Luogo e data di registrazione		Studio Ernest Ansermet, Henève (Switzerland) - 8/11 January 2009
	Registrazione: live / studio		studio
	Recording producer / Mastering / Balance engineer		Markus Heiland (Tritonus)
	Prima Edizione LP		-
	Prima Edizione CD		Sony / Vivarte - 8869762740023 - (1 CD) - durata 78' 45" - (p) 2009 - DDD
	Cover Art		Interior of a Protestant Church by Emanuel de Witte (1616/18-1692)
	Note		Telemann is World Premiere Recording.

One Choral Tune, much Music This recording is an invitation to hear and, having heard, to recognise, in various works from the German Baroque period, two simple tunes in often eloquent guise. From the origins of the Lutheran liturgy in the sixteenth century onwards, the music heard in church became associated with many such tunes, mostly borrowed from popular songs, to which religious lyrics had been added so that the congregation could sing along during church services: the tunes commonly referred to as chorales. Church organists and cantors vied with each other to come up with fresh harmonisations and settings. The congregation knew their song tunes: if they heard one in an organ prelude or cantata it would immediately call to mind the words of the related psalm or canticle. This made chorales a fabulous asset for composers of the period who, far from regarding such "compulsory" tunes as a hindrance, strove, as Bach did, to incorporate them into their works however and whenever they could. But a tune with well-known lyrics that the congregation could sing along to was not the whole story: one need only think of Bach's telling use of chorale tunes to highlight the drama in his settings of the passion. The principal reason for using a chorale tune in a cantata or a passion was to reach out to the congregation, using tunes they recognised and the religious texts that went with them to make the underlying message more approachable. Stephan MacLeod (English translation: Graham Hobbs)