Telemann Gamba

The EXTEMPORE ensemble consists of three experienced and versatile artists involved in the historical performance of early music: violinist Ma?gorzata Malke, harpsichordist and organist Anna Firlus, and Krzysztof Firlus playing viola da gamba. The passion for chamber music, early music, and discovering the unknown prompted them to establish an ensemble in 2007, when they were still students of the Academy of Music in Katowice. Georg Philipp Telemann, traditionally a slightly underrated master of Baroque music, exceptionally well corresponds to the musical temperament of the ensemble. The album includes Telemanns trio sonatas and solo works, two of which are in a way new compositions only a few years ago considered to be missing arranged for the EXTEMPORE ensemble.

The opening Overture (Suite) in A minor is one of Telemann's most ambitious concerted works, running to seven distinct dance movements in 30 minutes. The rhythmic shifts in the "Air à l'Italien" are pretty abrupt and really catch your attention. Of the three concertos, the Double Concerto in A minor for flauto dolce and viola da gamba is a standout, owing to its occasionally explosive gestures and knotty emotionalism. All of these works have been recorded numerous times, but most commonly on the standard transverse flute, but only the F major concerto was originally written for flute, and many versions of the Overture in A minor show signs of having been somewhat condensed.

This new issue by Reinhard Goebel and Musica Antiqua Köln is one of their strongest to date. The programme is imaginative, the content varied and the playing of a very high order. At its heart lie Telemann’s three originally conceived and skilfully crafted concertos for four unaccompanied violins. Two of them featured in one of Goebel’s earliest recordings for DG Archiv but the new version surpasses even the elevated standards set by the other. Hard on the heels of a recent performance by the Berlin Academy of Ancient Music (Harmonia Mundi) comes another reading of Telemann’s Violin Concerto Die Relinge (The Frogs). Heavily dependent upon onomatopoeia, its humour wears a bit thin after a time; but the piece is tautly and rather untypically constructed and, in a performance of such vitality and mischievous humour as this, will probably find a good many takers.

The Overture seems to have been Telemann's favourite compositional form. His Overtures outnumber the solo concertos by far. These Overtures - or Suites - show a great variety, as this CD amply demonstrates. It starts with one of Telemann's most popular works, the 'burlesque' Don Quixotte and also contains two Overtures with a solo instrument. In some of his Overtures Telemann abondons the traditional dances and replaces them by character pieces, which indicates French influence.

When Trios For 4 was first released the Palladian Ensemble was riding high following a sell-out ‘Rising Stars’ concert series in Europe with performances at the Amsterdam Concertgebouw, Konzerthaus Wien, Frankfurt Alte Oper, and London's South Bank Centre. Together Rachel Podger, Pamela Thorby, Susanne Heinrich and William Carter formed a quartet of the highest calibre; confirmed by the solo successes each went on to enjoy in their respective careers. In a cleverly chosen programme the Palladian Ensemble perform works by Handel, Telemann, Leclair and Quantz which perfectly demonstrate the diversity of styles typical of the eighteenth century.

This attractive mixed programme of Telemann’s works featuring flute or recorder has been designed by Ashley Solomon to celebrate Florilegium’s 25th anniversary. The triple concerto for flute, oboe d’amore and viola d’amore in E major stands out as one of the composer’s most beguiling masterpieces: the limpid opening Andante sounds like a serene evocation of sunrise that anticipates the mature Haydn by several decades; the soloists Solomon, Alexandra Bellamy and Bojan Čičić play with elegant finesse, and also conjure up refined melancholy in an intimately conversational Siciliana. The double concerto for recorder and viola da gamba in A minor is a charming example of Telemann’s taste for synthesising French and Italian musical styles with elements of Polish folk music; Florilegium’s civilised elegance in the French-style Grave, gently Italianate sway in the Allegro, and Solomon’s duet with gambist Reiko Ichise in the Dolce has pastoral sensitivity. At the heart of the programme is Ihr Völker hört, a cantata for solo voice and obbligato instrument that was published in the first instalment of the series Harmonischer Gottes-Dienst. Clare Wilkinson’s softly convivial and articulate singing communicates the cheerful Epiphany text.

Give each instrument what suits it best, thus is the player content and you well entertained.’ In these pieces, unenticingly called ‘Methodical Sonatas’, Telemann is as good as his word. These are delightful works, full of humour, very skilfully written and never dull. There are two sets of six sonatas each. All are played on a Baroque flute, though certain keys suggest a violin, with fluency and impeccable taste by Barthold Kuijken. His tone is alluring and his ornamentation, mainly based on Telemann’s own suggestions, faultlessly executed. A programme for performers and listeners alike. Outstanding.

These six Quartets for flute, violin, viola/viola da gamba and continuo are puzzling on almost all counts. Though printed in Paris in 1752 they are not part of the genuine ‘Paris Quartet’ set of 1738. Nor are they incontrovertibly the work of Telemann. But on stylistic grounds it does seem likely, though we should not rule out an imitator, French perhaps, who in collusion with the publisher saw an opportunity to make some money following the enormous success of Telemann’s Paris visit in 1737-8.

Paul Dombrecht, Wieland Kuijken en Robert Kohnen zijn sinds jaar en dag klinkende namen op de internationale barokpodia. Zij behoren tot de internationale top op het gebied van oude muziek en verwierven een ijzersterke faam als solist, artistiek leider of musicus in diverse ensembles. Hun pionierswerk van weleer was en is de vruchtbare bodem voor de internationale weerklank van de oude muziek. Samen koesteren ze een warme symathie voor de schier onuitputtelijke muziek van Georg Philipp Telemann.

Alongside his success directing Europa Galante, Fabio Biondi's sixth CD for Glossa is the first to showcase his talents as a solo violinist.