georg philipp telemann · telemann’s concertos for jour violins without bass (actually genuine...
TRANSCRIPT
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the musicaL heRitaqe society inc.
mrnmB
1512
GEORG PHILIPP TELEMANN
TRUMPET CONCERTO in D MAJOR
VIOLA CONCERTO in G MAJOR
CONCERTO in C MAJOR for 4 Violins
CONCERTO in E MINOR for Flute, Recorder and Strings
CONCERTO in D MINOR for 2 Clarinets and Strings
ANDRE BERNARD, Trumpet
PHILIPP NAEGELE, Viola
ANNEGRET LUCRE, Recorder
WERNER RICHTER, Flute
DIETER KLOCKER and ANDREAS BONIFERT, Clarinets
Heidelberg Chamber Orchestra
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MHS 1512 MHS 1512
GEORG PHILIPP TELEMANN (1683-1767)
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Side 1:
CONCERTO in D MAJOR for Trumpet and Orchestra
Adagio - Allegro - Grave - Allegro
CONCERTO in G MAJOR for Viola and Orchestra
Largo - Allegro - Andante - Presto
Andre BERNARD, Trumpet Philipp Naegele, Viola Heidelberg Chamber Orchestra
CONCERTO in C MAJOR for 4 Violins
Philipp Naegele, Gerhard Ohnheiser, Masafumi Hori and Ottavia Kortner, Violins
Side 2:
CONCERTO in E MINOR for Recorder, Flute dnd Orchestra
Largo - Allegro - Affetuoso - Presto
CONCERTO in D MINOR for 2 Clarinets and Orchestra
Largo - Allegro - Adagio - Allegro
Annegret Lucke, Recorder
Werner Richter, Flute
Dieter Klocker, Clarinet
Andreas Bonifert, Clarinet
Heidelberg Chamber Orchestra
Whereas Telemann’s "French” works are provided with
French titles and indications for performance, II Signor
Melante” (his own Italianized anagram!) uses the lan¬
guage of Dante as soon as he enters upon Italian stylistic
ground. He was one of the first German composers who
mastered the young form of the Concerto for one or
several solo instruments of the Vivaldian type, even pre¬
ceding Bach by some years in this respect.
In the majority of his 170 Concertos, he keeps to the
older four-movement form of the Church Concerto Con¬
certo da Chiesa), with the sequence slow-fast-slow-fast,
whereas the "modern” three-movement form appears far
less frequently. Our selection may provide an idea of the
incredible instrumental variety of Telemann’s production
in the Concerto field!
The Trumpet Concerto in D-major belongs into the
brilliant category of festive church music, as exemplified
in many compositions by Torelli. In the opening Adagio
the solist is able to unfold his possibilities in the cantabile
style, while the two fast movements require all his nimble
virtuosity. Following a current practice of the time, the
trumpet remains silent during the whole third movement,
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Timings:
pr tr Side1:
Side 2:
9:04
14:51 ktc* «si
a moving Grave in B-minor of noble expressive power.
The Viola Concerto in G-major is the earliest of its
kind, and the only one from Telemann’s pen. Since it is
one of his finest works and since the viola’s repertoire is
very limited in number, it has acquired early popularity.
All four movements have their beauties, the two fast move¬
ments, above all the sprightly dance of the concluding
Presto, provide the solist with most interesting opportuni¬
ties for display, but the crown of the work remains the
strongly expressive third movement, an Andante in E-
minor of astonishing formal freedom and harmonic bold¬
ness, featuring some daring enharmonic turns.
Telemann’s Concertos for jour Violins without bass
(actually genuine Violin Quartets!) are masterworks of the
rarest kind. Here, as our recording of the four-movement
C-major Concerto makes clear, he is as close to Vivaldi
as to justify a true confusion between both composers!
The peculiar charm of the Concerto in E-minor for Flute,
Recorder and orchestra is due above all, naturally, to the
confrontation of the two different flutes, of which the
Recorder was about to die out at the time. Telemann also
used this tonal contrast with great subtlety in his chamber
music.
Stereo records may be played on modern mono equipment. It is advisable to wipe record with antistatic dust cloth before playing.
the musical heRitaqe society inc i99i t\Roa6way, new yonk. n. y. 10023
The tender and dreamy atmosphere of the slow move¬
ments forecasts the rising age of Empfmdsamkeit. It is
hard to imagine a stronger contrast than between the two
fast movements: here, a dark and melancholy Allegro, set
in an austere fugal style, there, a purely "French” Rondo,
a kind of Musette or Rigaudon, such as to be found in
Rameau’s Operas. Just before the end, we may hear a
stupendous premonition of the opening movement of
Beethoven’s Pastoral Symphony!
The progressive-minded, open-to-the-world Telemann was
quick in getting enthusiastic about the newly invented Clari¬
net. To be true, his Concerto in D-minor for 2 Clarinets
and orchestra calls the instruments by their current name
at that time, Chalumeau (spelled in a most amusing pho¬
netic was as "Schaliimoo”’), but there can be no doubt
about their identity. The Concerto is a dark-hued, austere
piece, of which even the closing minuet-like Rondo
(Allegro) does not manage to remove all melancholy. The
opening Largo, alternating tutti and unaccompanied clari¬
net duets, shows startling originality!
Harry Halbreich
Library of Congress Catalog Card No. 72-751038
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MUSICAL HERITAGE SOCIETY
GEORG PHILIPP TELEMANN
CONCERTO in D MAJOR for Trumpet & Orchestra Adagio - Allegro - Grave - Allegro
CONCERTO in G MAJOR for Viola & Orchestra Largo - Allegro - Andante - Presto
Andre BERNARD, Trumpet \ Philipp Naegele, Viola \ Heidelberg Chamber Orchestra
. \ CONCERTO in C MAJOR for 4 Violins / ^ n. Philipp Naegele, Gerhard Ohnheiser, /
\ Masafumi Hori & Ottavia Kortner, A Violins