Georg Philipp Telemann
Seele, lerne dich erkennen!
Cantata for high voice, alto recorder (violin), and B.C.
Georg Philipp Telemann
Seele, lerne dich erkennen!
Cantata for high voice, alto recorder (violin), and B.C.
- Instrumentation Voice (high), alto recorder, and basso continuo
- Optional Instrumentation Voice (high), violin, and basso continuo
- Edition Score and Parts
- Composer Georg Philipp Telemann
- Publisher Girolamo Musikverlag
- Editor Franz Müller-Busch
- Order no. GIRO11-006
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Description:
Cantata for high voice, alto recorder (violin), and basso continuo
From "Harmonischer Gottesdienst," TWV 1:1258
Edited by Franz Müller-Busch
Thorough bass arrangement by Eckhart Kuper
In 1725, Georg Philipp Telemann's annual collection of cantatas was published in Hamburg under the title:
Harmonischer / Gottes-Dienst / oder / geistliche / Cantaten / zum allgemeinen Gebrauche /
which / are intended to promote both private / and public / church worship /
based on the customary Sunday and feast-day epistles throughout the year / … /
Set to music and prepared for printing by /
Georg Philipp Telemann / Chori Musici Hamb. Director / …
The cantata *Seele, lerne Dich erkennen!* is attributed to Estomihi Sunday (formerly Quinquagesimae)—the last Sunday before the beginning of Lent. The TVWV lists the cantata under number 1:1258. The text was written by Matthäus Arnold Wilkens (1691-1745) and refers to chapter 13 of Paul's First Epistle to the Corinthians.
This edition is based on the 1725 print, which is preserved in the Royal Library of Copenhagen, Giedde's Music Collection, under the call number [mu 6208.0586 (XI, 8)]. We would like to express our sincere thanks to the Music Department, especially Ms. Susanne Thorbek, for their kind support and permission to reprint.
The notation (clefs, accidentals, etc.) has been adapted to current standards; however, we have deliberately refrained from modernizing the text. Additions and corrections by the editor are indicated directly in the musical text or in footnotes.
In the preliminary report on the "Harmonische Gottesdienst," Telemann discusses various aspects of performance practice in detail. For example, this cantata is written for a high voice—specifically for soprano or tenor. In the ripieno passages marked "forte," the recorder may be accompanied by a violin playing an octave lower than notated. The recorder part can be performed entirely by a violin, in which case, at the very least, the ripieno passages should be transposed down an octave.
Telemann discusses the treatment of the singing voice in the recitative in detail and uses numerous musical examples to illustrate that the notation often deviates significantly from the intended performance. This applies in particular to the last two notes before rests, though passing notes and suspended notes may also be inserted in other places. Naturally, the recitative should be sung with free rhythm. Detailed explanations regarding the performance of recitatives in church can be found, among other places, in Tosi/Agricola's Guide to the Art of Singing.
Wiesbaden, May 1998, Franz Müller-Busch
From "Harmonischer Gottesdienst," TWV 1:1258
Edited by Franz Müller-Busch
Thorough bass arrangement by Eckhart Kuper
In 1725, Georg Philipp Telemann's annual collection of cantatas was published in Hamburg under the title:
which / are intended to promote both private / and public / church worship /
based on the customary Sunday and feast-day epistles throughout the year / … /
Set to music and prepared for printing by /
Georg Philipp Telemann / Chori Musici Hamb. Director / …
The cantata *Seele, lerne Dich erkennen!* is attributed to Estomihi Sunday (formerly Quinquagesimae)—the last Sunday before the beginning of Lent. The TVWV lists the cantata under number 1:1258. The text was written by Matthäus Arnold Wilkens (1691-1745) and refers to chapter 13 of Paul's First Epistle to the Corinthians.
This edition is based on the 1725 print, which is preserved in the Royal Library of Copenhagen, Giedde's Music Collection, under the call number [mu 6208.0586 (XI, 8)]. We would like to express our sincere thanks to the Music Department, especially Ms. Susanne Thorbek, for their kind support and permission to reprint.
The notation (clefs, accidentals, etc.) has been adapted to current standards; however, we have deliberately refrained from modernizing the text. Additions and corrections by the editor are indicated directly in the musical text or in footnotes.
In the preliminary report on the "Harmonische Gottesdienst," Telemann discusses various aspects of performance practice in detail. For example, this cantata is written for a high voice—specifically for soprano or tenor. In the ripieno passages marked "forte," the recorder may be accompanied by a violin playing an octave lower than notated. The recorder part can be performed entirely by a violin, in which case, at the very least, the ripieno passages should be transposed down an octave.
Telemann discusses the treatment of the singing voice in the recitative in detail and uses numerous musical examples to illustrate that the notation often deviates significantly from the intended performance. This applies in particular to the last two notes before rests, though passing notes and suspended notes may also be inserted in other places. Naturally, the recitative should be sung with free rhythm. Detailed explanations regarding the performance of recitatives in church can be found, among other places, in Tosi/Agricola's Guide to the Art of Singing.
Wiesbaden, May 1998, Franz Müller-Busch
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