Telemann – Concerti da Camera

8,9911,99

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SKU: 5093 Category:

Tracklist

1.
'Corellisierende' Sonata in F Major - Largo
00:00
2.
'Corellisierende' Sonata in F Major - Presto
00:00
3.
'Corellisierende' Sonata in F Major - Dolce / Grave
01:56
4.
'Corellisierende' Sonata in F Major - Allegro
00:00
5.
Paris Quartet in e minor (no. 6) - a discrétion / tres vite / a discrétion
00:00
6.
Paris Quartet in e minor (no. 6) - Gai
01:58
7.
Paris Quartet in e minor (no. 6) - Vite
00:00
8.
Paris Quartet in e minor (no. 6) - Gracieusement
00:00
9.
Paris Quartet in e minor (no. 6) - Distrait
01:58
10.
Paris Quartet in e minor (no. 6) - Modéré
00:00
11.
Triosonata in B flat major - Dolce
01:31
12.
Triosonata in B flat major - Vivace
01:01
13.
Triosonata in B flat major - Siciliana
01:49
14.
Triosonata in B flat major - Vivace
01:14
15.
Concerto in a minor - Adagio
01:53
16.
Concerto in a minor - Allegro
01:01
17.
Concerto in a minor - Adagio
00:00
18.
Concerto in a minor - Vivace
02:34
19.
Quadro in g minor - Allegro
01:15
20.
Quadro in g minor - Adagio
01:26
21.
Quadro in g minor - Allegro
02:32

Description

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.

Additional information

Artists

Recording location

Schlosskirche Bad Homburg, Germany

Mastering equiment

Sony digital Editor 3000

Mastering engineer

Bert van der Wolf

Mixing console

Rens Heijnis Custom made

Microphones

Bruel & Kjaer, Schoeps

Recording format

PCM 44.1

Analog to digital converter

dCS900

Recording date

October 1992

Editing

Bert van der Wolf

Composers

Recording engineer

Bert van der Wolf

Producer

Ted Diehl

Type

, ,

Format

,

Label

Genre

,

Digital to analog converter

Sony

Press reviews

Neue Bürcher Zeitung (Switserland)

(…) …löst die sehr lebendige dargestellte Musik als Zeitdokument des Holocaust von neuen Betroffenheit aus.

Harmonia

(…) but the disc is still a worthwhile acquisition for the prosperous Telemanniac.

BBC Magazine

(…) the performances have a vivid and splendidly theatrical feel which cannot fail to move the listener.

Diapason

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 (…)

FonoForum

(…) Diese Prager Interpretation rekonstruiert das Klangerlebnis – und wohl auch den Moment der (be-) Rührung. (…) Mehr als nur ein Zeitdokument.

Entr’acte

(…) Een cd om van te houden (…)

American Record Guide

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. (…)

Monde de la Musique

(…) La partition est très convaincante dans l’interprétation de l’Ensemble Disman. (…)

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