Julia Huber, Martin Jopp, Lucas Schurig-Breuß, L’Orfeo Barockorchester, directed by Carin van Heerden
61:17
cpo 555 699-2
This recording represents the conclusion of a 22-year project to bring to the fore the varied works for one, two, three and four violins (with and without bass), including nine suites with solo violin, and TWV55:g8 with two.
Originally under the directorship and lead violin Libby Wallfisch (co-founder of the orchestra), the previous eight volumes display such admirable qualities right from the outset back in 2004.
Now it is time for the former “understudies” Julia Huber and Martin Jopp to step up and shine in these works coming from the Eisenach period 1708-12. One can hear the agile binary effect for two violins right from the fanfare-like opening intrada of the D-major concerto (a premiere). It is easy to imagine Telemann’s old musical sparring partner, the dance-master, composer Pantaleon Hebenstreit (1668-1750, inventor of a kind of dulcimer) on the instrument alongside him as they bounce off each other in vivid, engaged interplay. Julia’s 1680 Mantuan school violin has an incisive tone which often fizzes through the passages, or casts a wistful spell of melancholy in the slower movements, like both the opening and third movements of the G minor double violin concerto (quite a rare piece, for which Prima la musica! receives warm thanks for supplying the parts material here.)
In the penultimate work, the superbly contoured G major concerto, Julia Huber’s solo playing is most articulate. In the final Presto, she captures the dynamic spirit with a splendid little cadenza.
Closing the CD, the exquisite ripieno concerto in E minor, whose first movement was expanded in Dresden to make a kind of sinfonia to a cantata. Some wonderful writing here catches the ear, not least the tender Cantabile second movement, then the final, vigorous gigue–styled Presto.
Amongst these fine early examples of Telemann’s violin concertos, we have yet another take on the viola concerto, reputedly one of the earliest for this instrument.
This series has been like the vibrant and florid cover photography, a bright, vivid transit through some very noteworthy pieces, some of Telemann’s most engaging and entertaining works for violin(s).
David Bellinger