Telemann - Quatuors Parisiens Vols 2&3 - Holloway, Duftschmid, et al.

Release Date: June 28, 2011 Label: CPO Number of discs: 2 Composer: Telemann Performer: John Holloway cd info/ buy

Review:

This CPO edition presents a complete recording of the 12 Paris Quartets featuring high points in Telemann's chamber music as well as enthralling and imaginative interpretations by top-quality instrumentalists performing with elegance and sophistication.

 

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Telemann - Quatuors Parisiens Vol 1 - Holloway, Duftschmid, et al.

 

Release Date: 03/31/2009 Label: CPO Number of discs: 1 Composer: Telemann Performer: John Holloway  cd info/ buy

Review:

The works that have come to be known as Telemann’s “Paris Quartets” are actually two sets of works not meant by Telemann to be considered as one combined work. In 1730 in Hamburg, Telemann published six quadri (the word “quartet” was not in use in Telemann’s day) for violin, flute, viola da gamba or cello, and basso continuo, consisting of two concertos, two suites, and two sonatas. In 1736–37, these works were reprinted in Paris as Six Quatuors. In 1737, Telemann was able to fulfill a long-held desire of visiting Paris. During his stay, he published six Nouveaux Quatuors, so-called because of the previous printing of his Hamburg quartets. They were written for the same instrumental group as the 1730 publication. In modern times, these two publications were reprinted together as the “Paris Quartets.” This recording, labeled Vol. 1, is presumably the start of a new set of the complete “Paris Quartets.” For this beginning volume, the performers have chosen two works from each publication. The Concerto in D and the Sonata in A are the second and third works of the 1730 publication, while the Quatuors in A Minor and E Minor are the second and sixth works from the later publication. The performers are a very accomplished lot. Most of them have appeared on numerous recordings, individually and occasionally with one or two of their colleagues on this recording, generally receiving high praise from Fanfare’s critics. We are not told if they were brought together for this project or if they occasionally perform together as a group. They sound like an experienced ensemble. Their performances are lively without going to extremes. Rhythms, while not stodgy, are steady. These performers do not think the music requires extremes of tempo or fluctuations in tempo, something indulged in by the Musica ad Rhenum in their complete recording of the “Paris Quartets” for Brilliant. The results show that such extremes are not needed in this music. I look forward to further installments of what will undoubtedly be a distinguished set of the “Paris Quartets.”--Ron Salemi

 

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Dall'Abaco - Concerti a quatro da chiesa, op.2 - Il Tempio Armonico

 

Release Date: 2003 Label: ORF Number of discs: 1 Composer: E. Felice Dall'Abaco Performer: Il Tempio Armonico cd info/ buy

Review:

Even though composer Evaristo Felice Dall'Abaco was in the service of the Bavarian court of the elector Maximilian II Emmanuel for most of his life, his 66 skillfully crafted works (Op. 1 - 6), which were rooted in the Italian Baroque style, show his interest in experimenting with French dance forms and stately early classicism. Most of these creative pieces, described mainly as post-Corellian, were written within a 15-year period (1708 - 1721), during the repeated relocating of Maximilian's court. Dall'Abaco originally joined the court in 1704 after studying the cello and violin (probably with Torelli) and after performing in Modena, at times with Ambreville. Following a loss in the War of the Spanish Succession, the elector took many members of his court to various countries, beginning with the Netherlands, then to the city of Brussels, Mons, Compiegne, and finally back to Munich in 1715. Dall'Abaco was wed in the Netherlands to Marie Clamence Bultinck and the long period of relocating gave him the opportunity to prove his worth and devotion as a husband to his wife and as a court musician and servant to Maximilian. The elector was so pleased with the service he received that he appointed Dall'Abaco Konzertmeister upon their return; shortly thereafter, the composer then became electoral councilor. This triumph undoubtedly added to the joy he and his wife had shared following the birth of their son Joseph-Marie-Clement (1709 or 1710). Dall'Abaco continued to perform and compose in the service of the Bavarian court even after Karl Albrecht rose as its new leader following Maximilian's death. Dall'Abaco retired from the court in 1740 and passed away two years later, on the anniversary of his birth, at the age of 67.

 

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