Composer: Georg Philipp Telemann (1681-1767)
Works: Suite (Ouverture) in A minor for recorder, strings, and basso continuo TWV 55:a2; Concerto in E minor for recorder, transverse flute, strings, and basso continuo; Concerto in G for viola, strings, and basso continuo; Ouverture des Nations ancient et modernes in G, for strings and continuo TWV 55:G4
Performers: Frans Brüggen (recorder), Frans Vester (transverse flute), Gustav Leonhardt (harpsichord), André Rieu (conductor), Chamber Orchestra of Amsterdam, Friedrich Tilegant (conductor), Südwestdeutsches Kammerorchester
Recording: Recorded at Bennebroek, Netherlands in December 1967 and May 1968
Label: TELDEC APEX 0927 40843 2
Georg Philipp Telemann, often overshadowed by his contemporaries, emerges in this collection as a composer of remarkable depth and wit. His Suite (Ouverture) in A minor and the accompanying concertos reveal a vibrant musical language that intertwines the French, Italian, and Polish styles, showcasing his inventiveness and skill in orchestration. The historical context of these works, particularly the Suite, is rooted in the influence of Lully’s overtures and dance suites, as Telemann adeptly synthesizes various national styles into a cohesive and engaging musical narrative.
The performance conducted by André Rieu and later by Friedrich Tilegant is buoyed by the distinctive interpretations of the soloists, particularly Frans Brüggen on recorder and Frans Vester on transverse flute. Brüggen’s interpretation, characterized by a fluidity and dexterity, captures the playful spirit inherent in Telemann’s music. In the Concerto in E minor, the interplay between the recorder and transverse flute is fascinating; the juxtaposition of the ‘old’ recorder against the more modern flute offers a dialogue that is both historical and innovative. The second movement, with its pizzicato strings and guitar, stands out as a moment of serene beauty, highlighting the composer’s ability to blend timbres and textures.
Moreover, the Concerto in G for viola is a particularly noteworthy piece, where Telemann’s choice of instrumentation allows for a rich exploration of the viola’s tonal palette. The work’s simplicity belies its sophistication, as it paints an evocative soundscape that is both mellow and expressive. The decision to elevate the viola as the primary voice in this concerto is reminiscent of Bach’s sixth Brandenburg Concerto, showcasing Telemann’s originality and willingness to experiment with orchestral roles.
The recording quality, while reflective of its era, remains commendably clear, allowing the intricate interplay of the instruments to shine through. The engineering captures the lively dialogue between the ensemble and soloists, although modern listeners may find the soundstage somewhat constricted compared to contemporary standards. Nevertheless, the musicianship of the Chamber Orchestra of Amsterdam is impeccable, with precise articulation and a palpable sense of ensemble cohesion that enhances the listening experience.
This recording serves as an essential testament to Telemann’s significance in the Baroque canon, offering a compelling argument for re-evaluating his contributions. The joyous tunefulness and surprising harmonic shifts found throughout these works demand attention and appreciation, revealing a composer who, perhaps more than many of his peers, understood the art of engaging his audience with charm and cleverness. As such, this compilation is not merely a delightful listening experience; it is a profound exploration of a composer whose music deserves a more prominent place in the concert repertoire.
