Word: telemann
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Dates: during 1960-1969
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Even during his own lifetime, Bach long stood low on the list of important composers. His contemporaries placed both Telemann and Handle above him. They considered him primarily the virtuoso organist. The last days of church concert music left Bach with an often insurmoutable penury of players and singers. He must often have felt the decline of contemporary musicianship as he played the organ, directed the choir, and conducted the orchestra at the same time. To the end, he affirmed his dedication to the sacred music whose reign was then work on a secular fugue to write extremely religious chorale...
...ranging from Mozart, Verdi and Wagner to Native Son Richard Strauss and a première by Czechoslovakia's Ján Cikker. For chamber music buffs there will be Liederabende by Baritones Dietrich Fischer-Dieskau and Hermann Prey. Another series of chamber music by Bach, Gabrieli, Gesualdo, Telemann, Haydn, Mozart and Scarlatti will be presented by small instrumental and vocal ensembles in the elegant 18th century Nymphenburg Palace (through July...
...prodigal master, an adaptive musical fountainhead who composed vast quantities of epic choral dramas, superb operas, incidental and instrumental works. His creative fertility was so prodigious that his 97 volumes of autographs exceed the combined complete works of Bach and Beethoven. Although a contemporary of Corelli, Vivaldi, Scarlatti, and Telemann. Handel beggared their combined achievements with his limitless genius. Yet while the scope of Bach, Handel's only contemporary equal, is now fully grasped, the boundless wealth of Handel has been reduced to one or two operatic arias, a couple of organ concertos, the Water and Fireworks music...
...only Bach and Verdi, in his singularly tumultuous idiom, were able to equal; and also by a supreme melodic beauty which is the result of consummate vocal understanding. It is maddening to hear Schutz only once every several years, while legions of Preservation Groups disgorge the complete Corelli and Telemann, as well as more ghastly antiquarians, with implacable remorselessness...
Austerely contemporary in sound, Penderecki's two-hour oratorio draws on a wide musical spectrum ranging from pious Gregorian chants to the dry linearity of the twelve-tone school. In a fresh departure from the Passions of Bach and Telemann, his chorus participates as well as comments, punctuating Christ's ascent to Calvary with hisses, shouts and mocking laughter, while the music quavers and sighs in sympathetic counterpoint. With the lean, clean strokes of a fencer, Penderecki slices to the heart of the Passion, revealing through the intolerance shown to one man the tragedy...