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Reviewer: Bertil
van Boer
There is no doubt that Georg
Philipp Telemann was adept at writing for one of the many instruments he
himself played, according to his own biographical comments published in the
1740 Grundlage der Ehren-Pforte. The A-Minor Suite (TWV 55:a2) has achieved
an almost iconic status both for traverso and recorder, and the perpetual
motion trio of the Polonaise requires either consummate breath control or
some sort of circular breathing to accomplish the rolling set of continuous
triplets. The tempo taken here for this movement is decidedly tame, with
enough room at the cadences for some breathing. The same can be said for the
C-Major Concerto (TWV 51:C1), though it is considerably tamer. The second
movement Allegro is like a hornpipe, with a nice nautical line in the
accompaniment, but a rolling set of sequences marking the solo part. Here
too there seems to be little time for more than a quick air intake, as the
part goes on for considerable length without pause between the various
sequences lines. Even the minuet fourth movement is jaunty and bright, which
is all the better given the pensive third movement. If, however, one is
expecting a staid rhythm, the twirling recorder line is less dance like than
a series of virtuoso pirouettes. The final concerto (TWV 43:g3) is almost
Vivaldian in content, but the four movements are more closely related to the
traditional suite: The second is a Siciliana, the third a Bourée, and the
fourth a Minuet. The first one has flourishes that introduce the
monothematic line and the inevitable sequences of the recorder. The serious
second movement is suitably mincing and flows along in a smooth stream. As
the recorder enters, the line becomes more lyrical, with some punctuating
descending roulades along the triad and a couple of long mezzo di voce
moments that heighten the tension.
The most interesting of these
works is the Sonata for Two Chalumeaux, Violin, and Continuo (TWV 43:F2).
While the recorder pieces have been recorded numerous times before, this
work is relatively rare. In the traditional four-movement Baroque format,
the opening Largo harkens back to the French style with expanded dotted
rhythms, while the violin has a nice colophon on each phrase with a falling
arpeggio. In the sprightly Allegro that follows, this colophon turns into an
ascending scalar passage while the solos with their dark, rich tone tumble
about in sequences. The third movement is a gentle lament, with one of the
wind instruments first partnering with the solo violin, but when the second
enters it becomes a warm trio and the serious tone of the lament is lifted
momentarily. The finale seems more akin to Vivaldi than Telemann, with the
color effects of the chalumeaux rolling off various fast sequences and
descending scales.
One might expect that the
first number, a brief prelude by Jacques-Martin Hotteterre (1674–1763),
himself the author of an early treatise on higher woodwinds, to be
interesting. Indeed, it is, but not as one might expect. It is a solo with a
line that is distinctly plaintive, reminding one of a lonely shepherd. It is
short, succinct, and is over almost before one grasps the musical idea.
Il Giardino Armonico is a
well-established ensemble, and in this recording it demonstrates its
continued excellence in this style of music. The lines are clear, often
full, with a lush harmony. The intonation is clear, but the tempos could be
on the brisker side in some of the slow movements (and occasionally the fast
ones too, such as the Telemann Polonaise). Conductor and soloist Giovanni
Antonini can be cautious at times, but there is no doubt about his virtuoso
command of the recorder. Moreover, he and his colleague Tindaro Capuano form
a perfectly in sync duo on the chalumeaux, with the tone colors blending
nicely with each other and the violin, performed by Liana Mosca. The
performance and recording quality, with substantial aural depth, is
excellent. While many would already have the Telemann works in their
collections, this disc is a worthwhile contender. | |
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