The Advent cantata Machet die Tore weit has long been one of the most frequently performed of Telemann’s
sacred works. Among the copies of this cantata which have been handed down is a copy by J. S. Bach which
bears testimony to the high respect he paid to his then more celebrated colleague from Hamburg: It is a copy of the score in the hand of the Thomaskantor which was made for a performance in Leipzig on Avent Sunday in 1734 (therefore during the same period as the first performance of Bach’s Christmas Oratorio). Of the four
solo singers the soprano and bass, each of whom has an aria, are indispensable. The brief alto solos in the opening chorus can be sung by a member of the choir, and the tenor recitative can be sung by the soprano soloist.
sacred works. Among the copies of this cantata which have been handed down is a copy by J. S. Bach which
bears testimony to the high respect he paid to his then more celebrated colleague from Hamburg: It is a copy of the score in the hand of the Thomaskantor which was made for a performance in Leipzig on Avent Sunday in 1734 (therefore during the same period as the first performance of Bach’s Christmas Oratorio). Of the four
solo singers the soprano and bass, each of whom has an aria, are indispensable. The brief alto solos in the opening chorus can be sung by a member of the choir, and the tenor recitative can be sung by the soprano soloist.
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(5)
- Coro "Machet die Tore weit"
- Aria "Jesu, komm in meine Seele"
- Recitativo "Ich will zum Einzug"
- Aria "Ich will beten"
- Chorale "Warum willst du"
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text (without music) for download, html file, Singing text, english translationhtml file, Singing text, english translation (Sample)1. ChorusLet all the gates be raised,
2. Aria (Soprano)
and the world’s great doors be raised high,
that the King of all glory may enter.
Who is this marvelous King of all glory?
It is the Lord
strong and mighty in strife.
It is the Lord Sabaoth,
he is the King of all glory. Selah.
Ps 24:7–10Jesu, come and fill my spirit;
3. Recitative (Tenor)
let it be thy dwelling place.
Drive from it the dust of sin,
Glory, lust, and earthly gain;
grant it thy great light of grace.I gladly will prepare the way to cheer thee,
and cast the garments of blest modesty,
of true repentance, and true faith before thee.
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text (without music) for download, html file, Singing text, originalhtml file, Singing text, original (Sample)1. Chor
Machet die Tore weit
2. Arie (Sopran)
und die Türen in der Welt hoch,
dass der König der Ehren einziehe.
Wer ist derselbige König der Ehren?
Es ist der Herr,
stark und mächtig im Streit.
Es ist der Herr Zebaoth,
er ist der König der Ehren. Sela.
Ps 24,7–10Jesu, komm in meine Seele,
3. Rezitativ (Tenor)
lass sie deine Wohnung sein.
Treib aus ihr der Sünden Wust,
Ehre, Geiz und Fleischeslust,
gönn ihr deiner Gnaden Schein.Ich will zum Einzug gern die Bahn bereiten
und dir die Kleider einer heilgen Scheu
von wahrer Buß und Glauben unterbreiten.
Nur stehe mir mit deinem Geiste bei,
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text (without music) for download, html file, Introductory text, Englishhtml file, Introductory text, English (Sample)Text from the CD Carus 83.333
Klaus Hofmann
Translation: E. D. Echols“But this I well know,” Telemann wrote in his autobiography of 1718, “that I have at all times treasured church music most, in that category have done research in the works of other composers and also have written the most works myself …” According to his report, the number of his own compositions must already then have been more than 500 church works, and probably more than 1,000 additional works were to follow in the almost fifty productive years that Telemann was yet to enjoy. Many of the compositions have been lost. Moreover, not all of the preserved works have been properly inspected; not even a tenth have been made available in new editions. Thus, despite the praiseworthy preliminary efforts of individual researchers, no complete evaluation of Telemann’s artistic achievement in this sector – nor, in particular, of his role and significance in the history of German Protestant church music next to and in the time of Bach – has yet appeared.
Telemann’s more than 1,500 church works are the product of a long and highly dynamic artistic life that stretched out over three-quarters of a century of active creativity. The most important stations of his life:
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text (without music) for download, html file, Introductory text, Germanhtml file, Introductory text, German (Sample)Booklet-Text der CD Carus 83.333
Klaus Hofmann
»Dieses aber weiß [ich] wol«, schreibt Telemann in seiner 1718 verfassten Autobiographie, »daß ich allemahl die Kirchen-Music am meisten werth geschätzet / am meisten in andern Autoribus ihrentwegen geforschet / und auch das meiste darinnen ausgearbeitet habe …«. Nach seinem Bericht müssen es damals bereits mehr als 500 Kirchenkompositionen gewesen sein; und wohl mehr als 1000 sind in den fast fünfzig Schaffensjahren, die Telemann noch beschieden sein sollten, hinzugekommen. Vieles davon ist untergegangen. Doch auch das Erhaltene ist bislang nicht vollständig gesichtet, und nicht einmal ein Zehntel davon ist durch Neuausgaben erschlossen. So steht, trotz verdienstvoller Vorarbeiten einzelner Musikforscher, eine volle Würdigung der künstlerischen Leistung Telemanns auf diesem Gebiet, vor allem aber seiner Rolle und Bedeutung für die Geschichte der evangelischen Kirchenmusik um und neben Bach, noch aus.
Telemanns mehr als anderthalbtausend Kirchenkompositionen sind der Ertrag eines langen und bewegten Künstlerlebens, das ein Dreivierteljahrhundert schöpferischer Aktivität in sich schließt. Die wichtigsten Stationen dieses Lebens sind: Magdeburg, die Stadt, in der Telemann am 14. März
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Contents
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Composer
Georg Philipp Telemann
| 1681-1767Telemann's extremely rich compositional output, the fruits of three quarters of a century's work, encompasses almost all genres of music; in his vocal works it ranges from songs with basso continuo accompaniment to chamber and church cantatas, and to opera. In his own assessment, church music played a central role in his output; he alone probably composed over 1,600 church cantatas, as well as cantata-style funeral music settings (such as Du aber, Daniel, gehe hin), psalm settings (for example, Deus judicium tuum) and oratorios. Throughout his works Telemann showed himself to be a progressive composer, open to new trends and keen to experiment whilst exploring new directions; not without reason was he called a forerunner of classicism. However, his compositions constitute only a part of his importance to music history: as a music publisher, the author of publications for teaching, the director of middle-class music societies and initiator of public concerts, he made a considerable contribution to creating the preconditions for the support of the musically-educated middle classes in the ensuing era of music. Personal details
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Editor
Traugott Fedtke
| 1909-1988
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Editor
Klaus Hofmann
| 1939
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Continuo realization
Traugott Fedtke
| 1909-1988
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Translator
Jean Lunn
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