Das Kleine Konzert - Graupner: Christmas Cantatas (2010)

One of the most remarkable things about German composers of the 17th and 18th centuries is the size of their oeuvre. One wonders where they found the time to compose so many works, considering the general slowness of life. It took days to travel from one part of Germany to another, and weeks to go from Germany abroad. Writing a composition by hand, copying parts for all performers, teaching, rehearsing - it is just amazing how much work they had to do. And in addition, there was an insatiable demand for music which they had to satisfy. This is also the main reason they composed so much.

Take Christoph Graupner: the number of his cantatas is estimated at about 1400! He had to deliver a cantata for every Sunday, plus all feastdays, plus special events like the birthday of his employer. And then there was the instrumental music, both chamber and orchestral music, which was played as entertainment. Reusing old material was no option: music which was more than 10 years old was considered old-fashioned. As Graupner worked in Darmstadt from 1709 until his death there was no material his employer hadn't heard before.

But by good fortune he had some assistance. From 1713 to 1738 the cantatas for the first and third Christmas days - one of the busiest periods of the year - were written by his assistant chapel master, Gottfried Grünewald. The second Christmas day was also the birthday of his employer, so the music for that day, which had to be particularly festive, was written by Graupner himself. He also composed the music for New Year, and the following Sundays, including Epiphany and Candlemas.

Four of the five cantatas on this disc date from the 1740s. Graupner used texts which were provided by his brother-in-law, the theologian Johann Conrad Lichtenberg, who for a number of years wrote a cycle of cantata texts every year. The cantatas consist of a sequence of recitatives, arias and chorales, but the texture varies.

Frohlocke, werte Christenheit, begins with a chorus on a free poetic text. This is followed by two pairs of recitative and aria, for bass and soprano respectively, and closes with a harmonisation of two stanzas from the old hymn 'Ein Kind geborn zu Bethlehem'. The vocal parts are embedded in lively orchestral figurations which is typical of Graupner's treatment of chorales. This practice has its roots in the 17th century, and was often used by composers like Johann Kuhnau and Johann Ludwig Bach.

Der Herr hat mich gehabt im Anfang and Das Licht scheinet in der Finsternis both begin with a dictum, a quotation from the Bible. The former has a recitative for bass and a duet for alto and tenor, who mostly sing in parallel motion, which is only broken at the end. The duet is followed by a recitative and an aria for tenor, and closes with a stanza from Luther's hymn 'Gelobet seist du, Jesu Christ'.

The latter also contains a duet, this time for tenor and bass. There is a strong contrast in the vocal and instrumental parts between section A and section B, reflecting the juxtaposition of light and darkness in the text. The preceding recitative for bass is a perfect example of Graupner's effective treatment of the text.

Das Licht des Lebens scheinet hell opens with an accompanied recitative for bass, who then sings an aria. This is followed by a chorale - a stanza from 'Ermuntre dich, mein schwacher Geist'. Then the soprano sings a recitative and an aria, and the alto has a recitative which ends in an accompagnato at the last line. The cantata ends with another stanza from 'Ermuntre dich'.

The last cantata of this disc, Von Gott will ich nicht lassen, is the only one which dates from the period that Grünewald was active. It was written for the second Sunday after Epiphany, 18 January 1728. But during the winter season 1727/28 Grünewald was ill. Because of that he wasn't able to compose, and Graupner had to write all cantatas himself. As Grünewald also participated in the performances as a bass, Graupner omitted bass parts in his cantatas. This shows that at that time cantatas were performed with one voice per part, which is also practised in this recording. This particular cantata is the only one from this period that has a bass part. One may conclude that Graupner temporarily had a bass at his disposal, but probably a not very experienced one as he only participates in the three chorale settings.

These are three stanzas from the hymn 'Von Gott will ich nicht lassen' (1563). The cantata opens with the first stanza, which is followed by a recitative for the tenor, who then sings a duet with the alto which is an eloquent expression of the text: "Jesus provides. Now away, you cares!" This is followed by another stanza from the hymn. Next are a recitative and an aria for soprano. In the latter she is accompanied by a trio of two oboes and bassoon which are joined by the strings in the ritornelli. The cantata closes with another stanza from the hymn 'Von Gott will ich nicht lassen'.

During his career Graupner has developed a musical language of his own, which is not comparable with anything written in his time. His compositions are certainly not easy-listening stuff as recent recordings of his instrumental oeuvre show. Of his vocal music very little has been performed and recorded as yet. There is hardly a better way to get to know his vocal oeuvre than with this disc.

These five cantatas are varied in scoring and offer a number of beautiful arias and duets. It is particularly advisable to pay attention to the way Graupner uses the instruments to express the Affekte of the texts. Things could hardly be better. The four soloists are completely congenial and their voices blend perfectly, as the chorale settings show. The individual performances of the singers are also excellent; the delivery is immaculate thanks to good diction and pronunciation. The instrumental parts are engagingly given by the members of Das Kleine Konzert.

The booklet contains extensive programme notes and all the lyrics have an English translation. In various tracks the lines are printed in the wrong order.

Tracklist:

1. Frohlocke, werte Christenheit, cantata: Chor: Frohlocke, werte Christenheit!
2. Frohlocke, werte Christenheit, cantata: Rezitativ: Ein Glanz, der unverhofft entsteht
3. Frohlocke, werte Christenheit, cantata: Arie: Du werter Glanz aus Gottes Wesen
4. Frohlocke, werte Christenheit, cantata: Rezitativ: Die Engel freuen sich
5. Frohlocke, werte Christenheit, cantata: Arie: Selige Blicke, vergnügende Strahlen
6. Frohlocke, werte Christenheit, cantata: Rezitativ: Du Heil der Welt, ach holder Glanz
7. Frohlocke, werte Christenheit, cantata: Choral: Für solche gnadenreiche Zeit
8. Der Herr hat mich gehabt im Anfang, cantata: Dictum: Der Herr hat mich gehabt im Anfang seiner Wege
9. Der Herr hat mich gehabt im Anfang, cantata: Rezitativ: Hört, was die Weisheit spricht!
10. Der Herr hat mich gehabt im Anfang, cantata: Duett: Holde Weisheit, schönstes Wesen
11. Der Herr hat mich gehabt im Anfang, cantata: Rezitativ: Mein Geist wird ganz entzückt
12. Der Herr hat mich gehabt im Anfang, cantata: Arie: Das Wort ist Fleisch geworden
13. Der Herr hat mich gehabt im Anfang, cantata: Choral: Er ist auf Erden kommen arm
14. Das Licht des Lebens scheinet hell, cantata: Accompagnato: Das Licht des Lebens scheinet hell
15. Das Licht des Lebens scheinet hell, cantata: Arie: Trutz Sünde, trutz des Todes Schatten
16. Das Licht des Lebens scheinet hell, cantata: Choral: Willkomm', o süßer Bräutigam
17. Das Licht des Lebens scheinet hell, cantata: Rezitativ: Sind andre toll und blind?
18. Das Licht des Lebens scheinet hell, cantata: Arie: Ich kann des Himmels Erbteil hoffen
19. Das Licht des Lebens scheinet hell, cantata: Accompagnato: Wie freu ich mich in diesem Segen
20. Das Licht des Lebens scheinet hell, cantata: Choral: Lob, Preis und Dank, Herr Jesus Christ
21. Das Licht scheinet in der Finsternis, cantata: Dictum: Das Licht scheinet in der Finsternis
22. Das Licht scheinet in der Finsternis, cantata: Rezitativ: Ach, Welch ein Undank ist es nicht!
23. Das Licht scheinet in der Finsternis, cantata: Arie: Erleuchte mich, Glanz des Lebens
24. Das Licht scheinet in der Finsternis, cantata: Rezitativ: Wie schrecklich ist die Nacht
25. Das Licht scheinet in der Finsternis, cantata: Duett/Arie: Großes Licht, durchbrich den Schatten
26. Das Licht scheinet in der Finsternis, cantata: Rezitativ: Das Licht ist da, es macht den Heilsweg kund
27. Das Licht scheinet in der Finsternis, cantata: Choral: Ei, so kommt und lasst uns laufen
28. Von Gott will ich nicht lassen, cantata: Choral: Von Gott will ich nicht lassen
29. Von Gott will ich nicht lassen, cantata: Rezitativ: Ich weiß, mein Heiland ist bei mir
30. Von Gott will ich nicht lassen, cantata: Duett: Jesus sorgt. Nur weg, ihr Sorgen!
31. Von Gott will ich nicht lassen, cantata: Choral: Auf Ihn will ich vertrauen
32. Von Gott will ich nicht lassen, cantata: Rezitativ: Wir würden oft in unserm Jammertal
33. Von Gott will ich nicht lassen, cantata: Arie: Ich will auf Jesus Hände sehen
34. Von Gott will ich nicht lassen, cantata: Chroal: Es tut Ihm nichts gefallen