
Telemann Kapitaensmusik 1744
- Wykonawca Weser-Renaissance
- Data premiery 2009-05-05
- Nośnik CD
- Muzyka poważna / Dawna
- 25-08-2019, 07:17
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Telemann Kapitaensmusik 1744

Tracklista: Biber 1. Passacaglia in g minor Bach 2. Suite for the lute in g minor 3. Ciaconna Telemann 4. Fantasia I in b flat Major Westhoff 5. Suite in a minor

Utwory na dwa klawesyny i klawesyn z towarzyszeniem organów takich kompozytorów jak Antonio Soler, Joseph Haydn, Johann Schobert, Peter Planyavsky, Antonio Vivaldi, Georg Philipp Telemann, Johann Michael Haydn i Wolfgang Amadeus Mozart w wykonaniu Aline Zylberajch - klawesyn i Martina Gestera - organy i pozytyw.

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.

Die Tageszeiten TVWV 20:39; Nun danket alle Gott TVWV 1:1166 Der 1757 in Hamburg entstandene Kantatenzyklus Die Tageszeiten gehört zu den herausragenden Spätwerken Georg Philipp Telemanns. Eine Symphonie und vier Kantaten schildern empfindungsreich den Tageslauf vom Erwachen der Natur bis zum Sonnenuntergang. Die Dichtung Friedrich Wilhelm Zachariaes und Telemanns Musik künden von der Naturschönheit sowie der sich darin offenbarenden Größe Gottes. Das Programm der CD wird durch die Kantate ‘Nun danket alle Gott ergänzt’. The cantata cycle Die Tageszeiten, composed in Hamburg in 1757, belong to Telemann’s outstanding late works. With much invention, a symphony and four cantatas portray the couse of the day, from the awakening of nature to sunset. The poem by Friedrich Wilhelm Zachariaes and Telemann’s music speak of the beauties of nature, as well as the greatness of God which is manifested in this beauty. The CD is rounded off by the cantata ‘Nun danke alle Gott’.

The Father, the Son and the Godfather is a snapshot from a time when art music escaped from the courts and churches. Domestic music-making in the company of close friends became a treasured extension of social interaction, and the resulting boom in ‘market opportunities’ offered composers a tremendous freedom in their choices of genres and styles, as demonstrated by this colourful programme. It features three composers whose music could not be more different, taking into account that all works were composed during the span of only two generations by authors who knew each other better than just well: J.S. Bach (the father), C.P.E. Bach (the son) and Georg Philipp Telemann (CPE’s godfather). We thus get Johann Sebastian’s rigorous, intellectually demanding Sonata in B minor, ample examples of the elegant and tender Empfindsamer Stil of his son C.P.E., and in two Trio Sonatas a taste of Telemann’s ‘world music’, in which the composer mixes elements of folk music from Poland with French and Italian styles of art music. This is the first recording of Paradiso Musicale, an ensemble featuring the acclaimed recorder player Dan Laurin and made up of an unusual combination of instruments: recorder, viola, cello and harpsichord. The members all have experiences from a number of musical genres, including avant-garde styles, and with musicians such as John McLaughlin, Prince and Frank Zappa as inspiration, their ultimate goal is to achieve the feeling of a jam session when performing. As can be heard on this disc – for instance in the final track, a Telemann Allegro – the result is exhilarating.

CPO wydaje komplet koncertów wiatrowych Telemanna, tutaj prezentując trzecią odsłonę. Nasze wyobrażenie o tym wielkim mistrzu cały czas inspiruję nowych artystów do interpretacji jego dzieł. Dawne mylne postrzeganie Telemanna jako artysty nie oryginalnego, bez pomysłu, bardzo pospolitego – było jak najbardziej błędne, czego dowodem jest owa płyta. Możemy z czystym sumieniem powiedzieć iż trzecia część telemannowskich koncertów jest jak najbardziej wirtuozerią w swojej sztuce. Tracklista: CD 1 Georg Philipp Telemann: Concerto in D, for flute, strings and continuo, TWV51:D4 Work 1. I. Napolitana 2. II. Allegro 3. III. Largo 4. IV. Tempo di Minuetto Georg Philipp Telemann Composer: Concerto in C-, for oboe, strings and continuo, TWV51:c1 Work 5. I. Adagio 6. II. Allegro 7. III. Adagio 8. IV. Allegro Georg Philipp Telemann Composer: Concerto in F, for flute, horn and continuo, TWV42:F14 Work 9. I. Allegro moderato 10. II. Loure 11. III. Tempo di Minuet Georg Philipp Telemann Composer: Oboe Concerto in G, TWV51:G2 Work 12. I. Andante 13. II. Vivace 14. III. Adagio 15. IV. Allegro Georg Philipp Telemann Composer: Trumpet Concerto in D, TWV51:D7 Work 16. I. Adagio 17. II. Allegro 18. III. Grave 19. IV. Allegro Georg Philipp Telemann Composer: Concerto in G, for 2 flutes, bassoon, strings and continuo, TWV53:G1 Work 20. I. (Andante) 21. II. Allegro 22. III. Largo 23. IV. Presto

Tracklista: Bach, J S 1. Arioso - Sinfonia from Cantata No. 156 2. Sinfonia from Cantata BWV21 3. Cantata BWV12 'Weinen, Klagen, sorgen, Zagen' 4. Sinfonia Handel 5. Oboe Concerto No. 3 in G minor, HWV 287 Marcello, A 6. Oboe Concerto in D Minor Piazzólla 7. Oblivion Telemann 8. Concerto TWV 51:f2 in F minor for oboe, strings & b.c. 9. Concerto TWV 51:e1 in E minor for oboe, strings & b.c.

Tracklista: 1. Quintet in F Major, TWV44:16: I. Ouverture 2. Quintet in F Major, TWV44:16: II. Le Ris 3. Quintet in F Major, TWV44:16: III. Les Droles 4. Quintet in F Major, TWV44:16: IV. Espanole en Rondeau 5. Quintet in F Major, TWV44:16: V. Fanfare 6. Menuet in C Major for Two Horns, TWV40:110 7. Concerto in F Major: I. Largo (Attributed to Georg Philipp Telemann) 8. Concerto in F Major: II. Allegro (Attributed to Georg Philipp Telemann) 9. Concerto in F Major: III. Adagio (Attributed to Georg Philipp Telemann) 10. Concerto in F Major: IV. Allegro (Attributed to Georg Philipp Telemann) 11. Suite in E-Flat Major, "Rostocker": I. Ouverture 12. Suite in E-Flat Major, "Rostocker: II. Bourrée 13. Suite in E-Flat Major, "Rostocker: III. Siciliano 14. Suite in E-Flat Major, "Rostocker: IV. Aria 15. Suite in E-Flat Major, "Rostocker: V. Menuet 16. Concerto in E-Flat Major: I. Largo 17. Concerto in E-Flat Major: II. Vivace 18. Concerto in E-Flat Major: III. Dolce 19. Concerto in E-Flat Major: IV. Vivace 20. Concerto in D Major, TWV43:7: I. Largo 21. Concerto in D Major, TWV43:7: II. Vivace 22. Concerto in D Major, TWV43:7: III. Siciliano 23. Concerto in D Major, TWV43:7: IV. Vivace 24. Air de trompette in C Major, TWV41:1 25. March in F Major, TWV50:43

This recording unites familiar works (Handel, Telemann, J. F. Fasch) with rarities recovered from their archival sleep of centuries. The Thieme sonata is one of the first pieces ever written for solo trumpet(s); this and all the other pieces presented here display the level of virtuosity attained by the courtly trumpet repertoire of the Baroque period. It is well known that the Baroque trumpet, due to its emblematic significance, occupied a special position in the hierarchy of musical instruments. It was the symbol of celestial and earthly power. For this reason, trumpet literature of that time is nearly always splendid and joyful; sad emotions were not its domain. Within these boundaries there was nevertheless a broad gamut of expressive possibilities, from the chamber-music intimacy of the Telemann concerto and the gallant finesse of C. F. C. Fasch’s triple concerto to the cosmopolitan elegance of the Handel suite and the festive opulence of Endler’s sinfonia. On this recording, works have been assembled to demonstrate the musical splendour of German courts. An apparent exception is the Handel suite, but the connection of the house of Hanover with the British crown and Handel’s own origins justify this work’s acceptance into the German cultural tradition, even despite its French style.