Telemann, Graupner, Bach - Leipzig 1723
- Label: Accentus Music
- Recording: Paul=-Gerhardt-Kirche, Leipzig, July 2022
- Producer/Mastering: Sebastian Braun
- Performers: Isalbel Schicketanz, Stefan Kunath, Florian Sievers, Martin Schicketanz (voices), Capella Jenensis, Yves Ytier, concertmaster
When the Leipzig cantor Kuhnau died in 1722, the town council went looking for a replacement. They wanted someone good, but the position wouldn’t be filled for some time.
Telemann auditioned first but remained in Hamburg, after receiving a pay increase. Graupner was their next forerunner, but after a long wait, he reported he could not leave his former post. That left Johann Sebastian Bach to come next with an audition. Despite getting the job, town records have made it clear that he wasn’t considered a first-class choice.
The concept of this album by Ælbgut and Capella Jenensis is to present the music from these auditions. I think as an album concept it’s a good one. The second Telemann piece was not recorded, otherwise we get the music presented on either of the sermon’s by Bach and Graupner.
The records really give us no such understanding of the dispositions or personality of the men who came to Leipzig to perform their music with the church’s musicians. The album does, however, give us a potential insight into an experience people had in 1723 and the novelty of being able to make our own decisions around the strength of each composer.
To my ears, Telemann’s cantata, TWV 1:591 is the lightest and many ways more forward looking example; he is probably best at presenting the text as clearly as possible.
Graupner is not afraid to give us a lot—in terms of musical variety—but how can you compare either composer’s thematic material to Bach’s? The opening of BWV 23 with its intricate duet given to the reeds, only to then transfer over to the voices, before the music transverses out of its original key? The instrumental duet still viable as the voices sing?
The question is—what did it sound like? How much rehearsal time was there? How good were the Thomaskirche musicians? The mind games we can play are certainly modern era amusements.
The vocalists who make up Ælbgut have a good blend with one another; while vibrato does creep into their style, it’s most prevalent with the soprano. In ensemble singing, however, I think they sound good together.
The instrumental support from Capella Jenensis is colorful (by necessity with the instrumentarium asked for) and the balance between singers and instruments is good; the recorded sound is good as well.
The music presented on this album is interesting for historical reasons. That said, these works do well to illustrate the stylistic variety of the period and the individual voices of these composers, three. I think Leipzig would have been fortunate to employ either of these men. That said, history has already weighed in regarding who would ultimately write the most profound music.
