Georg Philipp Telemann (1681–1767)
Lauter Wonne, lauter FreudeCantata for high voice, alto recorder (violin) and basso continuo
From “Harmonischer Gottesdienst”, TVWV 1:1040
Edited by Franz Müller-Busch
Realization of the thorough bass by Eckhart KuperGirolamo G 11.011, score and 3 parts, € 18,00
ISMN 979-0-50084-041-1
Preface
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 Lauter Wonne, lauter Freude was written for the fourth Sunday in Advent. In the TVWV the cantata is recorded under the number 1:1040.1) The text is by Matthäus Arnold Wilkens (1691–1745)2) and refers mainly to the 4th chapter of St. Paul’s Epistle to the Philippians, verse 4 to 9.
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 modernised according to modern customary rules. The text on the other hand has deliberately not been modernised. Additions and corrections made by the editor are indicated directly in the music or in foot notes. Very few errors have been corrected discreetly.
According to the master copy in the first aria, the 2nd half of bar 7 up to the 1st half of bar 17 has repeat marks. The repeat has been written out in this edition to make page turning in the score more convenient. The passage marked with “Vi-de” can be omitted if required.
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
Celle, February 2009, Franz Müller-Busch
1) Menke, Werner: Thematisches Verzeichnis der Vokalwerke von Georg Philipp Telemann, Vol. I; Frankfurt/M., 2nd reprint 1988; p. 95
2) see above, p. 95 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
Arie:
Lauter Wonne, lauter Freude,
spielt in meiner regen Brust.
Doch dem flammenreichen Herzen
ist anitzt1) kein sündlichs Scherzen
einer eitlen Gluht bewusst:
Gott allein ist seine Lust.Rezitativ:
Dort labet sich ein Kind der Eitelkeit
an aller Wollust dieser Zeit;
ein andrer ist auf Geld und Gut entflammt
und seine Freude wächst zugleich
mit seinen Schätzen;
der dritte wünschet kein Ergetzen,
das nicht danebst aus hoher Ehre stammt;
der vierte, wenn er sich an Feinden rächen kann,
sieht dies für sein Vergnügen an;
noch andern muß aus andern Dingen
der Vorwurf ihrer Lust entspringen.
Allein, wie schlecht ist diese Freude,
wovon der Grund so leicht,
ja oft so plötzlich weicht!
Wie schädlich ist die Weide,
die zwar, den Augen nach, beliebte Bluhmen trägt,
und dennoch lauter Gift in allen Blättern hegt!
Ach, welcher sich in Christo nicht erfreut,
dem bringt sein Freuen lauter Leid.
In Gott allein wird solche Lust gefunden,
die mit Bestand und Seligkeit verbunden.Arie:
Ein stetes Zagen,
ein ewigs Nagen,
ein Trauren, das kein Ziel erhält,
beschließet den Jubel
der lachenden Welt.
Doch wer sich Gott zur Freude setzet,
hat beydes, was ihn hier ergetzet,
und was ihm ewig wohl gefällt.1) anitzt = jetzt, nun
Aria:
Pure bliss, pure joy,
stir in my turbulent breast.
Yet the heart full of flames,
is now unaware of any sinful jesting
coming from vain ardour:
for God only is its desire.Recitative:
Yonder feasteth a child of vanity,
on all the lust of this time;
a second is inflamed by wealth and possessions
and his joy thrives
with his treasures;
the third wishes only delight
that deriveth from high honour,
the fourth indulges deeply,
in seeking revenge of his enemies.
For others yet from other things
the reproach of their desires must arise.
Yet, how bad is this joy,
whose foundations so easily,
and often so suddenly recede!
How full of harm is the meadow,
that appears to bear pleasant flowers,
and yet nurtures poison in all the leaves!
Oh, those who do not rejoice in Christ,
will rejoice solely in suffering.
In God only is to be found such desire,
that is united with continuity and salvation.Aria:
Constant hesitation,
eternal nagging,
aimless mourning,
will conclude the jubilation
of the laughing world.
Yet to whom joy is God alone,
embraces both, delight on earth
and eternal pleasure.Translation: Julia Whybrow
