Georg Philipp TELEMANN (1681 - 1767)
The Autograph Scores
Overture for two horns, bassoon, strings and bc in F (TWV 55,F16) [19:47]
Concerto for strings and bc in D (after TWV 43,D4) [6:56]
Overture for violin, strings and bc in A (TWV 55,A7) [19:00]
Overture for two transverse flutes, bassoon, strings and bc in D (TWV 55,D23)
[22:09] -
Fanfare for two transverse flutes, horn, bassoon, strings and bc in D (TWV
50,44) [01:24]
Divertimento for two transverse flutes, two horns, strings and bc in E flat
(TWV 50,21) [10:42]
Collegium Musicum 90/Simon Standage
rec. 16-18 November 2011, All Saints' Church, East Finchley, London, UK. DDD
CHANDOS CHAN 0787 [79:18]
During his long life Georg Philipp Telemann composed a large amount of music.
Until his death He remained active in this field until death intervened and
this disc includes some of his last compositions. These date from 1766 and
were written on the occasion of the nameday of Ludwig VIII, Landgrave of Darmstadt.
Although he complained about his failing eyesight Telemann was highly motivated
to compose some works for the Landgrave. They have been preserved in a manuscript
which belonged to his grandson Georg Michael. These nine pieces are exactly
half of the 18 works which have been preserved in Telemann's own handwriting.
Three compositions in the programme were written for the Landgrave. In two
of them a pair of horns play a prominent role. The horn was usually associated
with the hunt - one of the main occupations of princes and aristocrats. Moreover
the Landgrave was known for being a fanatical huntsman. The Overture in
F is scored for two horns, bassoon, strings and bc and is headed by a
dedication to Ludwig VIII. It has been suggested that this piece may have
been performed in the Landgrave's hunting palace near Darmstadt. This Overture
includes various passages with hunting motifs. Some movements are for strings
only, and there are passages for a trio of two horns and bassoon. The piece
closes with 'La Tempête', a musical depiction of a thunderstorm.
Quite different in character is the Overture in D which is scored for
two transverse flutes, bassoon, strings and bc. The most striking feature
is the inclusion of a 'Plainte', a kind of piece which also frequently turns
up in French music of the 17th century, both in operas and in instrumental
music. It lends this overture a rather old-fashioned character. It is interrupted
by a lively gaillarde. Also in this overture are a sarabande - another slow
dance - and a passacaille, a further reference to French music. It then comes
as a surprise that the Overture ends with a Fanfare which has been
allocated a different number in the catalogue of Telemann’s oeuvre.
According to most scholars it was intended as the last movement of the Overture.
All of a sudden a horn joins the orchestra which has to be interpreted as
another reference to the Landgrave’s love of hunting. It brings this
rather introverted orchestral suite to an exuberant close.
The disc ends with the Divertimento in E flat, one of three compositions
in Telemann's oeuvre which bear this name. The other two are for strings and
bc. This one includes parts for two flutes and two horns. Scholars are not
completely sure that it was written for the Landgrave, but it seems very likely.
It depicts a day in the life of a prince or aristocrat. After an introductory
allegro we hear 'La Réveille', then the 'conversation at the table',
followed by the reveille for the hunting party. When this is over we get the
meal and the piece closes with the retreat, which is depicted by a dance.
According to the booklet this piece is recorded here for the first time.
The two remaining works are from an earlier date. They are very different
in scoring and character. I don't understand why more pieces from the same
manuscript were not performed instead. The Concerto in D is in fact
a quartet for strings and bc. In his liner-notes Nicholas Anderson states
that this is an early version of one of the quartets for transverse flute,
violin, viola and bc in the Quatrième Livre de quatuors which
were published in Paris somewhere between 1752 and 1760. This string version
may date from before 1716. As in many early works counterpoint plays an important
role; the second movement is a fugal vivace.
The Overture in A is one of a number of orchestral suites which includes
a solo part, in this case for the violin. Telemann scholar Steven Zohn calls
this kind of overture a concert en ouverture. It also shows French
influence and it has been suggested that Telemann could have written it after
a stay in Paris in 1737/38. For a long time it was considered a fragment in
three movements as a part of the original material was destroyed during World
War II. In later years it has been reconstructed to the form in which it is
played here. It begins with the traditional ouverture which is followed
by six movements with the title Invention. These are mostly dances,
such as rigaudon, passepied or gavotte en rondeau. The most remarkable Invention
is the third, which - despite its indication as an alternation of grave
and vite - is rather Italian in style, and has the character of an
operatic scene. Invention V includes passages for the violin in which
use is made of the bariolage technique.
Simon Standage has made many recordings with music by Telemann. It is for
that reason that in 2010 he received the Georg-Philipp-Telemann-Preis from
the city of Magdeburg, where Telemann was born. That is surely well-deserved.
I have to admit, though, that I am always rather sceptical when British ensembles
play German baroque music, and Standage's interpretations are no exception.
The performances on this disc are pretty good, but if you compare them with
recordings of German ensembles the latter come out on top. These have more
nuance in the interpretation, for instance in regard to articulation and the
treatment of dynamics. The tempo contrasts in these performances are rather
moderate. The tempo of the forlane in the Overture in F can hardly
be considered très vite as Telemann required. It is especially
in the playing of the strings where Standage and his players fail to secure
a really satisfying result. On the other hand, the execution of the parts
for the flutes and the horns is outstanding. The bassoon is a bit underexposed,
probably due to the recording rather than the bassoonist's playing.
As the works on this disc belong to the lesser-known parts of Telemann's oeuvre
and his music never fails to entertain, lovers of his music should surely
consider this disc.
Johan van Veen
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen
Lovers of Telemann's music should consider this disc although the performances
are less than ideal.
see also review by Dominy Clements