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Gottfried Heinrich Stölzel (1690-1749)

Although highly regarded prior to the Neapolitan conquest of north European opera, in modern times Stölzel was known until quite recently from a handful of works, primarily the aria "Bist du bei mir" [score-pdf], copied by J.S. Bach, and a concerto for six trumpets thus far ignored by the HIP movement. While Stölzel composed operas and serenatas both before and after his Italian tour in 1716-7, all the scores are believed to have been lost. However, about 500 church cantatas and other works have survived.

Regarding "Bist du bei mir" (assuming that it in fact was composed by Stölzel), there is nothing in the few other recorded works by Stölzel that would lead one to expect the E-natural in the fifth bar. Given the first four bars and an assignment to compose a minuet in the style of Stölzel's pastoral cantatas, which is strikingly similar to the style of Handel, I think anyone who had not seen or heard this aria definitely would arrive at a more conventional solution. I wonder whether there are more undiscovered surprises in the mass of unedited Stölzel manuscripts, or whether "Bist du bei mir" may have been composed by someone else.

Links

Stoelzel.net

Recordings

Stölzel. Seid willkommen, schöne Stunden: Two Serenatas. cpo 777 094-2 (2 CDs, May 2007). Ludger Rémy, Telemannisches Collegium Michaelstein. Dorothee Mields, soprano; Elisabeth Graf, contralto; Knut Schoch, tenor; Ekkehard Abele, bass. CD 1: Alles, was sonst lieblich heisset. CD 2: Seid willkommen, schöne Stunden. US | UK | FR | DE | CA | JP

Stölzel. Christmas Oratorio vol. 2 (Gospel Cantatas 1728); Te Deum. MDG 605 1369-2 (1 CD, September 2006) or 905 1369-6 (hybrid SACD). Details. Rainer Johannes Homburg, Handel's Company, Kammerchor der Marien-Kantorei Lemgo. Ute Schulze, soprano; Schirin Partowi, contralto; Andreas Post, tenor; Klaus Mertens, bass. Different from the 1736-37 "Christmas Oratorio" cantatas recorded on cpo by Ludger Rémy et al. CD: US | UK | FR | DE | CA | JP || SACD: US | UK | FR | DE | CA | JP

Stölzel. Christmas Oratorio vol. 1 (Epistle Cantatas 1728) & Concerto in D Major for Oboe. Details. MDG 605 1232-2 (1 CD, September 2004). Review. Rainer Johannes Homburg, Handel's Company, Kammerchor der Marien-Kantorei Lemgo. Christine Maria Rembeck, soprano; Schirin Partowi, contralto; Andreas Post, tenor; Albrecht Pöhl, bass; Paul van der Linden, oboe. US | UK | FR | DE | CA | JP

Bach, CPE. Johannes-Passion (1772). Capriccio 60 103 (2 CDs 2004). Joshard Daus, Capriccio Basel, Zelter-Ensemble der Sing-Akademie zu Berlin. Elizabeth Scholl, soprano; Alexandra Petersamer, contralto; Gunnar Gudbjörnsson, tenor; Jochen Kupfer, bass. From the recently recovered Sing-Akademie archives. A pasticcio, including music by Telemann, Stölzel, J.S. Bach and only two arias by C.P.E. Bach. US | UK | DE | FR | JP

Stölzel. Cantatas for Pentecost (1737). cpo 999 876-2 (1 CD, May 2004). Ludger Rémy, Telemannisches Collegium Michaelstein. Dorothee Mields, soprano; Martin Wölfel, countertenor; Jan Kobov, tenor; Christian Immler, bass. The final cantata on the CD, Stölzel, Cantatas for Pentecost, cpo 999 876-2, by Ludger Rémy et al, is a Cantata for Quasimodogeniti Sunday. It was written for Gotha in 1731 or 1732 and sent to Sondershausen for performance in 1732. Like most of the surviving works of Stölzel, it is known only from the Sondershausen copy. The theme of the first part of the first movement of this cantata is strikingly similar to the ritornello and string accompaniment to "Comfort Ye, My People", composed by Handel about a decade later. The main difference is that the chorus sings the theme, as opposed to the "cantus firmus" vocal part in Handel. The words of the relevant section are "Er heisset Friedefürst" - He is the Prince of Peace. After the brief opening, the chorus shifts to a fast, fugal movement, and ends with a brief show section. US | UK | DE | FR | CA | JP

Stölzel. German Chamber Cantatas vol. 1. cpo 999 814-2 (1 CD 2002). Ludger Rémy, harpsichord, Les Amis de Philippe. Dorothee Mields, soprano; Jan Kobov, tenor. Monika Schwamberger, cello; Beate Röllecke, positive organ; Andreas Arend, theorbo. This is the most interesting Stölzel recording that I have heard. These pastoral cantatas for voice and continuo are similar to and comparable in quality to Handel's Italian cantatas. The performances and recording are superb. US | UK | DE | FR | CA | JP

Stölzel. German Chamber Cantatas vol. 2. cpo 999 910-2 (1 CD 2004). Ludger Rémy, Les Amis de Philippe. Dorothee Mields, soprano; Jan Kobov, tenor. This new disk contains the remainder of the surviving set of pastoral cantatas. US | UK | DE | FR | CA | JP

Stölzel. Brockes Passion (1725). cpo 999 560-2 (2 CDs 1998). Ludger Rémy, Telemann-Kammerorchester Michaelstein, Kammerchor Michaelstein. Constanze Backes & Dorothee Mields, soprano; Henning Voss, countertenor; Knut Shoch & Andreas Post, tenor; Klaus Mertens & Florian Mehltretter, bass. This Brockes Passion is shorter and less demanding on the singers than the exceptional work by Telemann on the same libretto. However, it may be more dramatically coherent, as it moves through the passion story in a succession of short arias, Lutheran chorales, and short choruses. US | UK | DE | FR | CA | JP

Stölzel. Christmas Oratorio, part 1: Cantatas 1-5 (1736-37). cpo 999 668-2 (1 CD 1999). Ludger Rémy, Weimarer Barockensemble. Britta Schwarz, soprano; Henning Voss, countertenor; Jan Kobov, tenor; Klaus Mertens, bass. US | UK | DE | FR | CA | JP

Stölzel. Christmas Oratorio, part 2: Cantatas 6-10 (1736-37). cpo 999 735-2 (1 CD 2000). Ludger Rémy, Weimarer Barockensemble. Britta Schwarz, soprano; Henning Voss, countertenor; Jan Kobov, tenor; Klaus Mertens, bass. US | UK | DE | FR | CA | JP

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