Telemann, Georg Philipp: Ich danke dem Herrn von ganzem Herzen, TWV 7:14, ed. Justin Bland

 Georg Philipp Telemann: Ich danke dem Herrn von ganzem Herzen, TWV 7:14

for SATB Soli & Chorus, Piccolo Trumpet [in F], 2 Oboes/Recorders, Strings, & Continuo

Full Score, Vocal Score, Instrumental Parts, & Keyboard Reduction

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Georg Philipp Telemann’s setting of Ich danke dem Herrn von ganzem Herzen, TWV 7:14, the 111th psalm, is scored for trumpet, two oboes doubling recorders, strings, and continuo with SATB soli and chorus. The eight-movement work consists of five arias and three choruses. From the opening movement, the work’s sole soprano aria and the only aria with tutti instrumental forces, the trumpeter asserts his role as a soloist, performing as an equal partner with the voice from the initial words of the psalm. The trumpet part of the penultimate movement, an aria for bass, trumpet obbligato, and continuo, which alternates between lyrical fioriture and fanfare figures, offers the trumpeter an additional chance display his prowess.

The notability of the trumpet part is emphasized not only by its soloistic usage, but also by its unusual crooking, for the part is not for a typical natural trumpet in C or D, but rather for a clarino piccolo crooked in F. Probably the most familiar work using this sized instrument is J.S. Bach’s Brandenburg Concerto No. 2, BWV 1047, but other composers used smaller trumpets on occasion including Johann Samuel Endler (1694–1762), who wrote a sinfonia with a clarino piccolo part in F, and Carl Friedrich Christian Fasch (1736–1800), who wrote a triple concerto for violin, oboe d’amore, and a clarino piccolo with the even more unusual tuning of E (the aforementioned pieces by Endler and Fasch are also edited by the undersigned and published by Septenary Editions). While the mentioned works for clarino piccolo by Bach, Endler, and Fasch require a range of at least two octaves spanning from the 4th to the 16th or 18th partial of the harmonic series (written C4 to C6 or D6), Telemann’s practicality is apparent in TWV 7:14. Here, the trumpet is only required to play up to the 13th partial, written A5, making the work accessible to more players as a sounding D6 is significantly easier to produce than a sounding F6 or G6.

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