|
Reviewer: John
W.Barker
This
series has now reached its fifth volume (J/F 2015, S/O 2015, S/O 2016, N/D
2017). All were recorded at the Magdeburg Telemann Festival. Whether there
will be any further volumes is not clear, but we may hope so. The
imaginative works presented in these releases are full of surprises and
delights, reminding us of this composer’s seemingly inexhaustible
inventiveness. But I find this program particularly outstanding. There are
five works here, calling for solo instruments with strings and basso
continuo in all but one case. The first is in E-flat, scored for two flutes
and two horns. Its six movements include various evocative episodes and a
musical “conversation”. The nine-part Concerto in G, scored for piccolo,
flute, oboe, and chalumeau, with two double basses, without strings and
continuo, bears the title of Grillensinfonie (Cricket Symphony). That is
apparently a slang title, referring apparently less to chirping insects than
to restless German character types. Its three movements apparently reflect a
variety of national types. The extra double bass adds a lot of top-vs-bottom
grumbling. A Concerto in G minor adds only two oboes and bassoon to the
strings and continuo, its five movements reflecting the French style. A
Sonata in D for trumpet is a three-movement work in Vivaldian concerto
style. Finally, a “Suite-Concerto” in F calls for a riot of soloists:
violin, two flutes, two oboes, and two horns with timpani. It again draws on
national dance styles, and for the last two of its six movements, at the
composer’s direction, the two horns are replaced by two trumpets—a
brilliant
work.
These players are fully
accomplished and respond beautifully to Schneider’s knowing direction. Oh
please, let us have more releases like this!
Fermer la fenêtre/Close window
|
