Tag: Chamber music

Telemann and his subscribers
Tabea Debus recorders, Claudia Norz & Henry Tong violins, Jordan Brown viola, Jonathan Rees violincello & viola da gamba, Tom Foster harpsichord
TT= 66:34
TYXart CD TXA18107

This is a very cleverly conceived recording which has several threads woven into it. The interspersing of works by G. P. Telemann within the time frame of 1728-9, using a selection of Handel’s and Telemann’s operatic arias to compile instrumental Sonatas, (Tracks 5-9, 13-16) a Blavet-Telemann Suite (Tracks 17-22) and some familiar Bach Sinfonias (BWV35, 156) whilst acknowledging the known self-publishing impetus of one of the baroque’s most prolific composers, with two Sonatas from Der getreue Music-Meister. Equally, it links the music to his esteemed and numerous subscribers. There’s also a most salient Bach link to BWV156/1056! Often overlooked!

Telemann took over as impresario of Hamburg’s Gänsemarkt opera house in 1722, right up until its fading appeal and final decline in 1738. The actual number of operas written during his Hamburg, Frankfurt and Leipzig years is still being defined, especially the “Etliche und Zwanzig” 20 odd for Leipzig! During his Hamburg years, there were often performances of his long-standing creative friend Handel’s operas, often a mere year or two after their London premieres. In some cases, the Hamburg “arrangements” were tailoured for the local tastes, with German arias and recitatives at selected moments. Occasionally, a few comic characters were added for a “Buffa” effect. The opera house was in full swing by 1727 through to 1729, with Telemann’s own works appearing, alongside these re-workings of Handel’s original: the original Riccardo Primo Re d’Inghilterra HWV23 (London 1727) became Der mißlungene Brautwechsel/Richardus I König von England (Hamburg 1729), TWV22:8(The thwarted mix-up of brides).

It should be noted that Track 5 ought to read HWV23, for ALL the Italian Arias in the 1729 Hamburg version are lifted from Handel! The 1729 opera Flavius Bertaridus TWV21:27, defined as Telemann’s sole opera seria, did have Italian arias of various contrasting nuances (times martial, times regal) with usual emotive content. Bracketing these instrumental versions of operatic arias, we have two fairly well-known recorder works from Der Getreue Music-Meister (1728-9), the serial publication of multifarious musical pieces, including some of Telemann’s own operatic arias. Perhaps a missed opportunity on this CD to have played the apt “Introduzione” Trio (Suite) a due Flauti, from the same publication?

The playing itself, is alert and crisp. Just occasionally the recorder comes across a tad blasé, sometimes over- strident, yet never without articulation, revealing some quite fascinating insights into these life-long musical friends within a “quid pro quo” of exchanged transformative ideas of the time, devoid of any plagiarism, moreover of happy fusions, hybrids and pasticcios.

Finally, to the Bach and Blavet chosen here, the former being perhaps the least operatic, back to the church style, but not without its salient link to Telemann! Professors I. Payne* (Severinus Press**) and S. Zohn* thrashed out the extremely detailed analysis of Bach’s borrowings from the family friend, with some inescapable conclusions! One being that the original motif found in Bach’s BWV156/1056 actually stems from the opening “Andante” of TWV51:G2, an oboe (or flute) concerto (SUTE 95**).

( * In The Journal of the Riemenschneider Bach Institute, Baldwin-Wallace College, Vol.XXX. No1., Spring-Summer 1999)

Blavet’s Le jaloux corrige (1752) offers a pertinent French connection in a musical confection or Assemblage compiled by Tabea Debus, with a dusting of extracts from Flavius Bertaridus TWV21:27 of 1729.

This recordings draws interesting connections to the influential and respected maestro and cantor, who ran a most successful “self-publishing” service, disseminating music to all those who were openly receptive to it, far and wide.

(Addendum)

Track listings: 1-4 TWV41:C2 , 5-9 Sonata of Handel & Telemann’s Arias, 10-12 Sinfonias BWV35 and 156, 13-16 Sonata of Handel & Telemann’s arias, 17-22 M.Blavet/Telemann Suite 23-26= TWV51:F1

Daivd Bellinger

Barrocotout
62:19
Linn CKD 597

The re-evaluation of established composers and repertoire has been an important element in the ‘Early Music Movement’, complemented by the re-discovery of those whom history has elbowed to the fringes. The sonatas recorded here, though published c1740, survive only in a single copy (and among the works by this composer still on the ‘lost’ list are 24 symphonies and a quantity of sacred music.)

I must say that I’m glad that this fast-developing group has brought them to our attention in performances that happily embrace both the graceful galant and the grittier contrapuntal aspects of the music. Sonata VI is especially strong. Tempi are well chosen and I appreciated the natural balance of the ensemble’s recorded sound. Also a relief is their unchanging continuo sonority – no ‘let’s have just the lute on the repeat’ here – though I would like to know if the occasional cello pizzicato is a whim of performer or composer.

The booklet note (in English and French) is just what’s needed in the context, though the English translation is in rather stilted language.

David Hansell

Chamber music in changing colours
New Collegium, directed from the harpsichord by Claudio Ribeiro
73:51
Ramee RAM1904 (Black series)

Examined from a purely discographic point of view, this recording brings just four little premieres to our attention, the menuets from TWV34; the other works comply to a befitting Latin phrase: Non nova sed nove, “nothing new, but told in a new way”! From the most elegant opening Prelude of TWV43:e4, the sixth of the Nouveaux Quatours of 1738 to the final, enchantingly elegiac chaconne from the same work which closes the CD, there’s a charismatic display of incredibly balanced musicianship, a most perfect synergy between polished musical application and skill, and the engaging joy of an enthralling interpretation.

The various members of New Collegium (Formerly Collegium Musicum den Haag) feel totally at ease with the musical polyglot, Telemann’s intentional blend of national colours in these cleverly nuanced ouvrages. The impeccable and quite irresistible élan captured in the “Allegro assai” (Track 5) in TWV42:a4 feels like a dazzling Polish stomp found elsewhere in equally familiar works. From the marvellous sonata TWV42:G7, first heard about ten years ago from Concerto Melante (with members of the Berlin Philharmonic and a couple of the Berliner Barocksolisten) the ravishing cantabile lines in the adagio, sitting in the middle of this work (Track 8), almost certainly an aria in disguise, are played to perfection with just enough melting tenderness. Another fine stand-out moment in miniature, the sublime A minor menuet of just over one minute (Track 19) feels so incredibly French! Before this beguiling little gem, there’s a splendid little composite Suite, comprising cleverly extracted movements from works found in the pages of Der Getreue Music-Meister (1728) running from Track 11-18; perhaps the “Polonaise” TWV41:D4 could have been included, but it’s a real masterful stroke highlighting fine fragments from this accessible and enticing musical journal.

Anh. (Appendix) TWV42:A1 (related to the work with flute, TWV43:A7, heard at the Boston Early Music Festival some years ago) takes us back to one of Reinhard Goebel’s very first outings on LP then CD, 1979 and 1987 respectively. The two scordatura violins make this work feel very much akin to the works of Biber, and possibly Schmelzer, yet there’s an individual style present.

Besides the trip through “Les gouts reunis” from this neat selection of Telemann works, we have “Les talents reunis” of New Collegium in dynamic musical interplay that could easily enchant and captivate veteran Telemannophiles and many new converts…speaking to us in compelling, chameleonesque new ways through these mostly known works.

David Bellinger

Musica Amphion, Pieter-Jan Belder
132:01 (2 CDs in a single jewel case)
Brilliant Classics 95917

I am not a huge fan of musical programmes which use visual artists as a peg – music and painting were often at dramatically different expressive places, a fact illustrated by these CDs of music – delightfully mannered, elegant songs and dance music – which the programme attempts to attach to Rembrandt, who was engaged in an entirely unrelated project of striking gritty realism. Still, I suppose as the music he would have heard around him, it must have some bearing on his work, and anyway two lovely CDs of 17th-century Dutch music beautifully performed are a welcome addition to the canon. The performers have delved deep into the archives and have researched beyond the familiar van Eijck, Hacquart, van Noordt and Sweelinck to find some genuinely unknown music from the period to widen our knowledge. The playing from a wonderfully sonorous consort of viols, with violins and viola, complemented by a fine quartet of vocal soloists and harpsichord and recorder soloists, is beautifully expressive throughout. The music ranges from the sacred to the secular, and from the very beginning of the 17th century with music by Cornelis Schuyt to its very end and a trio sonata by the splendidly named Benedictus Buns. By this time, the artist had been dead for thirty years, but this music usefully rounds off the century and the Golden Age of Rembrandt Harmenszoon van Rijn. If this was the soundtrack behind the paintings of Rembrandt, probably the best way to approach it is to have it playing gently in the background much as the original music would have done, and who knows, perhaps you too will be inspired to put brush to canvas.

D. James Ross

Mauro Valli
195:18 (3 CDs in a card folder)
Arcana A459
Bach: Cello suites; D. Gabrielli: 7 Ricercari

This epic project presents the complete music for solo cello by perhaps the greatest of the Baroque composers, J. S. Bach, interspersed by the complete solo cello oeuvre of one of the lesser composers of the period, Domenico Gabrielli. Did the two ever meet? As Bach was only five when Gabrieli died prematurely at the age of just thirty, the answer is almost definitely no. Did Bach know Gabrielli’s music? Just possibly, although there is absolutely no circumstantial or musical evidence. So why juxtapose the two sets? I must admit I was sceptical at first, seeing this as just another excuse to add to the already groaning piles of recordings of the Bach. Valli gives thoughtful and musically consummate accounts of the Bach, although I still prefer the absolutely luminous accounts by David Watkin on resonus (RES10147). Valli’s sound is darker, his playing more unrelentingly intense and the recording generally closer. But what eventually got me about these performances was precisely the juxtaposition with the Gabrielli. As the programme note is quick to concede, this is not an attempt to place the Bach and Gabrielli on the same pedestal, but what I found really interesting is that the Gabrielli did have something to say about the Bach and vice versa. For all the differences in style, texture and melodic sense, as Baroque works for solo cello these pieces have more in common than they first seem. Gabrielli’s belong in a simpler, more innocent world than Bach’s, but the juxtaposition brings out the profundity of these Ricercars, suggesting that they deserve much wider attention from cellists than they have hitherto received. So these CDs with their powerful accounts of Bach and Gabrielli are after all more than just the sum of their parts.

D. James Ross

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