Post Description

This disc, originally issued in 1983, contains a reasonable cross section of Telemann's concerto output. The recording is clear and well balanced and the playing is good without some of the extra 'flair' that some modern performers from Italy and Germany especially bring to the music making. However, it is arguable that some of this 'flair' may be more than Telemann might have expected and this we may never find out. In the meantime, on its own terms, this disc is very satisfying.
The opening concerto for 3 trumpets and strings is a striking piece and shows Telemann's ear for mixing different timbres of instruments. His ear for combinations of instruments is also illustrated in the final concerto on the disc for flute, oboe d'amore, and viola d'amore plus strings. The central concerto featuring recorder and flute equally explores tonal characteristics and differences. These three concertos also illustrate Telemann's method of following the Italian 'sonata da chiesa' form of writing concertos in four movements, slow-fast-slow-fast.
The disc also illustrates Telemann following the Venetian concerto model of three movements, fast-slow-fast, and that is to be found in the Concerto Polonois. This piece is also a clear reference to Polish music and that influence permeates a great deal of Telemann's work where he made use of his own Polish experiences as Kapellmeister to the household of Count Erdmann II of Promnitz. On this disc there are examples of polonaise, and mazurka idioms as well as other Polish dance forms embedded into the musical constructions.
This is an interesting, informative and satisfying introduction to Telemann's concerto writing. Although it could be thought of as a slightly sober approach by some modern standards it nevertheless remains valid on its own terms.