Georg Philipp TELEMANN (1681-1767)
Wind Overtures Volume 2
Overture (Quintet) in D major, TWV 44:3 [16:20]
Overture in F major ‘Alster-Overture’, TWV 55 F:11 [34:07]
Overture (Quintet) in F major, TWV 44:9 [8:00]
L’Orfeo Bläserensemble/Carin van Heerden
rec. 6-9 November 2017, Brüdergemeinde, Gnadau, Germany
CPO 555 212-2 [58:42]
The phenomenon of Harmoniemusik – music written for wind ensemble – is often thought of in connection with middle to late 18th century Vienna, and its satellite courts. But this disc is an appealing reminder that such a genre was appreciated further afield, already in the Baroque period, with no less a composer as the extremely versatile Telemann writing idiosyncratic music for the usual combinations of oboes, horns, and bassoons.
Even within that distinctive part of his output, however, there are different varieties of composition. The two smaller-scale Overtures or Quintets are, as the latter appellation implies, essentially chamber works, comprising a short sequence of abstract movements, mainly French dances. The Alster Overture on the other hand, forming the centrepiece of this disc, is a more ambitious work that closely follows the pattern and scale of his orchestral overture-suites, with its longer series of vivid, descriptive movements. Indeed this suite appears to introduce various characters and scenarios – such as the mythological figures Pan, Peleus, nymphs, and shepherds in the setting of the river Alster in Hamburg – who reappear in a now lost Serenata which Telemann composed, and to which it was supposed to act as the prelude. The movement ‘Die concertierenden Frösche und Krähen’, depicting the croaking of frogs and screeching of crows on the river, has made this one of the best-known of those overture-suites, at least in its fully orchestral guise, but this is the first recording of the work in a later revision by the composer for wind instruments alone, with some different movements.
With pungent oboes and chugging bassoons, L’Orfeo Bläserensemble offer timbrally rich and colourful interpretations of all three works, even in the abstract movements of the Quintets. The music bustles along cheerily under Carin van Heerden’s direction, characterising well the faster sections, not least the whimsical Harlequina which concludes the D major Quintet, though its Riguadon remains a little too polite and could be more boisterous. Contrariwise its jaunty Siciliano becomes rather relentless and could let up a little in tempo despite its correctly marked rhythm. The brief Rondeau, Menuet, and Gigue of the F major are suitably ebullient.
The ensemble come into their own, however, for the graphic depictions of the Alster Overture’s movements, even in the non-descriptive opening section with its pungent oboes and throbbing horns which seem to be telling a story. The horns become more raucous and the oboes bleat more harshly to evoke Pallas firing the cannonades, whilst in the ‘Alster-Echo’ it sounds as though the oboes are wittily goading the horns into making an echo. The ensemble articulate the quavers of ‘Die Hamburgischen Glocken-Spiele’ to evoke the city’s church bells, before falling into more sustained, quiet strains for the singing swans, in which the mournful oboes ornament their elegant, lyrical line graciously. That stands in amusing contrast with the woozy chromatic sighs and cackles of the concert of frogs and crows, before a few joyful movements for Pan and Peleus end in the excited scattering of the shepherds and nymphs, clearing the scene, as it were, for Telemann’s Serenata Auf zur Freude, zum Scherzen, zum Klingen that might follow were it not lost. As it is, the accounts of this and the two other Overtures on this disc not only exhibit wonderful musicianship, but also witty and engaging music-making that makes for an entertaining hour of listening.
Curtis Rogers
Previous review: Brian Wilson
