Georg Friederich HÄNDEL (1685-1759)
Sonata in D minor, HWV 367a [15:07]
Georg Philipp TELEMANN (1681-1767)
Sonata in F minor, TWV 41:F1 (1728) [10:27]
Johann Sebastian BACH (1685-1750)
Trio Sonata V, BWV 529 [13:30]
Georg Philipp TELEMANN
Sonata in A minor [8:58]
Sonata C major, TWV 41:C5 (1740) [7:43]
Concordi Musici (Leonard Munsuk Kwon (recorder); Josep Casadellà
(bassoon); Cristian Gutierrez (guitar); Eduardo Valorz (harpsichord))
rec. 26-28 April 2011, Classic Mutation, Seoul<
AUDIOGUY RECORDS AGCD 0032 [55:53]
This is the second CD to be passed my way by the young early music
ensemble Concordi Musici, the first being a programme on Italian composers
(see review). This ensemble appears to have moved its website
since then, so here is the new link.
In comparison with the added strings of the earlier album the sound
of Concordi Musici is more dominated by Leonard Kwon’s recorder in
this instance, but with beautifully intonated and expressively colourful
playing this is by no means a criticism. Based on documentary research, the
accompaniments in the works by Handel and Telemann include bassoon and
guitar. The latter mixes in nicely, adding a warm texture to the plucked
strings of the harpsichord, the bassoon a more punchy or pungent variant on
the more usual cello of viola da gamba.
As you would expect, Handel’s work is full of melodic grace
and enjoyable contrasts, the Italianate influences of Corelli and Scarlatti
providing a touch of Mediterranean ease to the general feel of the Sonata
in D minor. Telemann was one of the most prolific composers ever, but
the high quality of his work is nicely represented in this programme, with
the Triste chromatic descending lines which characterise the opening
movement of the Sonata in F minor particularly memorable. Johann
Sebastian Bach’s Trio Sonata BWV 529 is better known as a work
for organ but sounds pretty good here, even though the sequential writing
and pedal tones are less idiomatic than with the Telemann and Handel pieces.
The harpsichord lines are also less competitive when set against the bassoon
and recorded, so that the imitative writing is perhaps a little too widely
contrasted in terms of timbre. These comments apply to the outer Allegro
movements, though the central Largo is a lovely duo between
harpsichord and recorder. Further welcome contrast arrives with the
Sonata in A minor for bassoon and harpsichord. The baroque guitar
adds further intimacy to the opening Andante, and some finely driven
strumming to the faster movements.
There is plenty of opportunity for spectacle in the final work on
the programme, Telemann’s extreme changes in tempo in the four
sections of the first movement a reflection of techniques which appear in
the solo fantasias. This is a work which was originally also for
bassoon, but with alternative instrumentation envisaged by the composer - it
certainly sounds fine in this performance, which is played with recorder in
the solo role throughout despite an indication in the booklet that the
3rd movement was reserved for bassoon.
The recording here has been made in a studio environment rather than
a church, and I would suspect that the sound has been touched up with a
little extra added resonance. If this is the case it has been done with
tasteful subtlety and doesn’t sound artificial. The wind instruments
are recorded closely, and with wide stereo separation of the bassoon and
recorder you can’t really call this a concert-hall perspective. When
playing this at low volume I would have argued for the harpsichord having
marginally more presence in general, but with higher volume this sensation
seems to correct itself. In any case the sound is of excellent quality and
well integrated on the whole, and the whole experience is easy on the ears.
This is a very fine programme of well prepared and researched baroque
chamber music played by a highly talented bunch of musicians, and as such
will get my vote every time.
Dominy Clements
Intriguing timbres, nice recording and presentation.