Telemann: Trio Sonatas
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- เผยแพร่เมื่อ 13 มิ.ย. 2024
- The present recording includes all fi ve sur-viving trio sonatas for recorder, violin and basso continuo by Georg Philipp Telemann.
Composer: Georg Philipp Telemann
Artists: Erik Bosgraaf (recorder), Dmitry Sinkovsky (violin), Balázs Máté (cello) & Alexandra Koreneva (harpsichord)
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Telemann became seriously interested in composing trios during the period between 1708 and 1712, while he was working as the court kapellmeister in Bach’s native Eisenach. It was a genre that must have been close to his heart. “Specifically, people tried to persuade me that trios were my strongest point’’, he wrote in his autobiography as early as 1718 and he repeated remarks to that effect in 1740. Would he have recorded this laudatory characterization if he hadn’t secretly agreed?
He had two of the trios published, both in A minor. The first sonata (TWV 42:a1) was in a volume of six trio sonatas for various instruments, published by the composer himself in 1718, by which time his talents had taken him as far as Frankfurt. The second sonata (TWV 42:a4) appeared in his collection Essercizii Musici. The other three trios have only survived in manuscript: two in the Darmstadt Universitäts- und Landesbibliothek (TWV 42:f2, TWV 42:F8), the third in the library of the Royal Conservatory in Brussels.
The authenticity of this last piece has recently been questioned. There are frequent parallel octaves in the violin and the bass, wholly against the rules of counterpoint. Telemann would never have done that. The assumption is that the bass was added later by somebody else. When the musicologist Klaus Hofmann wrote an article on the matter in the German music periodical Tibia (1/2009), he also questioned Telemann’s authorship of the upper parts - not convincingly, but that is by the way.
In the next issue, Hofmann was able to announce the existence in the Landesbibliothek Mecklenburg-Vorpommern in Schwerin of a trio sonata for recorder and viola da gamba in G minor by one Pierre Prowo (1697- 1757), of which the opening measures of the fast second movement are amazingly similar to the opening measures of the Brussels trio sonata. Was Prowo, an organist from Altona near Hamburg, perhaps the composer of that piece as well? A year later, Hofmann discovered that the same library also contains a manuscript of Trio Sonata TWV 42:d10 …with Prowo’s name on the title page!
Erik Bosgraaf is one of the foremost and most adventurous recorder players of today. His modest instrument the recorder is for him an inexhaustible source of inspiration and boundless possibilities. He improvises, plays jazz, uses electronics and likes to work with artists outside the box. For him there is no difference between early and contemporary music: “Early music is always new”. The sense of discovery permeates all his recordings of works by Telemann, of which he already released 4 albums for Brilliant Classics.
Tracklist:
Trio Sonata in A Minor, TWV 42:4
00:00 I. Largo
02:28 II. Vivace
04:59 III. Affettuoso
07:43 IV. Allegro
Trio Sonata in F Major, TWV 42:8
10:38 I. Andante
12:59 II. Allegro
14:38 III. Largo
16:13 IV. Allegro
Trio Sonata in D Minor, TWV 42:10
18:44 I. Allegro
21:10 II. Adagio
23:11 III. Allegro
25:31 IV. Presto
Trio Sonata in A Minor, TWV 42:1
27:19 I. Affettuoso
29:36 II. Vivace
31:27 III. Grave
34:01 IV. Menuet
Trio Sonata in F Minor, TWV 42:2
37:48 I. Adagio
40:16 II. Allegro
41:57 III. -
43:20 IV. Allegro
Sonate for Recorder and Violin in B-Flat Major, TWV 40:11
44:58 I. Dolce
46:36 II. Scherzando
47:46 III. Largo e misurato
49:56 IV. Vivace e staccato
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Thank you for watching, don't forget to like the video and subscribe! Tracklist:
Trio Sonata in A Minor, TWV 42:4
00:00 I. Largo
02:28 II. Vivace
04:59 III. Affettuoso
07:43 IV. Allegro
Trio Sonata in F Major, TWV 42:8
10:38 I. Andante
12:59 II. Allegro
14:38 III. Largo
16:13 IV. Allegro
Trio Sonata in D Minor, TWV 42:10
18:44 I. Allegro
21:10 II. Adagio
23:11 III. Allegro
25:31 IV. Presto
Trio Sonata in A Minor, TWV 42:1
27:19 I. Affettuoso
29:36 II. Vivace
31:27 III. Grave
34:01 IV. Menuet
Trio Sonata in F Minor, TWV 42:2
37:48 I. Adagio
40:16 II. Allegro
41:57 III. -
43:20 IV. Allegro
Sonate for Recorder and Violin in B-Flat Major, TWV 40:11
44:58 I. Dolce
46:36 II. Scherzando
47:46 III. Largo e misurato
49:56 IV. Vivace e staccato
These are superb performances that show Telemann's skill in the finest way. I consider Telemann's music to be the equal of Handel, Vivaldi, and J.S. Bach.
Reklame muziek. Hier bij Telemann hoor je hoe dom doe reklame muziek is en hoe prachtig Telemann.
After Telemann, no other composer bothered placing flauto dolce on a pedestal alongside a medley of other treble clef instruments. Once that door closed, it remained closed. We ought to be grateful for the works which have survived. The execution of the trio sonatas is brilliant, immediate, earthy and 100% authentic. There is also a huge deal of love spent on this remarkable music. Thank you everyone who revived this genre.
Wait, what is flauto dolce ? Are you meaning there were no other trios with flute after these ? And how do you mean revived then ?
@@dougcameron6609 flauto dolce, rather than flauto traverso. The revival refers to the re discovery of this type of composition and actually recording it for a future generations or generations. I don’t think CPE Bach or Haydn composed anything for the flauto dolce. I may be wrong but I don’t think so.
@@alistairkewish651 I got you now. So a question- what are some examples prior or concurrent with Teleman of fd in trios ?
@@dougcameron6609 well, there are a lot of composers who purposefully created trio sonatas which encompassed a deliberate tessitura to include FL. I have some examples here in my own music library.
Bononcini, Servaas de Konink, Jacques -Christophe Naudaut, Corette, Gottfried Finger, Marais……I could run through the longer list but this perhaps gives you some idea of who wrote what and for which instruments.
The general idea behind being this approach is to appeal to the widest possible audience available.
Cracks however, start to appear when an element of bias creeps in. In which case the range becomes a little less accommodating.
Does this answer your question?I tried looking for post mid -60s compositions which allowed at least three different instruments to enjoy the two top lines but I can’t find any.
At least, not yet. The German flute is occupying centre stage by this time. Tastes change and with those alternatives, the FD becomes eclipsed.
Alistair
@@alistairkewish651 someone knows what the f they’re talking about.
Telemann forever! The recorder player loves Telemann, his works are magnificent and enjoyable playing!
Merci Brillant Classics , pour cette pièce joyeuse . Georg Philipp Telemann (né le 14 mars 1681 à Magdebourg et mort le 25 juin 1767 à Hambourg) est un compositeur allemand.
Il fut pendant sa longue période créatrice un des plus célèbres compositeurs allemands de l'âge baroque et l'un des compositeurs les plus prolifiques de tous les temps (du moins sur la base des partitions qui nous sont parvenues : environ 3 700)1,2. Dans l'ensemble de sa production - près de 6 000 œuvres3,4, dont plusieurs ont été malheureusement perdues -, on compte douze séries de cantates, une centaine d'oratorios, 44 passions, plus de 600 ouvertures à la française, 40 opéras et de nombreux concertos, suites orchestrales, quatuors et sonates. Son ami Haendel a pu dire de lui qu'il était capable de composer une musique religieuse à huit voix aussi naturellement que s'il s'agissait d'écrire une lettre1. Par les impulsions novatrices qu'il a données tant à l'art de la composition qu'à la sensibilité musicale, il a puissamment marqué la musique de la première moitié du xviiie siècle.
Enfant surdoué, Telemann (prononcer : "Télémann") reçoit très tôt ses premières leçons de musique. Mais ses parents, descendants d'une lignée de pasteurs luthériens, souhaitaient plutôt le voir faire une brillante carrière universitaire. S'il apprend à jouer du violon, de la flûte et du clavecin, il semble toutefois hostile à tout enseignement de la composition. Musicien en grande partie autodidacte, Telemann est devenu compositeur malgré les souhaits de sa famille. Après avoir étudié à Magdebourg, Zellerfeld et Hildesheim, il connut ses premiers grands succès de compositeur pendant ses études de droit à Leipzig, où il créa un orchestre amateur, monta des spectacles d'opéra et prit la direction musicale de l'église de l'université. Après un séjour à la cour de Sorau, puis à celle d'Eisenach, il fut nommé en 1712 directeur de la musique de la ville et maître de chapelle de deux églises à Francfort-sur-le-Main, où il commença l'édition de ses propres œuvres.
À partir de 1721, il occupa, en tant que Cantor Johannei et Director Musices de Hambourg, l'un des postes les plus prestigieux du monde musical allemand, et se dirigea peu après vers l'opéra. Là encore, tout en restant en relation avec les cours princières, il organisa régulièrement des concerts publics pour l'élite bourgeoise de la ville. Un séjour de huit mois à Paris, en 1737 et 1738, lui donna enfin accès à la renommée internationale. Tandis que sa carrière prospérait, la vie privée de Telemann fut toujours troublée : sa première épouse mourut quelques mois après leur mariage, et la seconde accumula aventures extra-conjugales et dettes de jeu avant de le quitter.
Musicien multi-instrumentiste, il a produit une œuvre immense touchant à tous les genres reconnus de la musique de son temps. Sont particulièrement remarquables ses mélodies vocales, son utilisation imaginative des timbres ainsi que, surtout dans ses dernières œuvres, l'originalité de ses effets harmoniques. Ses pièces instrumentales dénotent souvent des influences venues de France, d'Italie et parfois de la musique populaire polonaise. Sa musique, qu'il sut maintenir à l'avant-garde de toutes les tendances nouvelles, constitue un lien important entre les styles baroque et classique. Alors que son époque l'avait préféré à Jean-Sébastien Bach et Georg Friedrich Haendel (qu'il connut tous deux personnellement), l'évolution des idéaux musicologiques au cours du xixe siècle conduisit à une dépréciation de ses créations. L'exploration systématique de l'œuvre complète, commencée dans la seconde moitié du xxe siècle, n'est pas encore achevée.
fr.wikipedia.org/wiki/Georg_Philipp_Telemann
In the 60s at school, music classes meant blowing ineffectively on recorders and banging energetically on tambourines and that was the sum total of my experience of recorders. I progressed to the piano and forgot about recorders.
It is only recently that I have discovered what a wonderful instrument it is in the hands of an expert. I find it no less than the flute or oboe in the moods it can convey. So I must thank you for this post, beautiful music played with elan. Please continue to do the great work you are doing Brilliant Classics
Вельми дякую за чудову музику.🙏 Дуже задоволена, що натрапила на Ваш канал.😊
Wonderful Music Forever !
This wonderful performance Ìs full of the musical aesthetics of Telemann
Merci pour le partage! Un plaisir ces trios...
Dinlendiren, yormayan çok muhteşem bir uyum. Teşekkür ederim 🙏🎶💓
Thank you for sharing this music 🎶
Unglaublich schön!! 😍
"Да, теперь никто так петь не может, разве что маэстро Телеман!"
아름다운 연주곡 잘 들었습니다~감사합니다~🎵🎻🎻🌿🍀☘🌹🌹☘🍀🌿❤❤수고 많으셨습니다~☕
What an excellent collection of music.
It's interesting enough to be very engaging when focusing on it entirely, but still able to blend into the background and serve the same purpose as tafelmusik or a divertimento.
I'm no wind or string player, but I also get the impression it would be very fun music to preform, especially with a good friend.
Genius.
Delightfully lively and colorful music, thank you so much for this album upload.
Our pleasure!
Wunderschöne und lebhafte Interpretation dieser fünf fein oder perfekt komponierten Triosonaten in verschiedenen Tempi mit mildem doch gut phrasiertem Ton der Blockflöte, seidigem doch ebenso gut phrasiertem Ton der Violine, tiefem Ton des Violoncellos und zurückgehaltenem doch schimmerndem Klang des Cembalos. Die intime und perfekt entsprechende Miteinanderwirkung zwischen den vier Virtuosen ist echt eindrucksvoll. Wunderbar vom Anfang bis zum Ende!
🕊🌟🕊
This is
ABSOLUTELY BEAUTIFUL
🙏💜🙏
💜🎵💜
Currently practicing this so I can record the recorder part for my violinist friend 100 miles away - and vice versa. Hopefully we'll get together in person to play it before too long. 😀
很棒喔👍👍
The TWV catalogue numbers would be an immense contribution, please. We are not mushrooms.
Ecscelent !
Grandios ❣️🎶❣️
Magnífico
Bha Telemann cho math aig an dhuilleag. Tha aige cho bòidheach òrain.
Hoot, mon! Truly!
바로크.. 역시! 감사합니다
vraiment très intéressante musique.
Fabuloso!
Silvio Nobre -- Sobrepasa por mucho nuestras esperanzas....BRAVO desde Acapulco!
When playing duo chamber music with violin, the recorder has more "presence" in the medium range than the traverse flute. So, the instumental balance is better.
Molto bene.
❤️❤️❤️👍👍👍🔥🔥👌👌👌🙏🙏🙏
❤️❤️❤️❤️🔥🔥🔥🔥👍👍👍👍👌👌👌👌🙏🙏🙏🙏🙏🙏🙏
I am going for baroque 🙄🎆
00:00
23:11
31:27
40:16
No one wants to to the time left we want to see the time that has elapsed. Assenine.
wrong window......as forTelemann, his music it is haunting when slow, full of longing.
biotin is better