Michael Schneider, La Stagione Frankfurt - Telemann: Wind Concertos Vol.4 (2009)
Michael Schneider, La Stagione Frankfurt - Telemann: Wind Concertos Vol.4 (2009)
Classical | Eac. Flac, Img+Cue, Log | Covers | 286 MB
Label: CPO | Catalog N.: CPO 777400-2 | TT: 60:47
Classical | Eac. Flac, Img+Cue, Log | Covers | 286 MB
Label: CPO | Catalog N.: CPO 777400-2 | TT: 60:47
How admirably Telemann succeeds may be heard listening to these concertos. Eschewing the Italian three-movement model of fast-slow-fast, he adheres to the German layout of four movements: slow-fast-slow-fast. Also in contrast to the works of his Italian counterparts, who not infrequently fell into the lazy habit of writing the same concerto over and over again, each of Telemann’s examples is strikingly different, not just in its instrumentation, but in its melodic and harmonic content and in the patterning of its passagework. Nonetheless, exquisitely beautiful as some of his slow movements are—listen to the Largo of the A-Major Oboe d’amore Concerto—it would be disingenuous to pretend that Telemann (or German Baroque composers in general) ever mastered the art of the Italian instrumental cantilena that grew out of the melodiousness of the language and Italy’s long vocal tradition. Nothing in these concertos can compare, for example, to the timeless beauty of the Adagio from Albinoni’s D-Minor Oboe Concerto, op. 9/2, written at approximately the same time as the Telemann.
Moreover, as different as Telemann’s style is from that of his Italian contemporaries, it’s equally different from that of his great German contemporary, Bach. Telemann’s movements are short and do not engage in the rigorous contrapuntal treatment and motivic working out typical in Bach’s concertos. In this regard, Telemann is as uncharacteristically German as he is uncharacteristically Italian, a point also made by Hirschmann when he cites Telemann’s French connection. However, Hirschmann does not flesh out what that connection was. Accepting an appointment in 1705 to the court of Count Erdmann II in Zary, Poland, Telemann was exposed to the French style of Lully and Campra, and composed a number of overtures and suites in the French manner during his tenure there. This was followed in 1707 by a visit to Paris, and a second trip in 1737 that produced the so-called “Paris” quartets.
La Stagione Frankfurt has been in the forefront of Germany’s period-instrument movement since its founding in 1988 by current director, Michael Schneider. They have toured Europe extensively and have recorded, mainly for cpo, works by various Baroque and early Classical composers. Telemann, however, is a special interest for Schneider, who was awarded the Telemann Prize in 2000 by the city of Magdeburg for his work on behalf of the composer. This is Schneider’s and La Stagione Frankfurt’s fourth volume of Telemann wind concertos. The ensemble exhibits none of the clipped phrasing, excessive tempos, or other bowing and intonational idiosyncrasies characteristic of some of the earlier and/or more recent extremist groups. This is wonderful playing, hale and hearty, that sounds like a good time was had by all. Strongly recommended. (Jerry Dubins)
Cast:
Karl Kaiser e Marton Hublow, flautisti
Martin Stadler, oboista
Marita Schaar, fagottista
La Stagione Frankfurt
Michael Schneider, direttore e flautista
Tracklist:
01-04. Concerto in La minore per due flauti dolci, archi e b.c., TWV 52:a2
05-08. Concerto in Re maggiore per flauto traversiere, archi e b.c., TWV 51:D2
09-12. Concerto in La maggiore per oboe d'amore, archi e b.c., TWV 51:A2
13-16. Concerto in Si minore per due flauti traversieri, fagotto, archi e b.c., TWV 53:h1
17-20. Concerto in Mi minore per oboe, archi e b.c., TWV 51:e1
Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 6. March 2013, 9:08
La Stagione Frankfurt / Telemann. Concerti per strumenti a fiato. Tomo Quarto [CPO 2009].
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