?The liberation of the people of Israel from slavery in Egypt, recounted in the Book of Exodus, has often been set to music. The works of Telemann and Rolle are based on the same subject, and even partly on the same text. Yet the treatment by the two composers, who are separated by only one generation, is remarkably different. After the releases of C. P. E. Bach's Die Auferstehung und Himmelfahrt Jesu and Niccolo Jommelli's Requiem and Miserere, Il Gardellino's first recording of Rolle's oratorio reveals yet another little-known work.
?The liberation of the people of Israel from slavery in Egypt, recounted in the Book of Exodus, has often been set to music. The works of Telemann and Rolle are based on the same subject, and even partly on the same text. Yet the treatment by the two composers, who are separated by only one generation, is remarkably different. After the releases of C. P. E. Bach's Die Auferstehung und Himmelfahrt Jesu and Niccolo Jommelli's Requiem and Miserere, Il Gardellino's first recording of Rolle's oratorio reveals yet another little-known work.
?The liberation of the people of Israel from slavery in Egypt, recounted in the Book of Exodus, has often been set to music. The works of Telemann and Rolle are based on the same subject, and even partly on the same text. Yet the treatment by the two composers, who are separated by only one generation, is remarkably different. After the releases of C. P. E. Bach's Die Auferstehung und Himmelfahrt Jesu and Niccolo Jommelli's Requiem and Miserere, Il Gardellino's first recording of Rolle's oratorio reveals yet another little-known work.
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