I am afraid the fast movements sound like a square dance, the slow ones larmoyant and embarrassing in their absurd pathos. Maybe a bit restraint? Understatement? Elegance? But the answer will probably be ‚people like it‘ -would Telemann like it?
Hello. I am extremely sensible to this kind of mistakes, but here, except the last movement it seems to me things are well placed. I know other performances that have similar tempi and miss totally the point. I am not familiar with Telemann. It is easier for me to recongnize right or wrong intepretation in his sacred music. Do you have a performance of this piece, or another of this concerto, to recommand? I would appreciated it a lot.
In fact it's not important which concerto, I would like you to share the intepretation of a Telemann concerto that you find the most accurate with his intentions. Thank you.
@@katherineparadis-chateaune8004 Hello Katherine, Teleman often sounds like an AI generated caricature of actual music of the period to me and this performance, though technically very accomplished, does not help in bringing out possible qualities of the music. Generally I admire Daniel Cuiller very much and I think this utterly dry and understated rendition might give us an idea how serious musicians sounded in the early 18th c. th-cam.com/video/oWbMrI66jQs/w-d-xo.htmlfeature=shared what do you think?
Manfred F. Bukofzer, Music In The Baroque Era (From Monteverdi to Bach), London: J. M. Dent & Sons (1st UK edition 1948), p. 26: "The basso continuo ... required at least two players, one to sustain the bass line (string bass, or wind instrument) and the other for the chordal accompaniment (keybooard instruments, lute, theorboe, and the popular guitar)."
Thanks! It’s fine to quote MB… but can you refer me to a reliable contemporary pictorial sourc, or to an actual contemporary account, or to any contemporary musical score or part, or book on continuo realisation that represents or mentions the guitar ?
Hey there :) honestly, very reliable contemporary sources discussing very archaic things are a bit hard to come by! I don’t disagree with you - the guitar was probably less likely to be chosen as lute/theorbo. Maybe it depended on region, patron or kapellmeister’s preference? But I don’t see any reason to disregard it completely as a possibility.
I also found the below but haven’t verified. Handel scored a cantata with guitar. 1682 ‘Matteis in The False Consonances of Musick’ gives instructions for playing continuo on Guitar. Like 1714 ‘Resumen de acompaner la parte con la guitarra’ by Murcia
Hahahaha.. entertaining:) there are a lot of sources that mention and even focus on the baroque guitar as a continuo instrument.. whether they were ever relevant to telemann twv 53, i have no idea
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So impressive and beautiful Baroque energy
how couldn't love this ensemble
Mark Bennett attacks every hardest song like possum!He is amazing soloist!Give us more performances!😎👌
Belíssimo!
Love Mark Bennett's playing....
Beautiful . Thanks.
Brillante ejecucion!!
the solo violinist is dancing disco 👍🔥💯
Mark Bennett Bravi!
Estupenda interpretación.
MAJESTUOSA
Gracias por compartir.
Saludos desde Cuautitlán Izcalli Estado de México, México..
If that's a curved bow it adds grace and charm as well as acoustic overtone gems.
Violin insertion in the last movement brings to mind J.S.Bach's Sinfonia in D major BWV-1045 from the lost cantata.
i write this comment to get it recommended in the future
I am afraid the fast movements sound like a square dance, the slow ones larmoyant and embarrassing in their absurd pathos. Maybe a bit restraint? Understatement? Elegance? But the answer will probably be ‚people like it‘ -would Telemann like it?
Hello. I am extremely sensible to this kind of mistakes, but here, except the last movement it seems to me things are well placed. I know other performances that have similar tempi and miss totally the point. I am not familiar with Telemann. It is easier for me to recongnize right or wrong intepretation in his sacred music. Do you have a performance of this piece, or another of this concerto, to recommand? I would appreciated it a lot.
In fact it's not important which concerto, I would like you to share the intepretation of a Telemann concerto that you find the most accurate with his intentions. Thank you.
@@katherineparadis-chateaune8004 Hello Katherine, Teleman often sounds like an AI generated caricature of actual music of the period to me and this performance, though technically very accomplished, does not help in bringing out possible qualities of the music. Generally I admire Daniel Cuiller very much and I think this utterly dry and understated rendition might give us an idea how serious musicians sounded in the early 18th c. th-cam.com/video/oWbMrI66jQs/w-d-xo.htmlfeature=shared what do you think?
Evidence, please, that the guitar was a generally accepted continuo instrument and not just a drawing-room toy … what next, a frame drum?
Manfred F. Bukofzer, Music In The Baroque Era (From Monteverdi to Bach), London: J. M. Dent & Sons (1st UK edition 1948), p. 26: "The basso continuo ... required at least two players, one to sustain the bass line (string bass, or wind instrument) and the other for the chordal accompaniment (keybooard instruments, lute, theorboe, and the popular guitar)."
Thanks! It’s fine to quote MB… but can you refer me to a reliable contemporary pictorial sourc, or to an actual contemporary account, or to any contemporary musical score or part, or book on continuo realisation that represents or mentions the guitar ?
Hey there :) honestly, very reliable contemporary sources discussing very archaic things are a bit hard to come by!
I don’t disagree with you - the guitar was probably less likely to be chosen as lute/theorbo. Maybe it depended on region, patron or kapellmeister’s preference? But I don’t see any reason to disregard it completely as a possibility.
I also found the below but haven’t verified.
Handel scored a cantata with guitar.
1682 ‘Matteis in The False Consonances of Musick’ gives instructions for playing continuo on Guitar.
Like 1714 ‘Resumen de acompaner la parte con la guitarra’ by Murcia
Hahahaha.. entertaining:) there are a lot of sources that mention and even focus on the baroque guitar as a continuo instrument.. whether they were ever relevant to telemann twv 53, i have no idea
The violinist moving around so much is obnoxious! I was only able to get about 3 minutes in and had to stop watching. too bad.