When CPO release a disc such as this one, and
“Volume 1” appears at the end of the title, the savvy
listener can almost always be guaranteed that something wonderful
is being launched. For as long as the series goes, there will
be something to which to look forward on a regular basis for a
good while to come. In this, the first disc in a series covering
the violin concertos of Telemann (of which there are twenty),
we have cause for rejoicing. These performances are so fine, and
this music so appealing and elegant, that I immediately listened
to the entire disc through a second time, and have since heard
it at least twice more. Given the number of CDs that cross my
desk in a month, this is rare praise indeed.
Telemann was a musician with an almost insatiable
appetite for knowledge, and took it upon himself to master practically
every instrument in common use in his time. Of the some dozen
or more instruments upon which he became proficient, it was the
violin that was his main interest, and he spent many hours perfecting
his technique. Fortunately for us, he was also a prolific composer,
and like the much-maligned Vivaldi, left hundreds of works behind
which are as diverse and original as music itself.
Telemann was most concerned with melody and its
place in a composition, and as such, rather frowned on what he
considered to be the tasteless virtuosity of the Italian style
of concertos as exemplified in the works of Corelli and Vivaldi
et. al. Instead, he favored the French style, with its more subdued
and elegant melodic construction. Thus we find that a number of
his concerti are cast in a four-movement form (slow-fast-slow-fast)
as opposed to the Italianate three-movement style (fast-slow-fast).
Perhaps the most remarkable
single aspect of these works is the
marvelous use of the “salterio”
or dulcimer as an instrument in the
orchestra. This unusual color made this
listener stand up from my seat and run
the track back to make sure I was not
imagining things. It is a simply masterful
touch and is particularly lovely in
the little cadenza at the end of the
third movement of the E major concerto
presented here.
Elizabeth Wallfisch is a most tasteful and elegant
player, and she adheres to Telemann’s desire not to display
virtuosity for its own sake. She plays with conviction and spot
on intonation, and with the grace and style of a fine soloist,
but she never hogs the limelight, allowing the music to speak
for itself. This music is, of course, quite capable of same.
The L’Orfeo Barockorchester is a real find
in itself. Having never heard them play before, I was delighted
with their sense of ensemble and intonation and the spirit with
which they bring this music to life. If this disc is any indication
of their abilities, then we have much to look forward to from
this fine group. I cannot wait to hear them in some orchestral
repertoire.
This is a disc that should appeal to almost anyone
who enjoys fine music making, and I can only say that I anxiously
await volume two and the delights that must wait in store! Sound
quality is of the highest order and program notes and production
are first rate. Recommended without a moment’s hesitation.
Kevin Sutton
.
Elizabeth Wallfisch, violin and conductor L’Orfeo Barockorchester