CHAMBER Music BY GEORG PHILIPP TELEMANN Telemann was a composer of astonishing versatility, and nowhere is this quality more evident than in his trios and quartets for wind and string instruments. He composed in both the Italian and French styles, sometimes very distinctly in one or the other, and at other times blending them together. He was influenced by such diverse elements as the galant style and 'barbaric' Polish folk music. The results are truly impressive, for Telemann clearly loved and understood these various styles and used them as sources of inspiration rather than strict guidelines for moulding musical content.
CORELLISIERENDE SONATA IN F MAJOR This work is the first in a group of six sonatas in which Telemann pays tribute to the great Italian master, Arcangello Corelli. The work contains several of the hallmarks of Corelli's style such as walking basses, series of suspensions, and energetic contrapuntal writing. However the work is undeniably Telemann's own as exemplified in the air of sweetness of the first movement, and the 'jazzy' contrary motion of the two violins over a pedal point at the close of the final movement.
PARIS QUARTET No. 6 IN E MINOR Telemann was an acknowledged master of the writing of quartets in which the top two parts ar balanced by an obbligato bass instrument and continuo. This work is the final of his last published set, and contains some of the most inspired music of this period in his life. A passionate Prelude is followed by a series of elegant French dances, culminating in a Rondeau Chaconne of such tragic intensity that it seems to transcend the boundaries of the 18th century style. This masterpiece places Telemann firmly in the league of supreme composers of the Baroque era.
TRIO SONATA IN B FLAT MAJOR Telemann was the first composer to write chamber music in which the keyboard is assigned an obbligato role with support from a separate continuo. Here the continuo role is taken by archlute and cello. There are several works from the 1730s in which the keyboard shares the melodic role with a treble instrument, and this Trio is a particularly fine example. The first and third movements have the sweet tenderness of the best of Telemann's galant music, and the two Vivace movements abound in humour and high spirits. CONCERTO IN A MINOR This work contains the rhythms and wild atmosphere of the Polish folk music that Telemann loved so much. It is scored for the relativity unusual combination of three treble instruments and continuo. In the opening Adagio, Telemann interweaves quaver and semiquaver rhythms in the treble parts with relentless crotchets in the bass. This creates a brooding sense of expectation before a more straightforward contrapuntal Allegro. The third movement is a tranquil and expansive Adagio. The final Vivace, is an astonishing triple concerto movement, with solo episodes of virtuoso passagework requiring great bravura.
QUADRO IN G MINOR This Italianate work, with its use of sequence and headlong semiquaver motion, is reminiscent of Vivaldi. Two whirlwind Allegros, the first almost menacing and the second playful, surround a central Adagio of great pathos and beauty. THE CONTINUO Telemann demonstrated an exceptionally keen interest in the various tone colours of instruments. Although no works survive for the lute. Telemann did score for a related instrument, the calichon (tuned like a bass viol but plucked), as a continuo instrument when it was available. Bearing this in mind, Florilegium has not hesitated to add the distinctive tonal colours of the archiute and theorbo to the basic continuo combination of harpsichord and cello. The exact continuo combination for each piece has been chosen on the piece's own merits. For example, a single archlute has been added in the Corellisierende Sonata, as this was common practice in Italy, while the Paris Quartet benefits more from the deep tones of the theorbo, so cherished by French musicians of the time.
G. Ph. Telemann Chamber Music
Ashley Solomon, Director
Florilegium has performed at major Early Music Festivals and some of the most important concert venues throughout Great Britain, France, Germany, Holland, The Canary Islands, Turkey, The Czech Republic and Australia. Future engagements include tours to North and South America, Canada, Indonesia and the Peoples Republic of China.
Diapason d'Or award
|Format||Normal PCM CD|
|Year of release||1993|
|Number of cd's||1|
Diapason d'Or award
(...) L'ensemble Florilegium fait montre d'une infaillible virtuosité et d'une grande diversité expressive. (...)
(...) A solid performance by this new group that is sure to produce more disc of quality playing in a wide variety of music.
Florilegium: remember that name! They are among the great, the poets, the magicians who hypnotize you (...) All the works are superbly played (...)
Diapason, September '93
Contributing considerably to the success of this collection is the zest, energy, and stylish spirit of the seven players who make up this group-virtuosic and knowledgeable, they also sound as if they are having tremendous fun with these pieces. (...)
American Record Guide, July '93
(...) but the disc is still a worthwhile acquisition for the prosperous Telemanniac.
Harmonia, January '94
(...) ...löst die sehr lebendige dargestellte Musik als Zeitdokument des Holocaust von neuen Betroffenheit aus.
Neue Bürcher Zeitung (Switserland), June 1994
(...) Diese Prager Interpretation rekonstruiert das Klangerlebnis - und wohl auch den Moment der (be-) Rührung. (...) Mehr als nur ein Zeitdokument.
FonoForum, September '93
(...) the performances have a vivid and splendidly theatrical feel which cannot fail to move the listener.
BBC Magazine, November '93
(...) Een cd om van te houden (...)
Entr'acte, August '93
(...) La partition est très convaincante dans l'interprétation de l'Ensemble Disman. (...)
Monde de la Musique, June '93
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