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CD reviews
Georg Philipp TELEMANN (1681 - 1767): "Ino & Late Works"
Christine Landshamer, soprano
Akademie für Alte Musik Berlin
Dir: Bernhard Forck
rec: June 10 - 13, 2022, Berlin, Nikodemuskirche
Pentatone - PTC 5187 072 (© 2021) (71'06'0
Liner-notes: E/D; lyrics - translations: E
Cover, track-list & booklet
Scores
Spotify
Divertimento in E flat (TWV 50,21) [1];
Ino (TWV 20,41);
Overture in D (TWV 55,D21) [1];
Sinfonia melodica in C (TWV 50,2) [1]
Sources:
[1] Ouvertürs, Sinfonie, u. Divertimenti, im Manuscript des sel. Telemanns, welche er im 86ten Jahr seines Alters für den Durchl. Landgraf von Darmstadt, Ludwig VIII, verfertiget hat
Laure Mourot, Andrea Theinert, transverse flute;
Michael Bosch, Eleonora Trivella, oboe;
Erwin Wieringa, Miroslav Rovenský, horn;
Rebecca Mertens, bassoon;
Bernhard Forck, Juliette Beauchamp, Katharina Grossmann, Sophia Stiehler, Kerstin Erben, Thomas Graewe, Emily Deans, Edburg Forck, violin;
Clemens-Maria Nuszbaumer, Annette Geiger, Stephan Sieben, viola;
Piroska Baranyay, Constance Ricard, cello;
Walter Rumer, double bass;
Raphael Alpermann, harpsichord
When Telemann died in 1767, at the respectable age of 87, he was still in command of his creative powers. However, in his last years he had problems with his eyesight, which forced him to reduce his compositional activities. Among his last works are the pieces that are the subject of the disc to be reviewed here. The instrumental works are taken from a collection that was put together posthumously by his grandson Georg Michael, who wrote on the cover [translated]: "Overtures, Sinfonias, and Divertimenti, in the manuscript of the late Telemann, which he produced in the 86th year of his life for His Most Serene Highness, the Landgrave of Darmstadt, Ludwig VIII".
At the time he wrote these works Telemann lived in Hamburg, where he acted as Musikdirektor until his death. However, from 1712 to 1721 he worked in the same position in Frankfurt am Main, which was not far from Darmstadt. The ties with the court there were close: the Darmstadt Kapellmeister, Christoph Graupner, was a colleague and friend, whom he knew from his time in Leipzig. Graupner copied many of Telemann's orchestral works and many of them have only come down to us thanks to his activities in this department.
Ludwig VIII was known for being a fanatic lover of the hunt and spent more time in his hunting castle in Kranichstein than in Darmstadt. This may explain the participation of pairs of horns in the Overture in D and the Divertimento in E flat. It has been argued that the nine pieces in the collection could together be intended as a cycle, as is summarized in the booklet to the complete recording by La Stagione Frankfurt. That recording has the pieces in the order in which they are in the collection.
The Overture in D is the first item. It comprises seven movements: the ouverture is followed by a plainte, réjouissance, carillon, tintamare, loure and a pair of minuets. "Festive opening/reception of the guests, commemoration of the dead (the »Plainte« in D major is thus not a »Lament« in the proper sense but rather a commemorative theme, similar to what we have in Telemann’s sinfonias in his funerary compositions for Hamburg mayors), Darmstadt local color (carillon)" (Schneider).
The Divertimento in E flat is one of three compositions in Telemann's oeuvre which bear this name. The other two are for strings and basso continuo, this one includes parts for two transverse flutes and two horns. It depicts a day in the life of a prince or aristocrat, and often a hunting party was the main occupation. After an introductory allegro we hear La Réveille, then the 'conversation at the table', followed by the reveille for the hunting party. When this is over we get the meal (repas) and the piece closes with the retreat (retraite), which is depicted by a dance.
The Sinfonia melodica in C is for two oboes and strings. It comprises seven movements, most of which are dances with a French title (the exception is the opening vivace assai), and has the character of a suite. The vivace assai seems to point in the direction of the style associated with the Mannheim school. This can be explained from the late date of composition. The dances are much more 'baroque' in style, especially the sarabande. The middle movement is a menuet in the form of a rondeau.
The Ouverture in D is followed by Ino, which is called a cantata but is in fact a dramatic scene which one could compare with, for instance, Arianna a Naxos by Haydn. It dates from 1765 and is scored for soprano with an orchestra of two transverse flutes, two horns, strings and basso continuo. The text was written by Karl Wilhelm Ramler who was also the author of the Passion oratorio Der Tod Jesu which Telemann had set in 1755. Ramler was part of a circle of poets, musicians and philosophers in Berlin. They organized private concerts and Telemann was one of the most frequently-performed composers. Such concerts took place in the music salon of the lawyer, court councillor and amateur musician Christian Gottfried Krause. Ino may have been performed during such concerts as well. A copy has been preserved but that is in fact an arrangement by Krause. It is notable that it was generally thought that Krause was the composer of the piece. It was only after his death in 1770 that the truth was revealed: Telemann was the composer and the cantata "had been altered in Berlin by the late Herr Krause". The two copies of Telemann's original have survived but seem to include various differences some of which may be the work of an arranger. The liner-notes to the present recording don't discuss this aspect and therefore I don't know which version has been used.
The booklet to the recording under the direction of Michael Schneider includes a description of the mythological background. "Made pregnant by Zeus in human form, Semele, the daughter of Cadmus, is consumed by the god's lightning when he returns to her as a god. But he rescues their child, Didymus, whom he entrusts to Semele's sister, Ino, and to Ino's husband Athamas. Zeus's wife, Hera (also known as Saturnia), remains jealous of her husband's infidelities and punishes Semele and Athamas by driving them mad. Athamas kills his son Learchos, and Ino leaps into the sea with their other son Melicertes. Ino is transformed into the sea goddess Leucothea, and Melicertes becomes the sea god Palaemon".
The last stage of this story is the subject of this cantata. It opens with a couple of bars from the orchestra which sets the tone. Ino bursts out in utterances of despair: "Whither? Whither should I fly? My raging husband is pursuing me." This short accompanied recitative is followed by the first aria in operatic style, 'Ungöttliche Saturnia': "Godless Saturnia, will vengeance always inflame you?" Then follows a highly dramatic accompanied recitative which impressively shows Telemann's skills in composing for the stage. The recitative ends with Ino jumping into the sea. An instrumental episode follows. Next we get a sinfonia followed by another recitativo accompagnato which includes several arioso episodes: "Where am I? O heaven! Do I still draw breath?" When she sees her son Telemann prescribes the character as vivace con molto affetto. This recitative is followed by the Dance of the Tritons. In the next recitative and aria Ino reacts to the fact that she and her son have turned into gods. "Do you mean me, O Nereids? Are you welcoming me as your sister? Do you mean my son, O gods?" In the following recitative she expresses her gratitude, and the cantata closes with the longest aria of the piece - nine minutes in the present recording - which is a song of praise. The B part which speaks about "torments", "accumulated sufferings" and "the deepest grotto" is dominated by low notes, dark colours and a slow tempo. It is one of the many episodes which Telemann has effectively depicted in his music.
In the course of time I have heard several performances of this cantata on disc and in recordings on the radio. I can't remember any that really satisfied me. The present performance is no difference. It certainly has qualities. The dramatic nature of the piece is perfectly realized, both by Christine Landshamer and the Akademie für Alte Musik Berlin. Given the scenic structure it is fitting that there is very little time between the various recitatives and arias. This results in a natural flow which helps to communicate the drama. I also appreciate the excellent diction of Christine Landshamer, which makes it easy to understand the text. That is not always the case in recordings of vocal music, especially not music of a dramatic character.
However, from a stylistic point of view the performance is unsatisfactory - I would even call it unacceptable, due to the incessant and rather wide vibrato of Christine Landshamer. It is not nice to listen to - it gets on my nerves, and for that reason I won't play this performance ever again. What is more important, it is not in line with the aesthetic ideals of the baroque period. It will always remain a mystery to me why performers do their utmost to be as 'authentic' as possible as far as the instrumental part of music is concerned, but seem not to care about vocal technique and style.
As one may expect, the instrumental part of this recording is hard to surpass. The Akademie is one of the best in the business, and this repertoire is part of its core repertoire, with which they started to make a name for themselves, a few years before the Iron Curtain came down. They are still going strong in these pieces by Telemann, which are a joy to listen to, and undoubtedly also to play, as these energetic and lively performances suggest. It is a big shame that the vocal part is not of the same standard from a stylistic point of view. One wonders whether we will ever get a recording that does full justice to the nature of Ino, both dramatically and stylistically.
Johan van Veen (© 2025)
Relevant links:
Christina Landshamer
Akademie für Alte Musik Berlin