Fortuna scherzosa, after Telemann’s eponymous cantata, provides the textual framework
for the works recorded here: the subject matter is hope, yearning for fortune, fulfilment
and non-fulfilment, happiness and suffering. With her pure, straight and flexible voice,
Ina Siedlaczek expresses these diverse emotions with great authenticity. Her music-making
is historically informed, free and relaxed. Her interpretations are natural and, in the most
positive sense, simple.
Not only the texts of many Baroque cantatas and arias speak of Fortuna’s fickleness. A glance at music history
also reveals how unequally sympathy and success were distributed: many composers who were great
names during their own lifetimes later faded into obscurity; not because their works lacked quality, but due to
coincidences, or because they were eclipsed by the fame of their successors.
One of these composers was Philipp Heinrich Erlebach. His oeuvre comprised hundreds of works in nearly
all genres current at the time. During a fire, however, the great majority of his music was lost: only around
seventy of Erlebach’s works are known today. The occasion of the tercentenary of his death on 17 April 2014
will hopefully make them more famous once again.
Johann Ulich was released from complete oblivion only recently when some of his manuscripts were rediscovered.
Ulich had been Kapellmeister at the court of Zerbst between 1708 and 1742, and would therefore have
been an accomplished musical director and a versatile composer. It is thought that the majority of his oeuvre
was lost when the princes’ palace of Anhalt-Zerbst was destroyed during the Second World War.
Georg Philipp Telemann, however, won fame during his lifetime and remains one of the most famous composers
of the Baroque era. But his cantata Fortuna scherzosa did not come to light until 1999 when the historic
music archive of the Berlin Sing-Akademie was rediscovered in Kiev (Ukraine), which included sixteen works by
Telemann that had, until then, been unknown.
At the age of around twenty-three, Johann Philipp Krieger already was Kapellmeister to a margrave; he
enjoyed forty-five years of employment as a widely-known and famous Kapellmeister at the art-loving court at
Saxe-Weißenfels, leaving behind a legacy of around 2500 compositions. Nonetheless, he is largely forgotten
today as only a fraction of his compositions has survived.
Ina Siedlaczek’s interpretations are deeply moving, not least thanks to an audible match between her personal
philosophy and the over-riding message of this SACD. She received a wide-ranging musical education from
an early age, learning the violin, viola, piano and organ. In addition to her singing studies, where her teachers
included Heidrun Luchterhandt (Heidelberg) and Prof. Vera Scherr (Mannheim), she completed a music therapy
course with a diploma in Heidelberg.
As a soloist, Ina Siedlaczek is in great demand both as an oratorio singer and as a consort singer. Alongside
the classical oratorio repertoire, one of her particular interests is historically informed interpretation of vocal
music of the era before Johann Sebastian Bach. She regularly assembles programmes of this repertoire, including
solo cantatas. She works closely with ensembles who have also specialised in this period. Ina Siedlaczek is regularly
invited by renowned music festivals and undertakes concert tours across Europe. Numerous CD and radio
recordings document her creative work.