Georg Philipp TELEMANN (1681-1767)
Musique de Table
(Tafelmusik): Banquet Music in Three Parts (1733)
Orchestra of the Schola Cantorum Basiliensis/August Wenzinger
rec. 1964 (Production I) and 1965 (Production II and III). ADD.
First international complete release on CD.
[68:18 + 65:43 + 66:57 + 75:17]
Whatever other music by Telemann you may know or have access to, the three
productions of Tafelmusik contain some of his finest output. I’m
very pleased to see these performances, formerly available as extracts only
as part of a 55-CD set, Archiv Production 1947-2013 (4791045)
restored in full.
August Wenzinger was championing the music of Telemann, with the able
assistance of the DG Archiv label, back in the days when his music was
little appreciated, and we thought ourselves clever to have LPs of Bach’s Brandenburgs and Vivaldi’s Four Seasons, mostly the 1950s
mono recordings by Karl Münchinger and the Stuttgart Chamber Orchestra,
reissued on the Decca Ace of Clubs label.
By the 1960s performers such as Wenzinger and his Schola, Thurston Dart1 and, a little later, Neville Marriner2 were
bringing a much greater sense of period style to their performances than
Münchinger and, though Wenzinger’s Telemann may sometimes sound rather
staid now by comparison with more recent interpretations, it’s still well
worth hearing in this first complete international reissue on CD.
The reissue is especially valuable for those looking for a corrective to
more recent recordings, such as another DG Archiv set from Musica Antiqua
Köln and Reinhard Goebel (4778714, 4 CDs, target price £14: Bargain of the
– single disc excerpts on E4472962, download only). The other obvious
comparison is with Nikolaus Harnoncourt with the Concentus Musicus Wien on
Warner Das Alte Werk 2564687041, an unbelievable bargain with a target
price of £7 for four CDs. These two recordings were first released almost
I very much like Goebel’s way with Telemann; he takes the fast movements on
his 1989 recording at a brisk pace while often allowing the slow movements
more time to breathe than you might expect.
Nor are the Schola and Wenzinger as stolid or dated as, I’m sorry to
report, their 1950s Monteverdi L’Orfeo now sounds, though it’s worth
Naxos Music Library
for the singing of the fresh-voiced Fritz Wunderlich (DG 4531762,
download/streaming only). In Tafelmusik they are mostly steady
rather than slow, but there is some lively playing, too, as in the Concerto
for flute, violin and cello in A, TWV53:A2 towards the end of Production I
(CD1 tracks 12-15). The opening largo is taken seconds faster than
by Goebel, while the boot is on the other foot in the second movement allegro, where Goebel is over a minute faster. In the third
movement Wenzinger’s idea of gratioso takes a minute longer than
Goebel’s and the closing allegro is almost two minutes faster from
Goebel but both sound in fine in context.
I’ve chosen this concerto because timings are sometimes harder to compare
elsewhere since Goebel observes all the repeats, which Wenzinger doesn’t.
It’s also a good example of how different ideas of tempo can both work
well. I certainly never felt that I had to consider the age of the
There are moments where I find Goebel’s more interventionist style more
attractive, as in the opening largo, where he ‘leans’ on passages
much more than Wenzinger and the individual parts come through more clearly
in the sparer instrumentation. Goebel also varies the tempo more than his
predecessor. The effect is to make the listener more attentive, but I know
that others will find the older recording more amenable – after all, this
was designed to be background music for a banquet. It might not be too
advisable to be struck by a particular passage with a spoon of hot soup in
Some time ago, I praised a complete Tafelmusik recording from
Freiburg Baroque on Harmonia Mundi when it was available to download at
budget price –
DL Roundup March 2012/1
– but that very inexpensive download is no longer available and the
replacement, from eclassical.com, is uncompetitive with the Wenzinger and
Goebel recordings when it costs $54.57, 16-bit only, and without any
booklet. Not all dealers seem to stock the CDs, but Amazon UK have the set
In style these Freiburg performances, directed by Petra Müllejans and
Gottfried von der Goltz, fall between the easy-going Wenzinger and the more
interventionist Goebel. There’s none of Goebel’s exaggeration of galant style in the opening largo of the concerto, but more
of a sense of the music moving forward than with Wenzinger and the same is
true of the gratioso third movement. The two allegro
movements look very fast on paper, at 6.10 and 6.00 respectively and the
Freiburg players certainly don’t hang around, though never sounding hectic,
so the shorter playing time – almost four minutes faster than Wenzinger and
two minutes faster than Goebel – is due mainly to non-observance of all
Harnoncourt takes a little longer than the others over the opening largo and I found his approach to this movement somewhat lumpen by
comparison especially with Goebel. Wenzinger’s easy-going approach is much
more to my taste. Nor is the playing of the Concentus Musicus quite as
spot-on as that of Musica Antiqua. Overall, Wenzinger would be my Desert
Island choice over both later rivals in this movement.
Harnoncourt moves the music along at a similar pace to the Freiburg players
in the two allegro movements, again with some omission of repeats
and without any sense of over-driving his players. Nor is the sound on
this set, originally from Teldec, quite as closely analytical as DG’s for
Goebel. If both have the edge on the Wenzinger in that respect, the DG
recordings from 1964 and 1965 have come up sounding very well on Eloquence,
with just an occasional hint of roughness. The more recent rivals
certainly don’t put the 1960s sound in the shade.
There’s a 1995 recording on four separate Naxos CDs from The Orchestra of
the Golden Age. The performance of TWV53:A2 on the first CD (8.553724)
stands up to comparison with any of the recordings so far considered.
These CDs were well worth considering when Naxos albums were super-budget –
in fact, somewhere along the line I bought the third CD (8.553731) – but
they are a little over-priced now when the Wenziger, Goebel and
Harnoncourt complete sets are all on sale at special prices. Those happy
with a single-disc 63-minute selection, however, might like to consider the
excerpts from these Naxos performances on 8.571070.
Alternatively consider another single-CD selection from The King’s Consort
on Hyperion Helios CDH55278 at mid-price –
DL Roundup March 2012/1.
The contents are the Suites in D from Production 2, TWV55:D1, and B-flat
from Production 3, TWV55:B1, with their conclusions. It can be downloaded,
with pdf booklet, for just £5 from
DL Roundup March 2012/1.
A 74-minute single-SACD selection from Productions I and II by Florilegium
on Channel Classics CCSSA19102 seems to be out of stock in the UK. The
fine performances of the Overture and Suite in e minor from Production I
are less emphatic than from Goebel and his team, but the recording is
transferred at such a high level on the 24/96 download to which I listened
as to sound coarse at the climaxes – most unusually for this label which
justly prides itself on recording quality. I am now less happy with this
recording than when I reviewed it in
DL News 2013/4,
though I’m still happy with Florilegium’s account of the Concerto in A
from Production I on an SACD of Bach and Telemann (CCSSA27208, also
DL News 2013/4).
Despite my admiration for other recordings which this group have made for
the Channel Classics label, I turned back to the Wenzinger recording with a
degree of relief. Wenzinger’s concept of the opening lentement may
be a little too leisurely by modern standards, the playing not quite as
sharp as from Florilegium, but there’s very little else that sounds even
the slightest sluggish. The central vite section of the overture
should be lively enough for most listeners, the remaining movements are
well paced, and the recording is actually more comfortable to live with
than the Channel Classics.
I’d hate to have to make a ‘Building a Library’ choice. All the complete
sets of this wonderful music have a great deal going in their favour. Fans
of Goebel or Harnoncourt can choose their sets in confidence. The Freiburg
performances are a little more easy-going than either, though also a little
less distinctive. Overall those seeking just one complete set of this
marvellous music are probably best advised to choose Musica Antiqua Köln
but lovers of Telemann’s music should also consider adding the Wenzinger
reissue. Those averse to Goebel’s style will be very well served by the
If you already own a recording of this music with which you are happy and
have access to the Naxos Music Library, I strongly recommend that you at
least stream the Wenzinger reissue
You will also be able to compare it there with the Goebel and
Harnoncourt sets and the four separate Naxos albums.
Eloquence have recently reissued his recording of the music of J C Bach and
Scarlatti, Mr Bach at Vauxhall Gardens, with Jennifer Vyvyan, Elsie
Morison and the Boyd Neel Chamber Orchestra (4825387).
Neville Marriner the First Recordings
on an earlier Eloquence reissue contains music by Corelli, Geminiani,
Cherubini, Torelli, Handel, Manfredini, Bellini, Telemann – Concerto in F
from Tafelmusik II, Albinoni, Locatelli, Albicastro, Avison and
Vivaldi (4802330, 2 CDs). The recording of Avison’s Op.9/11 was my
introduction to that composer. More recently Eloquence have reissued
Harpsichord Concertos by Arne, C P E and J C Bach, with George Malcolm