The three cantatas brought together here are from Telemann’s last printed annual cycle, which was published in Hermsdorf (near Hirschberg), Silesia, in 1749. Each cantata has a title page indicating the particular Sunday, registering the ensemble parts under it, and displaying a decorative figure modeled on a putto as an ornament on the lower half of the page. Since the putto was also understood as an angel, the cycle came to be known as the »Engel-Jahrgang« (Angel Cycle). In addition, the title contains a pithy motto that seems to be referring to Telemann: »You glorify the sweet harmony of the art of music and sanctify it.« As in his other annual cycles issued in printed form, the compositions were presented in Hamburg churches prior to their publication or along with it. These are joyful works of dancy verve to which Telemann supplied additional splendor in many movements through the use of trumpets.

During the time of Johann Sebastian Bach, death was part of everyday life. The ensemble il capriccio and the countertenor Franz Vitzthum offer the Thomaskantor's musical perspective on life and death on their new GENUIN CD. The texts of the recorded arias and chorale arrangements by Bach deal with death, eternity and the promise of eternal life. The musicians juxtapose the works, some of which have been carefully arranged, with selected sections from the Art of Fugue. The result is an artistic and moving musical tapestry, interpreted by Franz Vitzthum and the ensemble il capriccio with intensity and sensitivity.

This is the seventh part in the first complete recording of the 72 cantatas in Georg Philipp Telemann’s collection Harmonischer Gottes-Dienst, published in Hamburg in 1726 – the first complete set of cantatas for the liturgical year to appear in print. The cantatas are designated for voice, an obligato instrument (recorder, violin, transverse flute or oboe) and basso continuo, and generally take the form of two da capo arias with an intervening recitative. Although intended for worship, both public and private, Telemann’s cantatas are a masterly blend of tunefulness with skilled counterpoint and vocal and instrumental virtuosity.

As a result of the destruction of the Kreuzkirche during the Seven Years War, Gottfried August Homilius, the longtime Kreuzkantor and a pupil of Bach, performed his professional musical duties primarily at the Frauenkirche in Dresden. The connection between traditional form and styles ranging from the "sensitive" to early classical have earned Homilius's St. John Passion its special place in the repertoire - musically and textually the events of the Passion presented here display a new and exceptional character. The roll of the choir is limited primarily to the singing of the chorales and turbae, but especially in the latter Homilius shows why he is so highly regarded as a choral composer. Kreuzkantor Roderich Kreile presents this work of his predecessor in a recording on a high artistic level, is characterized by majestic sound and intensity.

Agostino Steffani (1654-1728) was the most important composer ever to be appointed by the Duchy of Hannover. At the end of the 17th century this noble family embarked on a cultural offensive with the objective of having Duke Ernst August become a prince elector. To this end, the Welph dynasty obtained the services of Steffani, a master choice in itself as his works are still performed to this day in the majestic gardens of Princess Caroline of Monaco and her husband, the current Ernst August of Hannover.

Ristori was born in Bologna and after some success with the Venetian opera, went to Dresden in 1715. From the 1720s he was responsible, along with Heinichen and Zelenka, for the music at the religious services at the Catholic court. He was appointed as church composer after Zelenka died. The first work on this CD was composed for the Royal Chapel and he second was written for teaching figured bass.