Georg Philipp TELEMANN (1681-1767) TELEMANNia
Concerto for two violins, strings and bc in G (TWV 52,G1) [9:48]
Concerto for 4 violins in G (TWV 40,201) [6:42]
Concerto for recorder, bassoon, strings and bc in F (TWV 52,F1)
Quartet for 2 transverse flutes, bassoon and bc in d minor (TWV
Trio sonata for violin, bassoon and bc in B flat (TWV 42,B5) [6:13]
Concerto for violin, viola da gamba, bassoon and bc in b minor(TWV 43,h3) [10:44]
rec. 25-26 April 2010, Studio 2 of Swedish Radio, Stockholm, Sweden. DDD
PROPRIUS PRCD 2059 [64:51]
In his liner-notes the producer Anders Eriksson explains the
reasoning behind this project. "The aim was to produce
a full-length CD containing partially highly virtuosic and complex
music in only two days. Such a limited time frame is tradition
only among punk bands, and would be considered unacceptably
hectic in other genres. (...) In our case, the time window presents
a possibility rather than a problem. It guarantees a spontaneous
and straight performance without too much reconsideration. In
order to create a vivid recording I have preferred captivating
takes with character to those with just fewer defects."
There is nothing wrong with a vivid recording; on the contrary.
However one does not need such a tight recording schedule in
order to achieve a lively and spontaneous performance. I have
heard many recordings which took more time and which were just
as vivid and spontaneous as this particular disc. As we shall
see some further reflection and consideration would not have
gone amiss in regard to some aspects of this performance.
I wonder whether the production of the booklet also took just
two days. It comprises eight pages, a title page and seven pages
of information in Swedish and English about the concept of this
recording - from which I just quoted. There are also biographies
of the ensemble and Maria Lindal and pictures of the artists.
They are also given space to tell us about Telemann and about
playing together. This is all very nice, but would the listener
not be better served by giving some information about the music?
That is all the more important as a large part of the disc consists
of lesser-known pieces from Telemann's large oeuvre. Moreover,
for only three of the six items is the catalogue number given.
The key of the Concerto in b minor is given in German
(H minor) and there is no mentioning of the fact that in this
piece - officially referred to as quatuor by the way
- the violin plays a part which was originally given to the
The programme is interesting enough, and the fact that it contains
mostly lesser-known pieces is one of its merits. The exception
is the Quartetin d minor from the second part
of the Tafelmusik. Here the scoring is less common: it
is mostly played with two flutes and recorder, but in this case
the recorder part is played on the bassoon - an alternative
suggested by the composer. Among the most unusual compositions
is the Concerto in G for four violins without accompaniment.
It is one of four such Telemann pieces. The first movement is
called 'largo e staccato', and it begins with the violins playing
staccato chords from which one violin rises with a solo episode.
The roles of solo and accompaniment then switch from one violin
to another. It is remarkable how Telemann is able to suggest
a full string ensemble with just four instruments in treble
range. The piece follows the structure of the sonata da chiesa,
with four movements: slow-fast-slow-fast. Just as with many
sonatas of this kind - for instance those by Corelli - the second
movement is a fugue. There are some strong dissonances in both
slow movements. The last movement begins and ends with a unisono
The structure of the sonata da chiesa is also followed
in the Concerto in G for two violins, strings and b.c.
Telemann didn't compose that many concertos, in comparison with
his orchestral Overtures. That has everything to do with his
preference for the French style over the Italian. Whereas Italian
concertos were often quite virtuosic, Telemann generally avoids
virtuosity. He once wrote: "He who can benefit many does
better than he who writes for only a few". It was his aim
to compose music which was within the grasp of the good amateur.
This concerto is certainly not overly virtuosic. In particular
the two slow movements - both 'grave' - are expressive and based
on polyphony. The last movement is characterised by a strong
rhythmic pulse. The Concerto in F - again a double concerto
and also in four movements - is a little better-known; remarkable
nevertheless because of the unusual combination of recorder
and bassoon. They are treated on a strictly equal footing, and
they exchange the musical material, partly through imitation.
It is a typical example of Telemann's creativity and proof of
his original mind. The same is true of the Trio sonata in
B flat: the combination of violin and bassoon is anything
but conventional. The middle movement is particularly nice.
The Tafelmusik is a large collection of music for various
combinations of instruments and in various forms: from orchestral
overture to sonatas for solo instrument and basso continuo.
It is divided into three 'productions', which all contain one
quartet. The second production includes the Quartet in d
minor with two transverse flutes, recorder or bassoon and
b.c. Here we find a third influence on Telemann's compositional
style: Polish folk-music which shines through in the last movement.
The disc ends with another little-known piece, the Quartet
in b minor. I don't see any reasons why it is called 'Concerto'
here, nor do I see why the part of the transverse flute has
been given to the violin. One way or the other, the combination
of instruments is again remarkable: flute (violin), viola da
gamba and bassoon with basso continuo. The opening adagio is
particularly notable for its striking level of dissonance. It
just shows that there is more in Telemann's oeuvre than just
entertaining stuff. One virtue of this disc is that it sheds
light on some lesser-known aspects of Telemann's output, for
instance the use of polyphony and of daring harmony.
In the booklet Anders Eriksson promised lively performances,
and that is exactly what we get. I am generally quite pleased
by the playing of the Ensemble REBaroque. The rhythmic pulse
is well exposed, and the ensemble is very good. The expressive
character of some movements is fully explored, and the performances
are quite compelling. However some critical comments need to
be made. The Quartet in d minor is the least convincing
part of this disc. There are some rough edges, but that is not
a matter of playing technique but rather of interpretation.
There is just a lack of subtlety and too little differentiation,
for instance in the Largo. In the opening Andante
the good notes are emphasized in such a strong manner that the
quartet’s elegance suffers seriously. In a way these interpretations
are a bit one-sided.
The second issue is that the players have taken improvisational
freedoms, which may make some impression in a live event, but
cannot necessarily stand up to repeat listening. That is in
particular the case with the last track, where some gestures
are hardly in line with the baroque style. Some may find this
quite funny, but I wonder if they would like to hear it time
and again. The last point I would like to make relates to the
inclusion of cadenzas. There is one in the last movement of
the Concerto in F, and also in two movements of the Quartet
in d minor. The playing of a cadenza by the lute in the
Largo of this quartet is particularly odd, as it has
no solo role at all. Even the cadenza of the bassoon in the
Vivace seems questionable, mainly because this music
was written for amateurs, not for professional virtuosos who
might well have liked to add a cadenza of their own. It is issues
such as these that make me think that a few more moments reflection
might not have been such a bad idea after all.
Even so, this disc should be welcomed because of the repertoire
and the generally high level of playing. You won't be bored,
that's for sure.
Johan van Veen
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