Georg Philipp TELEMANN (1681-1767)
Concerto for recorder, transverse flute, strings and bc in e minor (TWV 52,e1) [13:06]
Concerto for transverse flute, violin, strings and bc in e minor (TWV 52,e3) [09:30]
Concerto for recorder, viola da gamba, strings and bc in a minor (TWV 52,a1) [15:37]
Concerto for transverse flute, strings and bc in D (TWV Anh 52,D) (after Concerto in F, TWV 51,F1) [13:14]
Concerto (Septet) for three oboes, three violins and bc in B flat (TWV 44,43) [09:17]
Peter Van Heyghen (recorder), Jan De Winne (transverse flute), Ryo Terakado (violin), Martin Bauer (viola da gamba)
Il Gardellino
rec. September 2003, Chamber Music Hall, Concertgebouw, Bruges, Belgium DDD
ETCETERA KTC4004 [60:48]
These recordings by Il Gardellino were first released by the
Belgian classical channel Klara on its own label in 2003. They were probably
not widely available in that form, and therefore this reissue is most welcome,
even though the programme includes pieces which are quite well known and available
in various interpretations. It seems likely that the booklet includes the
original liner-notes. Jan De Winne writes that “Telemann's reputation
can still use a little revaluation”. Right now that is hardly necessary,
considering the increasing number of discs with his music which are released
every year.
The title is a little imprecise. These are not concertos with only solo parts
for wind instruments: in two of them the wind instrument is joined by a string
instrument and the closing Concerto in B flat is strictly speaking
not a concerto like the others, as the alternative title of ‘Septet’
indicates.
Whereas Johann Sebastian Bach always followed the Vivaldian model in his concertos,
Telemann generally preferred the form of the Corellian sonata da chiesa
with its four movements. That is the case with the Concerto in e minor
(TWV 51,e1) which opens the programme. It is one of Telemann’s
most popular concertos in which he juxtaposes the ‘old-fashioned’
recorder and the fashionable transverse flute. The movements are strongly
different in character. The first is an expressive duet of the two instruments
in thirds, the second a dramatic allegro in Italian style. The closing presto
is one of the many pieces in Telemann’s oeuvre which reflect his admiration
for folk music, here music from Poland. In the last episode it quotes a Polish
popular song.
Corelli's influence is also present in the Concerto in e minor
(TWV 52,e3) for transverse flute and violin which is in five movements:
fast - slow - fast - slow - fast. Although this is a double concerto it is
the violin which has the lead. The third movement is a presto which includes
a brilliant solo part for the violin; the flute doesn’t participate
here nor in the ensuing adagio which is little more than a transition to the
closing allegro and lasts just 40 seconds.
Telemann often composed pieces for uncommon scorings, as in the Concerto
in a minor for recorder and viola da gamba shows, although the solo instruments
have it in common that they were both old-fashioned and basically belonged
to the 17th century. Stylistically this concerto is anything but old-fashioned.
It opens with a grave in French style which includes dotted rhythms. It then
turns Italian with a lively and theatrical allegro and an expressive dolce,
and closes with an allegro which reflects once again Telemann's liking
for folk music.
The Concerto in D is a bit confusing: it has been included in the
appendix of the Telemann work catalogue. Those who are familiar with Telemann's
music and also recorder aficionados will recognize this concerto: it is better
known as a concerto for recorder in the key of F major. This version
for transverse flute is probably a later arrangement. Wolfgang Hirschmann,
in his liner-notes to Vol. 5 in the series of discs with Telemann's
wind concertos recorded by La Stagione Frankfurt (review),
states that the recorder version seems to be the original one. It opens with
an affettuoso; in particular in the second movement the flautist has a virtuosic
part to play. After an expressive adagio the concerto closes with a pair of
menuets.
The disc closes with a peculiar piece: the Concerto or Septet
in B flat is scored for three oboes, three violins and bc. The outer
movements are dialogues between the two groups of instruments. The last movement
opens with phrases in which they swap roles: first the oboes play a phrase
with interventions from the strings and then it is the other way around. In
the middle movement the two groups are mixed.
It is played here with much panache by Il Gardellino. This performance is
indicative of the whole disc. These performances may be over fifteen years
old, but they are still as fresh as if they were recorded yesterday. The soloists
do an excellent job; both Jan de Winne and Ryo Terakado deal impressively
with the sometimes virtuosic parts they have to play. Peter Van Heyghen and
Martin Bauer deliver a very fine performance of the Concerto in a minor.
Even if you have these pieces already in your collection, you should consider
adding this one because of the engaging performances by Il Gardellino.
Johan van Veen
www.musica-dei-donum.org
twitter.com/johanvanveen
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