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G 11.010 CoverGeorg Philipp Telemann (1681–1767)
Locke nur, Erde, mit schmeichelndem Reize!

Cantata for high voice, alto recorder (violin) and basso continuo
From “Harmonischer Gottesdienst”, TVWV 1:1069
Edited by Franz Müller-Busch
Realization of the thorough bass by Eckhart Kuper

Girolamo G 11.010, score and 3 parts, € 18,00
ISMN 979-0-50084-039-8

sample page

G 11.009 G 11.011




In 1725 Georg Philipp Telemann’s cantata cycle was published in Hamburg under the title:

Harmonischer / Gottes-Dienst / oder / geistliche / Cantaten / zum allgemeinen Gebrauche /
welche / zu Beförderung so wol der Privat-Haus- / als öffentlichen / Kirchen-Andacht /
auf die gewöhnlichen Sonn- und Fest-täglichen / Episteln durchs ganze Jahr / gerichtet sind / … /
In die Musik gebracht, und zum Druck befördert / von /
Georg Philipp Telemann / Chori Musici Hamb. Direct. / …

The cantata Locke nur, Erde, mit schmeichelndem Reize! was written for the 23rd Sunday after Trinity. In the TVWV the cantata is recorded under the number 1:1069.1) The text is by Michael Richey (1678–1761)2) and refers to the 3rd chapter of St. Paul’s Epistle to the Philippians, verse 17 to 21. Further passages are taken from Matthew 11, verse 30 and psalm 16, verse 11.

The print of 1725 served as a draft for this edition, which is kept in the Royal Library of Copenhagen in the Giedde’s Music Collection under the shelf mark [mu 6208.0586 (XI, 8)3). My special thanks are due to the direction of the music library and in particular to Mrs. Susanne Thorbek for their friendly support and kind permission to print this edition.

The notation (including keys and accidentals etc.) has been modernized according to nowadays customary rules. The text has deliberately not been modernized. Additions and corrections made by the editor are indicated directly in the music or in foot notes.

In the foreword of his Harmonischer Gottesdienst Telemann elaborates on various aspects of performance practice. The present cantata is written for high voice meaning expressly for soprano or tenor. It is possible that during the ripieno parts which are marked with forte, the recorder is supported by a violin that plays one octave lower than notated. The recorder part can entirely be played by a violin. In this case at least the ripieno parts should be played one octave lower.

Telemann goes into great detail about how to treat the voice in the recitatives and demonstrates by many examples in the music that the notation often deviates considerably from the desired performance. This concerns in particular the last two notes before rests, but transition notes and suspensions can nevertheless be inserted in other places. In all cases the recitative enjoys rhythmical freedom. Detailed information on the performance of recitatives in church is to be found among others in Tosi/Agricola’s Anleitung zur Singkunst.4)

Translation: J. Whybrow

Freiburg, April 2004, Franz Müller-Busch


1) Menke, Werner: Thematisches Verzeichnis der Vokalwerke von Georg Philipp Telemann, Vol. I; Frankfurt/M., 2nd reprint 1988; p. 98

2) see above, p. 98 (here erroneously Ricey) as well as: Menke, Werner: Thematisches Verzeichnis der Vokalwerke von Georg Philipp Telemann, Vol. II; Frankfurt/M., 2nd reprint 1995; p. 119

3) Catalogue of Giedde’s Music Collection in the Royal Library of Copenhagen, compiled by Inge Bittmann; Copenhagen, 1976; p. 118

4) Tosi, Pier Francesco/Agricola, Johann Friedrich: Anleitung zur Singkunst; Berlin, 1757; facsimile-new print: Wiesbaden, 1994; p. 150–164


Locke nur, Erde,
mit schmeichelndem Reize!
Ich folge meines Heilands Creuze:
Sein Joch ist sanft und seine Last ist leicht.
Mein Wandel soll schon hier auf Erden
dem seinen trachten gleich zu werden,
bis dort mein Leib auch seinem Leibe gleicht.

Verstummet nur, verkehrte Lehrer,
die ihr, dieweil ihr selbst den Bauch
statt Gottes ehrt,
die Herzen unverwahrter Hörer
nur gar zu oft aufs Eitle kehrt!
O nein, mein Christ, zerreiß die schnöden Bande,
in welchen nur dein Ruhm zur Schande,
dein Ende zur Verdammnis wird!
Laß deinen Heiland selbst,
und treuer Diener Leben,
dir nur allein ein unbeflecktes Vorbild geben!
So kann dein Wandel schon auf Erden himmlisch sein,
bis jene Freudenzeit,
da keine Noth dich mehr beschweret,
zu ew’ger Herrlichkeit
den nicht’gen Leib verkläret.

Verlass den Bau der ird’schen Hütte!
Komm, folge deines Heilands Schritte!
Sein heiligs Auge leitet dich.
Der Schatz, den er dir dort erlesen,
ist Freude die Fülle und liebliches Wesen
zur Rechten Gottes ewiglich.

May all worldly things
entice with delighting charms!
I follow the cross of Christ:
For his yoke is good to bear and my load is light.
While still wandering on earthly paths,
my transfiguration strives to become like him,
so that my body on entering his kingdom will have
assumed the form of his own resplendent body.

Oh be silent, you false teachers,
for whom appetite is god,
you, who more than often,
turn unwary hearts to worthless things!
Oh no, my Lord, tear the despicable bonds apart,
within which your glory is brought to disgrace,
and your end leads to damnation!
Your Saviour
and faithful servant to life
shall be your only pure model!
Your transfiguration upon earth will then be heavenly,
until the blessed moment,
when sufferings will no longer torment you,
and the vain body will be transfigured
to eternal glory.

Leave behind the earthly abode!
Come, follow your Saviour!
His sacred eye will show you the path.
The treasures he keeps for you,
are fullness of joy and gentle being,
and in his right hand pleasures for evermore.

Translation: Julia Whybrow