Twelve Fantasias for Solo Flute
€5,99 – €33,49
Georg Philipp Telemann came from an affluent but unmusical family. Though he showed early promise as a performer and composer, his mother had other ideas and tried to discourage him by confiscating all his musical instruments. As a law student in Leipzig, however, he became increasingly involved in ‘extra-curricular’ musical activities. He composed a cantata every two weeks and had written four operas by the time he gave in totally to his real passion.
Fame and fortune in a creative artist’s lifetime do not necessarily presage the judgement of posterity. Throughout Germany Telemann basked in the sunshine of success, far eclipsing his contemporary colleague and occasional competitor Johann Sebastian Bach. In 1722 he was chosen by the city fathers of Leipzig for the position of Kantor at the St.Thomas Choir School; Bach was approached and secured this position only after Telemann had turned the offer down. When City Councillor Platz announced the appointment of Bach as Kantor for the churches in Leipzig in 1723, his pronouncement stated, “Since the best man could not be obtained, mediocre ones would have to be accepted.” Telemann in fact never had any intention of going to Leipzig, he simply used the offer to improve his bargaining position at Hamburg, where he established himself as Kantor of the five main churches in the city and ultimately as Director of the Hamburg Opera (an unheard of combination that annoyed the city fathers). He remained in Hamburg until his death in 1767.
|Digital to analog converter|
Horus by Merging Technologies
van der Hul 3T
Rens Heijnis custom made
Bruel & Kyaer, Schoeps
|Analog to digital converter|
Jared Sacks, Ashley Solomon
Grimm LS1 speakers
BBC Music Magazine
While these Fantasias are well represented on record not all competitors realise the element of fantasy with such intuitive and spontaneous flair as flautist Ashley Solomon. Channel Classics’s recorded sound is sympathetic and Solomon’s accompanying essay is thoughtful and informative.
Las lecturas que hace aquí Solomon son de un rigor musicológico abrumador, pero eso no significa que estén exentas de imaginación, ni muco menos de retórica y expresividad.
(…) Ashley Solomon cofondateur de l’ensemble Florilegium, n’a plus à prouver quel virtuose il est. Et quel orateur, dans cet exercice sans filet du solo! (…)
Luister (Luister 8)
(…) Het verschil in de klank van de fluiten, maakt deze registratie enorm de moeite waard. (…)
They’re attractive works that do have a certain spontaneity, but the real star here is the flutist, Ashley Solomon, and his collection of three period flutes (…) every note is weighed, considered, and precisely executed.
Het is fascinerend om de klankmatige verschillen tussen deze fluiten te beluisteren. (…)
Prachtig, afwisselend spel (…) mooie, heldere opname. (…)
Solomon makes them [the Fantasias] dance and sing, he makes them spacious. The articulation is immaculate, the rhythms are buoyant and the recording quality, done in big church acoustics, is immediate and generous.
This is top class in every respect, which is underlined by the gorgeous recording.
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