Album został wydany przez wytwórnię Hyperion (CDA 68289). Tracklista: Leopold Mozart: 1. Sinfonia da camera Carl Heinrich Graun: 2. Trio in D major 3. Concerto in D major Joseph Haydn: 4. Divertimento a 3, Hob. IV:5 Georg Philipp Telemann: 5. Concerto a 3 in F major, TWV42:F14 Wolfgang Amadeus Mozart: 6. Horn Quintet in E flat major, K407 7. Concerto in E major for horn, oboe d'amore and continuo
The Ensemble Caprice members are putting on their gypsy attire! Following a wild journey along with Vivaldi on the bohemian road, they do it again with Telemann! High-octane performances of the composer's oeuvre are intertwined with sparkling Matthias Maute's arrangements of gipsy pieces. All the colors and opulence of a unique cultural heritage offered to you.From Telemann's own writings, after listening to gypsy musicians and their music:One can hardly believe what wonderful imaginative ideas these pipers and fiddlers have as they improvise. In only a week, a composer could be inspired for an entire lifetime. I have written several major concertos in this style.Georg Philipp Telemann (1681-1767) was only 24 years old when he was appointed to his first position at court. Mostly self-taught, he was familiar with all orchestral instruments and could play the harpsichord, recorder, transverse flute, chalumeau (the baroque predecessor of the clarinet), brass instruments like the trombone, and even the calcedon (a 5-stringed lute) in addition to the mandatory string instruments. His versatility evidently outshone the talent of even the most multi-instrumentally trained baroque musicians.By 1705, the young Telemann's reputation as an innovative composer and flexible instrumentalist had advanced his career so quickly that he was appointed Kapellmeister to Reichsgraf Erdmann II at his castle in Sorau (in today's Poland). However, despite the auspicious beginning to his career, even a privileged courtly musician like Telemann was at the mercy of the political troubles of his times. In February 1706, the Great Northern War waged by Augustus II the Strong caused the entire court to flee from Sorau and Telemann was unable to return for four months. However, the industrious Telemann had visited Kracow and Pless during this time and familiarized himself with Polish and Moravian music, which he described as having "barbaric beauty”.As mentioned in his autobiographies, Telemann's encounters with Eastern European gypsy music influenced his own compositions. The young composer must have been enthralled by the wonderful inventiveness of this music, as typified in this recording with the last movements of the Caprice Symphony and the Concerto in e minor for recorder and flute.In addition to melodic construction in the pastoral genre that was considered aesthetically pleasing at the time, the fashionable Polonaise also contributed to making Eastern European folk and gypsy music court-worthy. The door to this eastern-oriented cultural expansion had only recently been opened as a consequence of the appointment of Augustus II, Prince Elector of Saxony, to the Polish Kingship in 1697 and Telemann did not lose the opportunity of embracing it.At this point, Telemann's infallible sense of sound colour became invaluable. The unusual instrumentation of the Caprice Symphony, with its constellation of solo instruments is unique in the history of western music and would have given this witty composer great pleasure. The piccolo transverse flute, which is strengthened by a regular flute doubling it an octave lower, is combined with an oboe and a chalumeau, as well as two solo double basses, all accompanied by a string ensemble.The gypsy melodies and dances presented here are from the spectacular Uhrovska Collection of 1730, a volume containing 350 melodies that were in all probability assembled by a scholar wishing to produce a comprehensive compendium of the gypsy people's music. This pancultural treasure of Eastern European music reveals Hungarian, Polish, Slovakian and geographically-indefinable European influences. True to the oral tradition of gypsy music, only the melodies themselves are documented, since it was assumed that any accompaniment would be improvised. In keeping with this practice, we have made our own arrangements, leaving room for improvisation while fully exploiting their harmonic and rhythmic richness. The untamed virtuosic strength and expressive melancholy of this music has lingered with us for some time, and yet we continue to discover fresh nuances in this lavishly developed gypsy art.In this recording, we are musically re-enacting the encounters of Telemann with the gypsies of Eastern Europe. The direct dialogue between individual movements from the Trio Sonata in d minor and the Paris Quartet with melodies from the Uhrovska Collection depicts a conversation in which commonalities as well as differences are made unabashedly explicit.Telemann's compositional methods in his "Polish” works follow his own self-imposed rules, as is illustrated by the last movement of the famous Concerto in E minor for recorder and flute, in which some of the Polish tutti melodies are interrupted by quintessentially baroque and virtuosic solo passages. The contrast and dazzlingly fast shifts from one culture to another result in a rich play of colour that captures our attention in the same way that it intrigued listeners during the eighteenth century. The "barbaric beauty” that Telemann discovered in Polish and Moravian music is also imbued with eternal youth.© Matthias MauteTranslation: Ragnar Müller-WilleEdited by: Amanda Pond
Throughout a long and extremely productive career, Georg Philipp Telemann harboured a great affection for the overture-suite, consisting of a French overture followed by a number of dances and character movements. Tempering the rigid model inherited from the French tradition with his own rich powers of invention and playfulness, he remained true to the form long after it had gone out of fashion. One variant of which he was particularly fond was the ouverture pittoresque, which offered a welcome opportunity to revel in tone-painting and characterization: ‘Nobody paints with stronger brushstrokes than him’ was the verdict by one of Telemann’s contemporaries. Instances here are the so-called ‘Völker-Ouvertüre’ where we are introduced to different nationalities (Turks, Swiss and Muscovites), and the Ouverture, jointes d'une Suite tragi-comique, in which Telemann depicts various ailments (hypochondria and gout being two of them) and their possible remedies. Another early influence was folk music, and specifically the Polish folk music of the Cracow region, where Telemann spent time in his youth, as Hofkapellmeister to Count Erdmann von Promnitz. In an early example of cross over, he experimented with clothing this music of a ‘true barbaric beauty’ in ‘Italian dress’. One result was the two ‘Polish’ concertos for strings, in which Telemann’s passion for Polish music can be felt from the very first note. Dignified, festive polonoises with chromatically tinged melodic twists begin both concertos, while the fast movements include many examples of Polish colours, such as drone-like effects reminiscent of the dudy, or Polish bagpipes. With a number of highly praised recordings, the Polish band Arte dei Suonatori is firmly established as a leading ensemble performing on authentic instruments. Among the group’s recordings for BIS is a previous collaboration with Martin Gester: the set of Handel's Concerti grossi, Op.6, which was selected as ‘Orchestral Disc of the Month’ in BBC Music Magazine, and described as ‘a model of authentic Handel performance’ in the German early music magazine Toccata.
Tracklista: 1. Evaristo Felice Dall’Abaco: 2. Concerto pi instrumenti in D major Op. 5, No. 6 Nicola Porpora: 3. Cello Concerto in G major Alessandro Marcello: 4. Oboe Concerto in D minor Giuseppe Tartini: 5. Violin Concerto in B minor, D.125 Georg Philipp Telemann: 6. Viola Concerto in G major, TWV 51:G9
Tracklista: CD 1 1. Ouverture 2. Bourrée 3. La Paix 4. La Réjouissance 5. Menuets Anf Trio 6. Return O God Of Hosts (Samson) 7. Adante -Allegro 8. Larghetto 9. Piano Concerto No. 1 In C Minor, Op. 35 10. Let The Bright Seraphim (Samson) 11. Concerto Grosso In D Major 12. The Trumpet's Loud Clangor (Ode For St Cecilias's Day) 13. March & Battle (Rinaldo) 14. Vivi Tiranno 15. For Unto Us A Child Is Born 16. Let All The Angels Of God 17. Hallelujah 18. The Trumpet Shall Sound CD 2 1. Arrival Of The Queen Of Sheba (Soloman) 2. Where'er You Walk (Semele) 3. Alla Hornpipe 4. Hornpipe And Andante 5. Air 6. Bourree & Hornpipe 7. Dove Sei 8. Larghetto 9. Allegro 10. Organo Ad Libitum . Aria & Passepied (Telemann) 11. Larghetto 12. Allegro 13. Sarabande (Suite No. 11 In D Minor) 14. Minuet (Overture To Berenice) 15. Waft Her, Angels (Jephtha) 16. See The Conquering Hero Comes (Judas Maccabaeus) 17. Largo (Xerxes, Arr. Reinhard) 18. Zadok The Priest
Friedrich Gottlieb Klopstock (1724-1813) to poeta niemiecki, który swoją twórczością inspirował kompozytorów swego czasu i inspiruje do dziś. Na tej płycie możemy zapoznać się z muzyczną wizją Georga Philippa Telemanna i Johanna Heinricha Rolle poezji Klopstocka. Z jednej strony Telemann odwołał się do jego poematu „Mesjasz” i stworzył dwa dzieła: „Zwei Auszuge aus Klopsocks Messias” i „Mirjams, und deine Wehmut, Debora”. To swego rodzaju muzyczne dramaty pełne kontrastów. Poezja Klopstocka pisana antycznym metrum jest pełna emocji, która stawia muzyce niezwykłe wyzwania. Telemann doskonale wyczuł ów temperament. Telemannowską wizję poezji Klopstocka dopełnia kantata „Komm, Geist des Herrn”. Rolle również odwołał się do tekstów poety pisząc w 1759 roku, pełniąc wówczas w Magdeburgu funkcję dyrektora muzyki, elegię muzyczną „David i Jonathan”. Muzycy pod dyrekcją Siegfrieda Panka podeszli do tej muzyki w sposób bardzo empatyczny. Ciekawe i inspirujące.
Georg Philipp Telemann był jednym z najwybitniejszych kompozytorów barokowych. Jego twórczość stanowi oryginalną syntezę ówczesnych stylów narodowych: francuskiego, włoskiego i niemieckiego, czasami do głosu dochodzą także elementy polskie i morawskie, z którymi Telemann zapoznał się gdy służył na dworze księcia Erdmanna II von Promnitz. Niezwykle ceniony przez swoich współczesnych, obecnie znalazł się w cieniu Handla i przedstawicieli muzycznej dynastii Bachów, a jego ogromna spuścizna kompozytorska stosunkowo rzadko staje się obiektem nagrań czy koncertowych interpretacji. Tym bardziej należy się cieszyć, że nagrania jego twórczości podjęli się artyści z zespołu Arte dei Suonatori, najbardziej cenionej polskiej orkiestry barokowej. Wraz z międzynarodową grupą solistów prezentują oni dzieła barokowego geniusza, niepowtarzalne w swoim historycznym idiomie, a jednocześnie w swoim nowatorstwie zapowiadające już styl klasyczny.
BACH TELEMANN CANTATAS MULLER
Tracklista: 1. Telemann: Ouvertüre F-Dur 2. Telemann: Ouvertüre F-Dur 3. Telemann: Ouvertüre F-Dur 4. Telemann: Ouvertüre D-Dur 5. Telemann: Concerto a 5 D-Dur
Much like Bach, Telemann also left a Protestant hymn book, which contains a total of 2000 songs in over 500 tunes, today many of them are still sung in church services. Telemann composed for private devotion and for use in middleclass households, they represent baroque music for daily use and sacred art music alike. Klaus Mertens presents some of the most beautiful songs from Telemann's 'Fast allgemeines Ev.Musicalisches LiederBuch' of 1730.