Georg Philipp Telemann, composer

Bergen Barokk, ensemble
[credit: Jørn Pedersen]

Mona Julsrud, soprano

Frode Thorsen, recorder

Markku Luolajan-Mikkola, cello

Hans Knut Sveen, harpsichord, organ

[…] One can hardly think of a large Baroque collection of sacred music that needs recording worse than this one, although that in itself is a daunting prospect; judging by the standards of Telemann: Harmonischer Gottes-Dienst, Vol. 1, performers, Bergen Barokk will reach the end of the cycle some 12 CDs from now.

Nevertheless, this is an incredibly good start. Bergen Barokk seems to have found the ideal soprano in Mona Julsrud, who has a clear, transparent, and flexible voice that never devolves into modern, operatic-style singing, but is capable of delivering drama where it belongs, such as in the stormy cantata for Laetare (The Fourth Sunday of Lent), Du bist verflucht, o Schreckensstimme. Julsrud also has the ability to differentiate between different, but closely related kinds of vocal ornaments, as in the cantata for the Fourth Sunday of Advent, Lauter Wonne, lauter Freunde. Soloist Frode Thorsen on recorder plays sweetly, but not shrilly, and never dominates the music, even in passages where he appears to be the star attraction. The continuo playing by Hans Knut Sveen and Markku Luolajan-Mikkola is alternatively spirited and sensitive without being over-decorated or bored sounding.

Leaving nothing to bothersome uncertainty for consumers coming to grips with this literature for the first time, as most will be, the book supplied with Telemann: Harmonischer Gottes-Dienst, Vol. 1, will satisfy even expert listeners. Full texts and translations are provided, along with a discussion of the text authors, an attribute badly needed when sacred cantatas are under consideration, and yet one almost never explored, or exploited, by record companies. There are even mini-reproductions of original score pages and a link provided for those who want to observe the printed music in an online edition. All in all, Telemann: Harmonischer Gottes-Dienst, Vol. 1, is a great start to what looks to be a promising series, and if subsequent volumes maintain this level of inspiration and dedication, then Telemann fans are going to have to make a lot of room on their record shelves.

David Lewis All Music Guide

After so much enjoying Bergen Barokk’s first disc for Toccata Classics (trio sonatas by Georg von Bertouch – all premier recordings), I am delighted to see this group embarking on this new project, a complete recording of the 72 sacred cantatas that comprise Telemann’s "Harmonischer Gottes-Dienst", of which this is the first volume. Again, Bergen Barokk is exploring new territory: much of Telemann's collection, the first complete cantata cycle for the church year ever to be published (in 1726), has never been recorded before. The present volume contains six cantatas, all of which are scored for high voice (here a soprano), recorder obbligato and basso continuo. Each follows the same aria-recitative-aria pattern while making extensive use of melodic and harmonic word-painting.

These are delightful works, melodically attractive and short enough to appeal to those of us who prefer ‘sacred sound-bites’ to, say, Bach’s mighty edifices. Mona Julsrud sings with great clarity and beauty of tone while eschewing undue emphasis on already salient features, allowing Telemann’s effective writing to carry the day. Her ornamentation on the A-section repeats of the da capo arias is crisply executed, as is recorder-player Frode Thorsen’s, who elsewhere is given much work to do by way of instrumental introductions, and the ritornelli are an almost continuous counterpoint to the vocal line. His affecting tone and expressive phrasing greatly contributes to the elucidation of the text. Hans Knut Sveen fills out Markku Luolajan-Mikkola’s sometimes lively bass-line with great taste while being ever-attentive to the soloists.

The recorded sound perfectly conveys the requisite intimacy; Thorsen’s booklet notes are superb, with much background information and analysis. Full translations of the German texts are provided, as are the biblical texts on which the cantatas are a commentary.

William Yeoman Classical Source

These six cantatas remind us just how far Telemann's agreeable facility and hospitable contours would have warmed the cockles of his followers, with their intimate and approachable melodies and expertly clear text-setting.

Jonathan Freeman-Attwood Gramophone