- 28409 Telemann, Holland Baroque Society meets Alexis Kossenko

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