Telemann: Der Herr ist König & Die Donner-Ode

Capriccio: C10556

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Telemann: Der Herr ist König & Die Donner-Ode



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65 minutes


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Telemann: Der Herr ist König & Die Donner-Ode


Der Herr ist König, TWV 8:6

Die Donner-Ode, TWV 6:3

Hans-Georg Wimmer, Wilfried Jochens, Barbara Schlick, Axel Kohler, Stephan Schreckenberger

Kleine Konzert Orchestra, Hermann Max

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Georg Philipp Telemann: Der Herr ist Konig, TWV 8:6

Der Herr ist Konig (Chorus)

Aria: Mein Jesu, Konig, Herr und Freund (Bass)

Recitative: So gross ist Christi Reich (Tenor)

Aria: Zion liegt zu deinen Fussen (Soprano)

Die Tochter Zion sind frohlich (Chorus)

Aria: Prahlet, ihr Volker (Tenor)

Recitative: Dies Wunderreich ist (Soprano)

Aria: Der Herr ist Gott (Bass)

Chorale: Mit unsrer Macht ist nichts getan (Chorus)

Georg Philipp Telemann: Donnerode, TWV 6:3

Part I: Wie ist dein Name so gross (Chorus, Soprano, Tenor, Bass)

Part I: Aria: Bringt her, ihr Helden aus gottlichem Samen (Soprano)

Part I: Aria: Fallt vor ihm hin, mit dem heiligen Kleide (Alto)

Part I: Aria: Die Stimme Gottes erschuttert die Meere (Tenor)

Part I: Aria: Die Stimme Gottes zerschemettert die Zedern (Bass 1)

Part I: Aria: Sie sturzt die stolzen Gebirge zusammen (Bass 2)

Part I: Duet: Er donnert, dass er verherrlichet werde (Bass 1 and 2)

Part I: Wie ist dein Name so gross (Chorus)

Part II: Mein Herz ist voll, vom Geiste Gottes erhoben (Chorus)

Part II: Aria: Schonster von allen Geschlechten (Soprano)

Part II: Aria: Gurt an dein Schwert! (Bass 1)

Part II: Aria: Scharf sind deine Geschosse, sie fliegen (Bass 2)

Part II: Dein Zepter ist ein richtig Zepter und ubet (Chorus)

Part II: Aria: Deines Namens, des herrlichen, wollen wir (Tenor)

Part II: Chorale: Dein Nam' ist zuckersuss Honig im Munde (Chorus)

Part II: Wie ist dein Name so gross (Chorus)

Gramophone Classical Music Guide


“The Donner-Ode was one of Telemann's biggest public successes during his lifetime and is a striking piece in its own right, a vivid reaction to the Lisbon earthquake of 1755. The shock caused to the international community by this dreadful event (in which some 60,000 people were killed) was enormous, and in Hamburg a special day of penitence was the occasion for this 'Thunder Ode', though it does perhaps suggest a rather smug satisfaction that such a disaster didn't befall northern Germany. 'The voice of God makes the proud mountains collapse', the text proclaims, 'Give thanks to Him in His temple!' The music, too, both in its mood and in that extraordinarily up-to-date style of Telemann's later years, frequently conjures the benign, entertainingly songlike pictorial mood of a Haydn Mass or oratorio.
Entertaining is the word, though, especially in this energetic performance under Hermann Max.
He's fleet-footed and buoyantly athletic, benefiting from what's becoming his customary excellent team of German soloists.
For the coupling Max chooses another German work, the cheerful cantata Der Herr istKönig, written much earlier in the composer's life and more Bach-like in character and form (though it's worth pointing out that since it survives partly in Bach's hand, we ought perhaps to conclude that Telemann was the one wielding the influence here). As in the Ode, choir, soloists and orchestra are bright, tightknit and well recorded, making this release an enjoyable one.”

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