Telemann - Concerti per molti stromenti
£16.10
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Label: Harmonia Mundi
Cat No: HMM902261
Format: CD
Number of Discs: 1
Genre: Orchestral
Release Date: 23rd June 2017
Contents
Works
Concerto for 3 horns and violin in D major, TWV54:D2Concerto for 3 trumpets, timpani, 2 oboes, strings and continuo, TWV54:D3
Concerto in B minor for 2 flutes, calchedon, strings and b.c. TWV53:h1 (Dresden version)
Concerto in D minor for 2 oboes, bassoon, strings and b.c. TWV53:d1
Musique de Table (Tafelmusik), Part 2
Sextet (Sonata) in F minor for strings and b.c. TWV44:32
Artists
Akademie fur Alte Musik BerlinWorks
Concerto for 3 horns and violin in D major, TWV54:D2Concerto for 3 trumpets, timpani, 2 oboes, strings and continuo, TWV54:D3
Concerto in B minor for 2 flutes, calchedon, strings and b.c. TWV53:h1 (Dresden version)
Concerto in D minor for 2 oboes, bassoon, strings and b.c. TWV53:d1
Musique de Table (Tafelmusik), Part 2
Sextet (Sonata) in F minor for strings and b.c. TWV44:32
Artists
Akademie fur Alte Musik BerlinAbout
The Akademie für Alte Musik Berlin (Akamus) was founded in 1982 in Berlin. Since then, it has become one of the world’s leading chamber orchestras on period instruments and can look back on an unprecedented history of success. Since 1994, their recordings have been produced exclusively for harmonia mundi and have won all the important awards for classical recordings, including Gramophone, Edison, Choc de l’année as well as the Jahrespreis der Deutschen Schallplattenkritik. In 2006, Akamus received the Telemann prize of Magdeburg and in 2014 both the Bach Medal and Echo Klassik.
"Interest in instruments of the lute family aside from the ‘standard’ Baroque lute has increased in recent years. In the Concerto TWV53:h1 recorded here, the bass stave of the solo trio is marked for ‘calchedon’, the name of a specific type of long-necked lute, also known as ‘galizona’. Telemann used the calcedono (or calcedon, or calchedon) in more than 400 works, primarily to play the bass line and only very rarely as a chordal instrument. The compass and style of writing lead to the conclusion that he can only have intended the large six-course, long-necked galizona, tuned a-e-c-G-D-C. For this recording we used a copy of an instrument made by Thomas Edlinger in Prague in 1718 or 1728." – Andreas Schlegel
Sound/Video
Paused
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1Telemann: Concerto For 3 Trumpets & Timpani In D, TWV 54/D3 - 1. Intrada
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2Telemann: Concerto For 3 Trumpets & Timpani In D, TWV 54/D3 - 2. Allegro
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3Telemann: Concerto For 3 Trumpets & Timpani In D, TWV 54/D3 - 3. Largo
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4Telemann: Concerto For 3 Trumpets & Timpani In D, TWV 54/D3 - 4. Vivace
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5Telemann: Concerto For 2 Flutes & Calchedon In B Minor, TWV 53/H1 - 1. Grave
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6Telemann: Concerto For 2 Flutes & Calchedon In B Minor, TWV 53/H1 - 2. Vivace
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7Telemann: Concerto For 2 Flutes & Calchedon In B Minor, TWV 53/H1 - 3. Dolce
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8Telemann: Concerto For 2 Flutes & Calchedon In B Minor, TWV 53/H1 - 4. Allegro
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9Telemann: Concerto For 3 Oboes, 3 Violins & Continuo In B Flat, TWV 44/43 - 1. Allegro
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10Telemann: Concerto For 3 Oboes, 3 Violins & Continuo In B Flat, TWV 44/43 - 2. Largo
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11Telemann: Concerto For 3 Oboes, 3 Violins & Continuo In B Flat, TWV 44/43 - 3. Allegro
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12Telemann: Sonata For 2 Violins, 2 Violas, Cello & Continuo In F Minor, TWV 44/32 - 1. (Adagio)
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13Telemann: Sonata For 2 Violins, 2 Violas, Cello & Continuo In F Minor, TWV 44/32 - 2. (Allegro)
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14Telemann: Sonata For 2 Violins, 2 Violas, Cello & Continuo In F Minor, TWV 44/32 - 3. Largo
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15Telemann: Sonata For 2 Violins, 2 Violas, Cello & Continuo In F Minor, TWV 44/32 - 4. Presto
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16Telemann: Concerto For Mandolin, Hammered Dulcimer, Harp & Continuo In F, TWV 53/F1 - 1. Allegro
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17Telemann: Concerto For Mandolin, Hammered Dulcimer, Harp & Continuo In F, TWV 53/F1 - 2. Largo
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18Telemann: Concerto For Mandolin, Hammered Dulcimer, Harp & Continuo In F, TWV 53/F1 - 3. Vivace
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19Telemann: Concerto For 2 Oboes, Bass & Continuo In D Minor, TWV 53/D1 - 1. Grave
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20Telemann: Concerto For 2 Oboes, Bass & Continuo In D Minor, TWV 53/D1 - 2. Allegro
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21Telemann: Concerto For 2 Oboes, Bass & Continuo In D Minor, TWV 53/D1 - 3. Affettuoso
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22Telemann: Concerto For 2 Oboes, Bass & Continuo In D Minor, TWV 53/D1 - 4. Vivace
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23Telemann: Concerto For 3 Horns & Violin In D, TWV 54/D2 - 1. Vivace
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24Telemann: Concerto For 3 Horns & Violin In D, TWV 54/D2 - 2. Grave
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25Telemann: Concerto For 3 Horns & Violin In D, TWV 54/D2 - 3. Presto
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26Telemann: Quartet In G For 2 Violins, 2 Violas & Continuo In G, TWV 43/G5
Europadisc Review
Even the way in which he combines conventional instruments brings surprises, as in the B flat major Concerto for three oboes, three violins and continuo, the often raucous D major Concerto for three horns, solo violin, strings and continuo (with its stratospheric first horn part), or the D minor Concerto for two oboes, bass (here played on a violone), strings and continuo. Telemann uses both the now-standard three-movement layout (fast-slow-fast) and the more archaic da chiesa form (slow-fast-slow-fast). And there’s huge stylistic variety, too. The splendid D major Concerto for three trumpets, timpani, two oboes, strings and continuo that opens the disc brings to mind Handel at his most imposingly ceremonial, but with a contrapuntal mastery that also recalls JS Bach (to whom Telemann was close: he served as godfather to Bach’s son Carl Philipp Emanuel). There are also plentiful echoes of Vivaldi, but the earthiness of much of this music and its distinctive timbres are entirely Telemann’s own.
A particularly beguiling work is the B minor Concerto for three flutes, calchedon (a long-necked six-course lute also known as a ‘galizona’), strings and continuo. Telemann used the calchedon in more than 400 works and, although it usually does no more than play the bass line, in Michael Freimuth’s hands it perfectly complements the ethereal tones of the flutes (Christoph Huntgeburth and Andrea Theinert). This is the first recording of this work in its Dresden version, and the unexpected twists and turns of its fast movements are as delightful as the easy gracefulness of the dolce third movement.
Even more captivating is a naughty-but-ever-so-nice arrangement by Peter Huth of the F major Concerto for three violins from Telemann’s celebrated Musique de Table (Tafelmusik); Huth recasts the work for three instruments familiar from the composer’s childhood days: mandolin, hammered dulcimer (Hackbrett) and double harp. The effect of the opening movement’s Vivaldian strains (which in turn inspired Handel’s ‘Arrival of the Queen of Sheba’), not to mention the magically rapt central Largo, conjures up a world of innocent peasant music-making; the delicately plucked tones and the dulcimer’s characteristic soft twang make it worth the price of admission for this work alone.
With all this tonal richness, there is room for some palate-cleansing, too. The disc’s halfway-point is filled by an F minor Sonata for two violins, two violas, cello and continuo (organ) whose modest dimensions belie some engagingly worked-out canonic interplay. And to round things off at the end of the disc (after that rumbustious triple horn Concerto) is a G major Adagio for two violins, viola, cello and continuo (lute and harp) excerpted from the Concerto TWV43:G5, which makes for a perfect, dreamy conclusion.
The entire disc is animated by the Akademie für Alte Musik’s individual and collective virtuosity from an enviable roster of players. There’s wonderfully nuanced playing from names too numerous to mention in full, but special praise goes to Xenia Löffler (oboe), Erwin Wieringa (horn), Anna Torge (mandolin), Elisabeth Seitz (dulcimer), Margaret Köll (harp), and solo violin Georg Kallweit. The sound-picture from Berlin’s Teldex Studio is a pleasingly intimate one, and there are detailed notes from Peter Huth, plus three full-length photos (rear, front and side) of the calchedon.
Little wonder Telemann was held in such high regard by his contemporaries. If this doesn’t whet your appetite for this uniquely prolific composer, nothing will: stick it on repeat, sit back, and enjoy!
Reviews
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