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Strona Główna Muzyka Klasyczna Telemann Georg Philippe Telemann - Chamber Music (Koopman) [1994]

Telemann - Chamber Music (Koopman) [1994]

Wtorek, 27 Październik 2009 10:18 | Wpisany przez bluesever | PDF Drukuj
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Telemann - Chamber Music (Koopman) [1994]

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1. Quartet in G : Allegro
2. Quartet in G: Grave
3. Quartet in G: Allegro
4. Trio Sonata in b flat: Largo
5. Trio Sonata in b flat: Vivace
6. Trio Sonata in b flat: Dolce
7. Trio Sonata b flat: Vivace
8. Sonata in C: Adagio-Allegro
9. Sonata in C: Larghetto
10. Sonata in C: Vivace
11. Trio Sonata in g: Mesto
12. Trio Sonata in g: Allegro
13. Trio Sonata in g: Andante
14. Trio Sonata in g: Vivace
15. Sonata in f: Triste
16. Sonata in f: Allegro
17. Sonata in f: Andante
18. Sonata in f: Vivace
19. Trio Sonata in d: Andante
20. Trio Sonata in d: Vivace
21. Trio Sonata in d: Adagio
22. Trio Sonata in d: Allegro
23. Quartet from Tafelmusik I, In G: Largo-Allegro-Largo
24. Quartet from Tafelmusik I, In G: Vivace-Moderato-Vivace
25. Quartet from Tafelmusik I, In G: Grave
26. Quartet from Tafelmusik I, In G: Vivace

Amsterdam Baroque Soloists
Ton Koopman - conductor

 

Telemann’s easy facility as a composer has led to accusations of a lack of originality which these two new issues do much to challenge. With excellent balance and an incisive edge to their sound, Koopman and the Amsterdam Baroque Soloists offer a well-balanced programme which focuses on Telemann’s exploitation of tonal colour through instrumentally versatile combinations. Imaginative scoring contrasts wind and strings, and treble and bass instruments to reveal an astonishing timbral and textural range. Bright, playful passagework in the first of two G major quartets on the disc and the C major Recorder Sonata establishes this Amsterdam group’s excellent ensemble and crisp articulation and, with more sombre instrumentation in the B flat minor Trio Sonata and F minor Bassoon Sonata, they vividly demonstrate their broad range of tonal variety and mood. By contrast, Hazelzet and Trio Sonnerie offer a more uniform, highly-polished sound to emphasise Telemann’s stylistic diversity. Their extremely fluent performances are distinguished by taste and elegance throughout, and they are as comfortable with the overt virtuosity of the D major Concerto as they are with Telemann’s synthesis of national styles in the G major Quartet. The confirmation of Telemann’s remarkable musical and stylistic diversity which these new issues provide should make them popular with collectors. ---Nicholas Rast, classical-music.com

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