Introduction Composed by George Philipp Telemann, the CD was released on 3rd June 2002 on the Naxos label. It retails at approximately £4.99 and is available at most music stores. The CD has a playing time of 75 minutes.
The CD comprises of a Suite and three concertos. A suite is a set of instrumental works intended to be performed together. The typical Baroque suite was a combination of dance movements. Telemann, however, played an important part in the development of the suite and its changing format to that of the classical period. In the suite presented on this CD, the movements are a mix of dance and chamber music. Telemann claimed to have composed about two hundred suites of which over half have some sort of concerto writing in them.
A concerto (I apologise to anyone who has read this in my other reviews) is an instrumental work that contrasts solo instruments against a larger ensemble of instruments. In this recording the solo instrument is the recorder and the larger ensemble the typical Baroque accompaniment of violin, viola, cellos and harpsichord continuo. Early Baroque concertos consisted of four movements alternating slow and fast movements. Later Baroque concertos moved to three movements (fast – slow – fast). Although Telemann composed in the late Baroque era, he retained the four-movement pattern to his concerto writing as seen in the three concertos of this CD.
The recorder emerged s a solo instrument in the 17th Century. The Baroque recorder was mainly popular at the beginning of the century with a large amount of chamber music composed for it. By 1730, the flute was generally used in its place. Telemann was the main proponent for the recorder using it both in his chamber works and church cantatas. As a recorder player himself, Telemann showed great feeling and understanding for the instrument.
The Composer George Philipp Telemann was born in 1691 in Germany. At the age of 12, he wrote his first opera. He went on to study law at Leipzig University. However, when his musical talents were discovered, he was commissioned to write a cantata every two weeks for the principal church in the city. At 21, he was the head of Leipzig musical society. At 24, he was musical director for the Count of Promnitz in Poland. He moved on to Eisenach and then to Frankfurt before settling in Hamburg where he was to die in 1767.
Telemann was regarded as a progressive composer who was moving away from the elaborate Baroque counterpoint to the more melodic classical style of music. His works include operas, cantatas, oratorios, chamber music, suites and symphonies. His work retains popularity and is often played today.
The Music The Suite in A-minor for Recorder and Strings is one of Telemann’s most popular works. It is in seven movements. The Suite is a combination of the typical French dance suite and the Italian concerto. The suite reveals something of Telemann’s cosmopolitan experiences with typically French-derived pieces combined with Italian and polish styles. It opens with a French Overture followed by Les Plaisirs, "Air à l'Italien", Minuets 1 & 2, the Rejouissance, the Passpied 1 & 2 and the Polonaise Polish. The Suite is thus made up of theatrical dances and character pieces rather than the traditional dance movements. The piece is in turn; joyful, graceful, stately, lively and fun.
The C Major Concerto is composed in four movements; Allegretto (quite fast), Allegro (fast), Andante (at a walking pace), Tempo di Minuet (Minuet time). Telemann keeps to four movements in his concertos despite the trend in the late Baroque era to three. In this piece he does move however slightly away from his traditional slow, fast, slow, fast pattern. The first movement is enthralling with pizzicato (plucked) string sections and fascinating turns in harmony. The second movement showcases recorder solo passages against the passages of tutti (entire orchestra) strings.
The Double Concerto in E minor is also composed in four movements. The solo recorder is here joined by a solo flute in a delightful duet. The Presto finale is reminiscent of a folk dance rhythm with its bagpipe-like drone. Its rising crescendo and increase in tempo near the end will carry you away. I defy you to keep your feet still.
The F-major concerto is reserved and stately. It is the earliest of the four pieces on the record, dating from about 1708 when Telemann was composing for the Eisenach court orchestra. The second movement allows the solo record to demonstrate their virtuosity to the fullest. Sustained high notes sing out clearly above the accompanying strings. Rapid figurations fill you with wonder as you listen.
The Conductor German born, Helmut Müller-Brühl, studied philosophy and catholic theology as well as art and music science. In 1964, he started his directorship of the Cologne Chamber Orchestra. He has performed and recording with the Orchestra for some forty years.
The Performers Daniel Rothert plays solo recorder and Elke Martha Umbach solo flute. The Cologne Chamber Orchestra provides accompaniment of strings and continuo instrument. The instruments are modern. Period instruments would have provided more authenticity to the recording but the result is pleasing nonetheless. The contrast between the soloists and the orchestra is charming and effective.
Conclusion The solo recorders are brilliant and bright providing a delightful contrast to the stringed orchestra. The pieces are ideally suited to the recorders showing them to their best.
The pieces are perfect examples of the late Baroque period and are performed as Telemann intended them to be. A great insight to the period!!!!
Telemann’s compositions are lively and full of fun. His extensive use of dance-like melodies sets your foot tapping and leaves you feeling happy. In Telemann’s own words:
A polonaise sets feet a-tapping, The world enjoys its sprightly mood; But here’s the moral: life is lacking If the tune is stiff as wood.
Enjoy
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