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Telemann - Concertos - Soloits & Orchestra of the Czech Philharmonic - Vaclav Neumann (1988)

Posted By: amadi

Date: 12 May 2011 19:53:55

Johann Sebastian Bach (1685-1750) and George Frideric Handel (1685-1759) are universally recognized as the two major representatives of German High Baroque music. However, by their lives as well as their works, they exemplify two opposite poles: the worldly Handel spent the greater part of his life abroad, was at home in the finest society, had a command of four languages, and earned a considerable fortune thanks to his clever sense of management. But being a bachelor, he had no heir. By contrast, Bach never left his country, fathered 20 children with two wives, remained throughout his life in rather subservient positions, never wrote an opera and spent a considerable part of his life in church galleries. Georg Philipp Telemann (1681-1767), who was highly esteemed by his contemporaries, takes his place in the middle of these two extremes of German music. As their contemporary and countryman, he has something in common with each of these two giants. However, he never reached the heights of their creative talent. Like Handel, he did not stem from a family of musicians (his father was a clergyman) and like Handel, he also gave up his law studies and became a successful opera composer. But, whereas the Hamburg City Opera was only a springboard for Handel, it was Telemann's highest goal. He shared with Bach a vast and comprehensive output of cantatas and Passions on German texts. However, the dense textures of Bach's polyphony and the rambling structures of Bach's fugues were foreign to him. This did not dampen the popularity he enjoyed during his lifetime.
Telemann's creative profile is characterized by his ability to assimilate all stylistic elements which promised to become popular. He drew from German tradition, Polish folklore, contemporary Italian music, and he loved to write in the French style. An eight-month stay in Paris in 1737-1738 filled him with bliss: in his autobiography, written in 1740, he recalled how well his quartets were played there, and with what civility he was received. Telemann surpassed all other composers in his wish to please the public. He wanted to entertain and amuse his audience, and knew exactly how to do it. He was blessed with a thorough knowledge of the musical instruments of his day, and he produced a multifaceted oeuvre for the most varied instruments, writing whatever happened to be needed at the time being.
He cast his concertos - almost a hundred are known to exist - in the traditional form of the four-movement suite (slow-fast-slow-fast), but also used the three-movement form established by Vivaldi. Although the slow movements disclose a greater degree of originality, the fast ones are more effective. In some of Telemann's concertos, the character of the themes and the structure of the movements point beyond the Baroque style to the early Classical period (e.g. the last movement of the Concerto for Oboe d'amore). The distinctive harmonies of some of the parts also underscore Telemann's opinion that, although the possibilities of melodic invention may become exhausted, it is always possible to vary the harmony.

Tracklist:
1.Concerto for Trumpet, Strings & Harpsichord in B flat major: I. Allegro
2.Concerto for Trumpet, Strings & Harpsichord in B flat major: II. Sicilienne
3.Concerto for Trumpet, Strings & Harpsichord in B flat major: III. Allegro
4.Concerto for Flute, Bassoon, Strings & Harpsichord in F major: I. Largo
5.Concerto for Flute, Bassoon, Strings & Harpsichord in F major: II. Allegro
6.Concerto for Flute, Bassoon, Strings & Harpsichord in F major: III. Affetuoso
7.Concerto for Flute, Bassoon, Strings & Harpsichord in F major: IV. Allegro
8.Concerto for Oboe, Strings & Harpsichord in E minor: I. Andante
9.Concerto for Oboe, Strings & Harpsichord in E minor: II. Allegro molto
10.Concerto for Oboe, Strings & Harpsichord in E minor: III. Largo / att.
11.Concerto for Oboe, Strings & Harpsichord in E minor: IV. Allegro
12.Concerto for Oboe damore, Strings & Harpsichord in A major: I. Siciliano
13.Concerto for Oboe damore, Strings & Harpsichord in A major: II. Allegro
14.Concerto for Oboe damore, Strings & Harpsichord in A major: III. Largo / att.
15.Concerto for Oboe damore, Strings & Harpsichord in A major: IV. Vivace
16.Concerto for 3 French Horns, Violin, Strings & Harpsichord: I. Vivace
17.Concerto for 3 French Horns, Violin, Strings & Harpsichord: II. Grave / att.
18.Concerto for 3 French Horns, Violin, Strings & Harpsichord: III. Presto

Miroslav Kejmar, Trumpet
Jiri Valek, Flute
Jiri Seidl, Bassoon
Jiri Mihule, Oboe
Frantisek Kimel, Oboe d'amore
Zdenek Tylsar, Bedrich Tylsar, Stanislav Suchanek, French horns
Petr Skvor, Violin
Frantisek Xaver Thuri, Harpsichord
Czech Philharmonic Orchestra
Conductor: Vaclav Neumann

EAC log

Exact Audio Copy V1.0 beta 1 from 15. November 2010

EAC extraction logfile from 2. May 2011, 16:54

Vaclav Neumann / Telemann - Concertos

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==== Log checksum E8A3A2182A72281FD9D9BAEC54FB65806E6B7DB2C530CE309C9CE3FFCBB98DDC ====

FServe (Part 1)
FServe (Part 2)
FServe (Part 3)
FServe (Part 4)

FSonic (Part 1)
FSonic (Part 2)
FSonic (Part 3)
FSonic (Part 4)

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