Georg Philipp TELEMANN (1681-1767) Wind Concertos Volume 1
Concerto in d minor for two horns, strings and continuo, TWV 52:D2
Concerto in e minor for transverse flute, recorder, strings and
continuo, TWV 52:e1 [13:47}
Concerto in d minor for oboe, strings and continuo, TWV 51:d1
Concerto in g minor for recorder, two violins and continuo, TWV
Concerto in E major for transverse flute, strings and continuo,
TWV 51:E1 [12:17]
Michael Schneider (recorder)
Karl Kaiser (transverse flute)
Luise Baumgartl (oboe)
La Stagione Frankfurt
Camerata Köln/Michael Schneider
rec. Deutschlandrundfunk Kammermusiksaal, 2005/6 CPO 7770322 [55:24]
In the day when trained
musicians were expected to master a number of instruments, Telemann
exceeded expectations by not only mastering three (the harpsichord,
recorder and violin) but by also becoming proficient on most
of the other instruments in common use at the time. As a result
of this vast skill-set, he was able to compose concertos for
a wide array of solo instruments and combinations thereof. The
hallmark of his music is a respect for the idiom of each individual
instrument that renders each work not only aurally pleasing,
but also of immense satisfaction to the performer.
In an attempt to
get away from the pervasive Italian style, Telemann adopted a
four movement form that often followed the pattern of slow-fast-slow-fast.
These slow openings drew the listener’s attention to the melodic
line and away from the sheer displays of virtuosity that were
the stock-in-trade of the Italian concerto. Telemann also preferred
a more moderate display of the soloist’s technical skill, never
allowing the intricacies of the solo line to overshadow the elegance
and purpose of the music.
leads his two ensembles in a perfectly elegant set of concertos
for diverse instrumental combinations in this disc that brims
with grace and charm. Beginning with an uplifting but never overwhelming
work for two horns, Messrs. Hübner and Schulteß bring off some
of the finest valve-less horn playing to meet these ears in some
time. Granted, more perfection can be achieved with these cantankerous
instruments in the studio setting than in a live concert. But,
this is playing of rarely heard skill and refinement.
The other standout
is Luise Baumgartl’s sweet tone and graceful articulation in
the concerto for oboe. She produces a light and unforced sound
and has a fine knack for spinning out a long arched phrase. Schneider
and Kaiser also turn in fine performances of works for recorder,
flute and the combination thereof. The two ensembles both play
most collegially, and balance, intonation and ensemble are of
the first order.
There’s a work for
every taste here and no lover of baroque music will be disappointed.
Marked “Volume I” one can only salivate a bit for more if this
fine disc is a representative harbinger of the entire series.
Founding Editor Rob Barnett Senior Editor
John Quinn Seen & Heard Editor Emeritus Bill Kenny Editor in Chief
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