Georg Philipp TELEMANN(1681-1767)
Overture-Suite in F major, TWV 55: F16 [19:47]
Concerto in D major, TWV 43: D4 [6:56]
Concert en Ouverture in A major, TWV 55: A7 [19:00]
Overture-Suite in D major, TWV 55: D23 [22:09]
Fanfare in D major, TWV 50: 44 [1:24]
Divertimento in E flat major, TWV 50: 21 [10:42]
Collegium Musicum 90/Simon Standage
rec. 16-18 November 2011, All Saints’ Church, East Finchley,
CHANDOS CHACONNE CHAN0787 [79:18]
Very few of Georg Philipp Telemann’s vast catalogue of
compositions exist in autograph manuscript, though we shouldn’t
be misled by the title of this CD. Perhaps it should be ‘Some
Of’ the autograph scores rather than ‘The’,
as of the eighteen extant these are only six. Of these, nine
are from a collection belonging to Telemann’s grandson,
who describes them as having been “composed in the 86th
year of his life”.
Late works by an elderly gent these may be, but they show a
close affinity with the fashionable French style demanded by
his patron, and Telemann’s typical refinement and liveliness
is ever-present, his occasional quirks and gestures allowed
to poke through from time to time.
The Concert en Ouverture in A major and Concerto in
D major come from earlier periods in Telemann’s career,
the first being unusual for its solo violin part and the movements,
essentially dance forms, all titled ‘Invention’.
Now one of the grandees of the early music scene, Simon Standage
shines with playful eloquence in this work. The latter Concerto
is a youthful work, probably written before 1716 and full of
sparkling harmonic invention and rhythmic energy.
There are some super moments in the other works, and the first
movement of the Overture-Suite in F major immediately
confronts us with some of those scarily exposed leading/passing
notes whose logical place in the music only becomes apparent
when the line resolves. There are two horns in this piece which
led it a festive feel, and it’s a fine start to the programme.
This work’s partner here is the Overture-Suite in D
major, TWV 55: D23 which appears to be one of the last pieces
Telemann wrote. Flutes and bassoon add sweetness and pungency
to the strings and continuo, and the remarkable centre of the
piece is a Plainte, which Nicholas Anderson points to
has having a Purcellian character in his thorough and well written
booklet notes. The Fanfare in D major, TWV 50: 44 is
listed separately, though is arguably part of the Overture-Suite
in D major, the inclusion of horns for just a single movement
perhaps weighing against this conclusion.
The Divertimento in E flat major, TWV 50: 21 has flutes,
horns, strings and continuo, the horns adding verisimilitude
to the hunting references in the titles of some of the movements.
This description of a hunt day includes La Conversation à
la table in which we are perhaps invited to hear the flutes
as the ladies, the jovial interjections of the horns the high-spirited
gents. There is of course a galloping chase which however never
seems in danger of catching any prey, and the whole occasion
is rounded off with some stately dancing.
This is a fine and generously proportioned programme of some
excellent Telemann, and very enjoyable indeed. The Chandos recording
is crisp and detailed with the harpsichord continuo mixing nicely
with the rest of the ensemble. Collegium Musicum 90’s
performances are spirited and beautifully crafted.
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