Telemann - Darmstadt Ouvertures - Cologne CO, Muller-Bruhl

Telemann - Darmstadt Ouvertures - Cologne CO, Muller-Bruhl
Orchestral | Eac, flac, cue | log, cover | 1 CD, 293 MB
January 25, 2000 | Naxos | RapidShare

Telemann was "the boss" in contemporary eyes in high baroque Germany. He was also an admirable man in many respects. He was a democrat by philosophy and the first in Germany to open the aristocratic collegium musica concerts to the public in Leipzig (while still a student). He was the first classical composer to incorporate authentic folk music (Polish Hanaka) in "concert music" - in much the same way Joseph Haydn later did with Hungarian gypsy music.

Next was discovery of Telemann's unlimited imagination in terms of concocting new forms and instrumental combinations, and harmonic and rhythmic variety. He was the first to develop the quartet form, and used it for a variety of instruments. T. played all the instruments of the then orchestra and exhibited an unmatched gift for exploiting instrumental sonorities - something one of the reviewers mentioned in her comments.

Thus, for example, in addition to the wild Polish folk dance n the last movement of the Concerto for Flute and Recorder in E, Telemann utilized and contrasted the special character of flute and recorder in this fine concerto. He was the first to capture the special qualities of the low register of the clarinet (chalumeau) in the dark and brooding opening of the Concerto for Two Clarinets, and even coupled two double basses with a piccolo in the solo instrument group for his "Cricket Symphony"

Comparisons with Bach? Early in his career Telemann rejected what he called formalism, e.g. the strict counterpoint which J.S. Bach developed to its highest level in music. Instead, he brought orchestral counterpoint, or simultaneous use of instrumental color and melodic interactions, to a level never before seen.

This is a feature that I find immediately distinguishes T. from other baroque composers, namely that in his hands, the orchestra, or different parts of it interact on even level with the soloists in concerti.

But there's a potential pitfall in contemporary authentic instrument performance of Telemann. He was a "pre"romantic, who revelled in emotions, mood, and subtle harmonic, melodic and rhythmic shifts. Performances that are too focused on stylistic issues and ornamentation can make Telemann sound like just any other baroque work. The recent trends to loosen up emotional expression in baroque performance promises to reveal new values in Telemann works that didn't come forth to full efect in the past decades. Incidentally, this is less of a problem with Bach works, because of the importance of his contrapuntal motives, as contrasted with shades of mood and emotion and dynamics in Telemann.--Amazon


Cd Content

# Overture, suite for 3 oboes, bassoon, strings & continuo in G minor, TWV 55:g4
Composed by Georg Philipp Telemann
Performed by Cologne Chamber Orchestra
Conducted by Helmut Muller-Bruhl

# Overture, suite for 3 oboes, strings & continuo in C major, TWV 55:C6
Composed by Georg Philipp Telemann
Performed by Cologne Chamber Orchestra
Conducted by Helmut Muller-Bruhl

# Overture, suite for 3 oboes, strings & continuo in D major, TWV 55:D15
Composed by Georg Philipp Telemann
Performed by Cologne Chamber Orchestra
Conducted by Helmut Muller-Bruhl