (from the crypt) to frequent performances of his music on instruments developed for symphony halls and voices coached to the requirements of Wagner. This is true especially of his cantatas, oratorios, and other voice-centered compositions. Thus I'm spared the necessity of defending the musicianship of 'historically informed' singers and instrumentalists; only the most obdurate crank could listen to this recording, and others conducted by Ludger Remy, and suggest that it would sound more impressive if it were re-composed for a Romantic symphonic orchestra and chorus.



But let me start by noting that the "period instrument" ensemble of the Telemannisches Collegium Michaelstein is not so sparse! It includes 12 strings, organ, harpsichord, and a superb wind band of paired flutes, oboes, and bassoons. This CD is substantially an instrumental performance. Three 'sonatas' from Telemann's earliest musical service in Eisenach, written specifically for one-on-a-part chamber ensembles, comprise the second half of the CD. However, the two 'cantatas' linked together as "Der Messias" are also showcases for instrumental timbres; both include purely instrumental 'symphonie' and both depend on striking instrumental obbligato support for the declamatory recitations of the singers.



Comparison of Telemann's "Messias" with Handel's "The Messiah" is almost inevitable, despite the huge differences between the two works. Both Handel and Telemann were in the business, in the mid-1700s, of staging public concerts and selling tickets. But Telemann's linked Messias cantatas amount to only 33 minutes. Four soloists do all the singing; there is no chorus. The most telling difference between the two Messiahs is the choice of texts. Handel's libretto is chiefly a pastiche of scriptural excerpts, while Telemann's text comes solely from the epic-length poem "Der Messias" by Freidrich Gottlieb Klopstock. In fact, the challenge of setting Klopstock's German hexameters to music may well have been the 'occasion' for Telemann's composition.



Klopstock published the first portions of Der Messias in 1748. The work made a sensational impression in Germany; it would not be claiming too much to say that Klopstock was immediately recognized as the greatest German poet of the Baroque era. Telemann was certainly acquainted with Klopstock and Klopstock's disciples; several of his finest oratorios from the 1750s are based on "Klopstockian" texts. The first cantata on this CD uses the author's sermon-like announcement of his poetic intentions, taken from Canto 1. Most of the declamation is sung by basso Klaus Mertens, richly heeding Telemann's indications that the music should be "prächtig" - magnificent - and "pathetisch" alternately. The second cantata, using text from Klopstock's Canto 10, is largely composed of soprano/alto duets with instrumental preludes and obbligatos. The singers represent Miriam and Deborah, reporting and lamenting the Crucifixion. Thus the two 'movements' are only loosely related, either musically or dramatically. Klopstock's poetic inspiration comes from the long German Protestant tradition of spiritual/mystical meditations, not scriptural but deeply personal and emotive. Telemann's setting, to my ears, embodies and enhances that mood of intense personal 'sensibility' of the central Christian encounter. The notes that accompany this CD are unusually ample and informative about the poem and the music. Klopstock's verses are included both in German and in English translation.



Soprano Veronika Winter and alto Marion Eckstein have specialized in their careers in performance of German baroque masterworks, singing not only with Ludger Remy but also with conductors Hermann Max, Frieder Bernius, and Philippe Herreweghe. What you'll hear: marvelous tuning, agile and delicate passagework, no dependence on vibrato for affect, and best of all, beautifully communicative ensemble singing on their duets. Tenor Jan Kobow sings a smaller role, as the herald of both cantatas, but his voice is a delight and his baroque technique is impeccable.



This is not a new issue. It was recorded in 2001 and 2002 and first released in 2003. CPO (Classic Produktion Osnabrück) is perhaps the most dependable label in baroque music, in terms of recording quality, and the sound reproduction on this CD is of the highest standard. In fact, everything about this performance is of the highest standard, including the music itself. If there were a World Cup of Messiah compositions, Telemann would do as well against Handel as the German soccer team did this June against England."