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oliver sudden
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« on: 20:14:27, 14-02-2007 » |
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I was sidetracked by one of the Tchaik Experience spinoffs into revisiting some of my Telemann holdings. Especially since some holiday-period experimentation (some of which seems likely to become more than just that before too long) with recorders and chalumeaus has also led me in the direction of his music.
What an enormous amount of music there is. And I've never heard any of it that did nothing for me. That makes for a whole lot of stuff out there that does something for me. (Imagine a Telemann Experience in which his complete works were broadcast. How long would it last? Anyone hazard a guess?)
Any other fans out there? Of such pieces as the concerto for recorder and flute, the 'other' Water Music', the concerto for two chalumeaus, the Burlesque de Quixotte, the Alster overture, the chamber concerto for four violins, Judgement Day, Ino,...
(I'm prepared for the answer to be 'no', by the way. These things can happen.)
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Il Grande Inquisitor
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« Reply #1 on: 20:25:22, 14-02-2007 » |
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Here's a disc I got last year, after hearing the Telemann on the Early Music Show: http://www.amazon.com/Quichotte-Hamburg-Francesco-Bartolomeo-Conti/dp/B000BUEGPY/sr=8-1/qid=1171484069/ref=sr_1_1/002-7480459-0836006?ie=UTF8&s=musicNot only the Telemann, but other contemporary takes on the Don Quixotte story. I also heard the lovely Danielle de Niese singing the cantata Ino at the Lufthansa Baroque Festival, which inspired me to investigate a bit more, especially Reinhard Goebel's accounts of Tafelmusik - such invention there. I cannot understand how Telemann seems to be so overlooked. After all the chalumeau talk, I think a further investigation is required... |
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« Last Edit: 20:27:26, 14-02-2007 by Il Grande Inquisitor »
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
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richard barrett
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« Reply #2 on: 20:31:48, 14-02-2007 » |
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Any other fans out there? You know there are. Telemann might not have been cooking on the front ring all the time (as many of the trio sonatas and solo cantatas show) but when he was the results are exquisite. The "Tafelmusik", for example, shows him pretty consistently at the top of his game. A very nice CD indeed which you don't see around very often is this one: http://www.jpc.de/jpcng/classic/detail/-/hnum/8747824/rk/classic/rsk/hitlist... just one of many beautiful things to be found on the CD label attached to Carus-Verlag. |
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« Last Edit: 20:43:24, 14-02-2007 by richard barrett »
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oliver sudden
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« Reply #3 on: 20:35:35, 14-02-2007 » |
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Looks like a great disc - it's certainly an extremely interesting label. This disc is amazing - Gesualdo and others performed in just intonation, which entails the viols being set up to play up to 16 notes in the octave. Tafelmusik is an incredible collection - hour after hour of beautiful and original ideas. (As Handel knew. He subscribed to it and borrowed bits to help his oratorios get written faster.) And Goebel's contribution to bringing it all to life (as opposed to just playing the notes) is also staggering. (Musica Antiqua is disbanding this year, by the way.  ) |
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oliver sudden
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« Reply #4 on: 20:36:38, 14-02-2007 » |
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Oops, I meant that the Quixote in Hamburg disc looked great. Can't quite tell if Richard's disc looks great yet since the link doesn't work...  ...but here's Richard's recommendation. |
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richard barrett
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« Reply #5 on: 20:43:43, 14-02-2007 » |
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Happy now?
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richard barrett
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« Reply #8 on: 14:15:06, 15-02-2007 » |
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As regards T's vocal music, I've never got much further than the Day of Judgement (but will any of us, if it happens) which I think is pretty consistently good. The Haydnesque (in subject) "Die Tageszeiten", a mini-series of four cantatas, is fine stuff too. There's an enormous amount of his music for the church and various big Hamburg occasions on CPO, some of which I've heard, some of which is a bit routine.
I hadn't come across that Telemann/Fasch CD, Julien, but I shall investigate: it's very rare that I come across a CD of music from the first half of the 18th century (as long as it's well-played) which does nothing for me at all.
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Catherine
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« Reply #9 on: 15:13:45, 15-02-2007 » |
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I really like Telemann's music; everything I've listened to so far is surprising. I first started listening to his music for wind instruments, particularly oboe, and at first I thought it was unusually "dark". If you've heard the concerto in f minor for oboe, strings and basso continuo that might give a clearer indication of what I mean by "dark", it might not.
Anyway, more recently I listened to his sonata in g major for oboe and violin, and that was very different. I've not heard any of his music beyond wind concertos, chamber music, etc., so this discussion has given me a few ideas of what to listen to next.
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JulienSorel
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« Reply #10 on: 15:36:42, 15-02-2007 » |
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Catherine
I agree that Telemann has a fantastic ear for instrumental colour/combinations of instruments (made immensely more beguiling, for me, by period instruments)
I enjoyed René Jacobs recording of Telemann's opera Orpheus, although I suspect it's a controversial 'performing' edition and conflates various sources. It's a while since I listened to it (sadly, it seems to be deleted).
I think much of Telemann's operatic work is lost (although I'm not an expert).
I wonder if he ever slept?
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richard barrett
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« Reply #11 on: 16:00:36, 15-02-2007 » |
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Something which makes Telemann unique for his time is his (probably more frequent than we know at this distance) employment of folk-music-like turns of phrase and harmony, stemming from his time as Kapellmeister in Sorau (which is now in Poland), which also often give his music what to my ears is a slightly archaic flavour, probably because folk references were more common in 17th century music than in Telemann's own time. (Maybe this is also where Catherine's "darkness" comes from.)
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oliver sudden
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« Reply #12 on: 16:30:00, 15-02-2007 » |
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employment of folk-music-like turns of phrase and harmony Absolutely! Of which the last movement of the flute and recorder concerto is just one glorious example. Looking forward to investigating your various tips... What an expensive board this is, I observe not for the first time. Welcome, J-S! Good to see you hear at last. Oddly enough I can see two posts from you on this page but your number of posts is recorded as one. I'm afraid I can't make an amusing observation about that. |
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John W
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« Reply #13 on: 16:48:09, 15-02-2007 » |
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Hi,
My listening to Telemann goes back over 25 years when I used to record R3 music onto cassettes and I distinctly remember the first piece I heard was Don Quichote suite. Over the years I've always enjoyed Baroque music and Telemann is always a refreshing change form Bach, Handel Vivaldi. I collected various LPs often featuring music for oboes and recorders, and I see I now have 3 recordings of a fine trumpet concerto, and some horn concertos.
As for vocal work, I have not played for a very long time the Epiphany Cantata which forms part of an album of cantatas by Dietrich Fischer-Dieskau and I must look out another vocal album, on Philips, which I bought (charity shop) but not yet played (hope I can find that one).
John W
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JulienSorel
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« Reply #14 on: 18:23:53, 15-02-2007 » |
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Oliver
"Oddly enough I can see two posts from you on this page but your number of posts is recorded as one. I'm afraid I can't make an amusing observation about that."
When you've read one (of my posts) you've read the lot.
I made a hash of changing my details - I suspected (wrongly) that my e mail address was available to view and everyone would discover that I am, in reality, Colonel Gadaffi.
So now, instead of being (elegantly) Julien Sorel I am (messily) JulienSorel.
Story of my life. Like.
(The nice little Schwitters doggie picture remains, though).
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