Holland Baroque Society

Alexis Kossenko -Traverso, Leader

Once he entered the service of Ernst Ludwig, Landgrave of Hesse-Darmstadt, in 1712, Christoph Graupner went about providing his master’s remarkable orchestra with the best music of his day, drawing on the works of Heinichen, Fasch, and, in particular, the music of his former fellow-student in Leipzig, Telemann. The concerti which we have selected for this recording are in the four-movement concerto grosso tradition; but Telemann has given each work a unique character, without once repeating himself.

The concerto in F major TWV 52:F1 is firmly in the style of a concerto for soloists in the Italian manner, where expressivity is paramount. The amorosa sweetness of the opening movement and the dramatic cast of the third movement are linked by the energy of the allegros, where Telemann demands the most brilliant virtuosity from the recorder and bassoon, which are treated as complete equals.

The concerto in G major TWV 54:G1, with its concertino of two traversi and bassoon* set against the strings’ ripieno, is faithful to the principles of the concerto grosso. The concept of opposing groups is sharpened in the first movement—a peaceful cantilena from the soloists interrupted by a joyful allegro for the strings; this is followed by a rustic dance, then a tender largo, an intimate moment for the winds, scarcely disturbed by the strings which subtly underline the cadences. The vigorous accents of the polonaise-finale awaken the soloists from their dreamy lethargy, drawing them into a whirlwind of joyful and irresistible virtuosity.

In spite of its unassuming dimensions, the key of B flat major gives the concerto TWV 53:B2 a certain grandeur. The solo instruments are treated in an unusual way: although they are all presented to us on an equal footing in the opening movement, the oboe and violin make it clear in the second movement that they are more important than the flutes, which remain “second-tier soloists”, or perhaps even mere coloring until the end of the siciliano, which is devoted to the amorous interwinings of the oboe and violin.

The opening sounds of the concerto in D major TWV 53:D6 announce an ambitious composition of epic quality. In each movement, Telemann refreshes the complement of soloists: after the opposition of flutes to strings in the Vivace, he allows each one to shine in turn with an extensive solo during the langorous siciliano. The stormy Allegro then renews this alternation until the violoncello takes over, throwing its colleagues into confusion. Finally, Telemann cools the passions of his soloists, assigning them the central section of a gavotte, gracious, light-footed, and full of humor.

Telemann indulges in paradox, signing his ouverture TWV 55:e3 with the Italian anagram of his name (Melante), although he adheres to the French style, in its form (ouverture and dances), character (noble, vigorous, and dramatic), and instrumentation in the old French manner: two violin parts, tenor viola, viola, and bass, with coloristic use of the winds. After the simplicity of the menuets and hornpipe, Telemann can let go with the disorderly Galimatias en rondeau (a bourrée) and the impressive Cyclopes, which evoke the furious din and the fires of Vulcan’s smithy.

* The obbligato bass part is not assigned to any instrument, but one can compare this concerto to three similar compositions in which the flutes are accompanied by a Calchedon (a bass lute whose name is derived from colascione), which is replaced in some sources by a bassoon.

Alexis Kossenko

Telemann: Ouverture & Concerti

Ouverture in E minor TWV 55:e3
2 traversos, 2 oboes, 2 bassoons,
2 violins and strings

Concerto in D major TWV 53:D6
2 traversos, violin, cello

Concerto in F major TWV 52:F1
recorder and bassoon

Concerto in B flat major TWV 53:B2
2 traversos, oboe, violin

Concerto in G major TWV 54:G1
2 traversos and bassoon

The unbounded enthusiasm on the face of the cellist on the front cover of this CD gives an idea of the joy in music making that lies at the heart of this disc. The youthful Holland Baroque Society continues its self-imposed policy of not having a conductor for performances, but instead inviting an ‘artistic leader’ to guide it through various projects. In this case, flute and recorder player Alexis Kossenko directs the group through five of Telemann’s concertos, composed around 1712 for the landgrave of Hesse-Darmstadt.
Kossenko dazzles the listener with his faultless technique. Being a composer at the head of the latest trends in concerto grosso writing, Telemann makes the flautist share the limelight with some equally complex and affecting music for other soloists and combinations of instruments.
Musicweb international

(...) my first reaction is that they very enjoyably paint the portrait of Telemann as musical chameleon (...)
(…) The works are uniformly entertaining, and the performances are the height of suavity and grace. The Holland Baroque Society, playing on original instruments, performs without conductor but instead invites a visiting leader to take over the podium for each project. They have chosen well in flutist and conductor Alexis Kossenko, he is serving very well by all his soloists. The American bassoonist Jane Gower’s playing is lithe, liquid and always characterful. (...)
Audiophile Audition

(…) a superb concert (…)
(…) unfailingly jolly (…)
(...) it is a delightful and welcome change from Vivaldi and Bach. (…)
Early Music News

Never a dull moment was het devies van Telemann. En laat dat nu precies aansluiten bij de principes van dit energieke clubje.
Tijdschrift Oude Muziek

Flexibel, speels, verrassend en uitdagend!
Zoveel jeugdig talent bij elkaar is een garantie voor flitsende uitvoeringen. De dirigent staat bekend om zijn moderne, authentieke aanpak waarbij speelvreugde hoger in het vaandel staat dan notenkluiverij. Bij deze ‘frisse lucht in de Duitse muziek’ geen spoor van doorwrochte zware barok,maar een en al souplesse en luchtigheid. De musici van de HBS maken er een dartel feest van en vooral wanneer een solofagot zijn partijtje meeblaast, is vrolijkheid troef. Mooi opgenomen.
Klassieke Zaken

Gulhartig samenspel
(...) de tweede cd van deze musici gewijd aan Georg Philipp Telemann stemt tot vreugde. Een ouverture en concerten voor verschillende bezettingen inspireren de musici tot gulhartig spel in combi natie met ware ensemblegeest. Het betreft een studio-opname; live is de groep nog niet zo ver. Holland Baroque Society werkt met wisselende dirigenten. De leiding berust in dit geval bij Alexis Kossenko, die op zijn traverso een fijn partijtje meeblaast. Hij speelt ook blokfluit, maar dat zou hij beter aan een professional kunnen overlaten.
Telegraaf

 (…) Perfekten Unterhaltung ist garantiert, die Telemann’s Lust am blitzschnellen Wechseln einer Melodie zwischen mehreren Instrumenten zeigen (…)
(…) Hervorragend gelang auch die plastische Aufnahme – bereits als CD ein Genuss und mit weiteren emotionalen Zugewinn samt Kirchen-Nachhall in Surround. Hochts empfehlenswert.
Hifi & Records

(…) there's an airiness to both the instrumentation and much of the
playing. Jane Gower's bassoon work brings much to the works that
involve her, she produces a velvety sound with just a little buzz to
keep the texture interesting (…) this is a very appealing collection for
Telemann enthusiasts.
Fanfare

The first thing to say is that the sound on an ordinary but good-quality CD player is extraordinarily rich and textured. What this SACD version adds is a new bloom and sense of openness that are really quite gratifyingly startling. This is simply an outstanding good disc on a technical level in both versions. The quality of the music and the musicmaking is also exceptionally high. (…)
(…) In the Concerto in B flat major for 2 traversos, oboe, violin: the freshness and effervescence of almost every movement in this programme are astonishing (…)
(…) From the arresting opening bars of the E minor Ouverture the orchestral playing is immensely assured; phrasing is incisive and yet relaxed; tempos are beautifully judges and ornamentation is rich yet tasteful.
(…) A fine recording, I’m hard thinking of a better recording of Telemann orchestral music.
International Record Review

Lesser known Telemann concertos in a thoroughly engaging recording.
(…) they all show typical skill in composition, resourcefulness in orchestration and, above all, lively and attractive personality (…)
The orchestral sound strikes a perfect balance between weight and clarity, ensemble is spot-on and the soloists are all of high quality. The mellow-soft bassoon merits a special mention simply because it is so nice to be remembered what a heart-warming and sitting instrument the Baroque bassoon can be.
(...) First-rate presentation nevertheless.
Gramophone

(...) ce SACD est véritablement jubilatoire. L’ensemble HBS qui joue sans chef attitré, mais avec un nouveau leader pour chaque projet, déploie ici, dans un programme maintes fois entendu, coloris et nuances à foison. Et le français Alexis Kossenko exploite pleinement le potentiel offert. Tout vibre, respire dans une ferveur communicative s’emparant de l’auditeur et la prise de son d’une grande finesse, notamment de restitution des timbres, rajoute au bonheur de l’ensemble. Magnifique!
Opus HD net

(…) a flexible and energetic ensemble, the society appoints a new artistic leader for each project it presents. This time it is the accomplished Alexis Kossenko, who plays flute and recorder with a sweet sound and remarkable articulation (…)
(…) The orchestral accompaniment is shapely and interesting, with snappy articulation and fabulous intonation throughout. The soloists are well matched and simpatico. German style French music presents interpretational challenges; the HBS does an excellent job of making it dance (…)
(…) that it is really good music performed by what is clearly a topnotch ensemble.
Early Music America