LITTLE BIG TELEMANN BOX

5+ HOURS OF MUSIC

TRACK LISTING

Tafelmusik, Production III: 

No. 1 Overture (Suite) in B-flat Major, TWV 55:B1:
Concentus Musicus Wien; Nikolaus Harnoncourt, conductor
1. I. Ouverture: Lentement; Presto; Lentement
2. II. Bergerie; Un peu vivement
3. III. Allégresse
4. IV. Postillons
5. V. Flaterie
6. VI. Badinage
7. VII. Menuet

Tafelmusik, Production III:

Concerto for two horns, strings & continuo in E-flat Major (Tafelmusik III/3), TWV 54:Es1:
Concentus Musicus Wien; Nikolaus Harnoncourt, conductor
8. I. Maestoso
9. II. Allegro
10. III. Grave
11. IV. Vivace

Tafelmusik, Production III:

Solo, for oboe & continuo in G Minor

(Tafelmusik III/5), TWV 41:g6:
Concentus Musicus Wien; Nikolaus Harnoncourt, conductor
12. I. Largo
13. II. Presto; Tempo giusto; Presto
14. III. Andante
15. IV. Allegro

Tafelmusik, Production III:

Quartet for flute, violin, cello & continuo in E Minor (Tafelmusik III/2), TWV 43:e2:
Concentus Musicus Wien; Nikolaus Harnoncourt, conductor
16. I. Adagio; Allegro
17. II. Dolce; Allegro

Tafelmusik, Production III: 

Trio for 2 flutes & continuo in D Major (Tafelmusik III/4), TWV 42:D5:
Concentus Musicus Wien; Nikolaus Harnoncourt, conductor
18. I. Andante
19. II. Allegro
20. III. Grave
21. IV. Vivace

Concerto in B-flat Major 

for 2 flutes, 2 oboes and strings, TWV 54:B2
Esterhazy Orchestra; David Blum, conductor
22. I. Andante
23. II. Presto
24. III. Cantabile
25. IV. Allegro

Concerto in G Major

for 3 Trumpets, 2 Oboes, and Timpani, TWV54:D3
Esterhazy Orchestra; David Blum, conductor
26. I. Intrada
27. II. Allegro
28. III. Largo
29. IV. Vivace

Overture Suite in G Major, TWV 55:Anh.G1 

(La Putain)
Esterhazy Orchestra; David Blum, conductor
30. I. Overture (Alla breve): Allegro
31. II. Maquerade
32. III. Loure
33. IV. Minuet
34. V. Rondeau
35. VI. Sarabande
36. VII. Marche
37. VIII. Minuet and Trio
38. IX. Bourree
39. X. Hornpipe

40. Sinfonia (Conclusion) for 2 flutes, 2 oboes, bassoon, strings & continuo in E Minor

(Tafelmusik I/6), TWV 50:5
Esterhazy Orchestra; David Blum, conductor

Overture, suite for recorder, strings & continuo

in A Minor, TWV 55:a2:
Camerata of St. Andrew ; Leonard Friedman* <performer>
41. I. Ouverture
42. II. Les Plaisirs
43. III. Air à l'Italien
44. IV. Menuets 1 and 2
45. V. Réjouissance
46. VI. Passepied
47. VII. Polonaise and Lento from Ouverture

Overture: Burlesque de Quichotte, suite for strings & continuo in G Major, TWV 55:G10:
Camerata of St. Andrew; Leonard Friedman, conductor;

Susan Milan
48. I. Ouverture
49. II. Don Quichotte Awakens
50. III. His Attack on the Windmills
51. IV. The Love Sighs for the Princess Dulcinea
52. V. The Tossing of Sancho Panza
53. VI. Rosinante's Gallop
54. VII. The Gallop of Sancho Panza's Donkey
55. VIII. Don Quichotte's Rest

Concerto for flute, violin, cello, strings & continuo 

in A Major (Tafelmusik I/3), TWV 53:A2:
Camerata of St. Andrew ; Leonard Friedman, conductor; Susan Milan
56. I. Largo
57. II. Allegro
58. III. Grazioso
59. IV. Allegro

Concerto in E Minor for Oboe, Strings and Continuo, TWV 51:e1
I Solisti di Zagreb; Antonio Janigro, conductor
60. I. Andante
61. II. Allegro molto
62. III. Largo
63. IV. Allegro

Concerto in G Major for Viola, Strings and Continuo, TWV51:G9
I Solisti di Zagreb; Antonio Janigro, conductor
64. I. Largo
65. II. Allegro
66. III. Andante
67. IV. Presto

Sonata á Violino I, Violino II, Viola e Violono,

TWV 40:200
I Solisti di Zagreb; Antonio Janigro, conductor
68. I. Affetuoso
69. II. Allegro
70. III. Vivace

Concerto in D Minor, for Oboe, Strings and Continuo, TWV 51:d1
I Solisti di Zagreb; Antonio Janigro, conductor
71. I. Adagio
72. II. Allegro
73. III. Adagio
74. IV. Allegro

Concerto in A Minor for Violin, Strings and Orchestra, TWV51:a2
Stefano Passaggio, violin

I Solisti di Zagreb; Antonio Janigro, conductor
75. I. Allegro
76. II. Andante
77. III. Presto

Concerto in A Minor for Alto Recorder, Flute, Viola da Gamba, Strings and Continuo TWV 55
The Wiener Solisten ; Ferdinand Conrad; Wilfried Boettcher
78. I. Grave
79. II. Allegro
80. III. Dolce
81. IV. Allegro

Concerto in E Major for Flute, Oboe d’Amore and Violin, TWV 53:E1
Andre Lardrot, oboe; Jelka Stanic, violin; Raymond Meylan, fluteI Solisti di Zagreb; Antonio Janigro, conductor
82. I. Andante
83. II. Allegro
84. III. Siciliano
85. IV. Vivace

Concerto in G Major for 2 Violas, Strings, and Basso continuo, TWV 52: G3
Karl Stierhof and Peter Pecha, violas

I Solisti di Zagreb; Antonio Janigro, conductor
86. I. Avec Donceur
87. II. Gay
88. III. Largo
89. IV. Vivement

Concerti on D Major for Trumpet, Strings and Basso continuo, TWV 51:D7
Henri Adelbrecht, trumpet

I Solisti di Zagreb; Antonio Janigro, conductor
90. I. Adagio
91. II. Allegro
92. III. Grave
93. IV. Allegro

Concerto in G Major for Oboe d’Amore, Strings and Basso continuo, TWV 51:G3
Andre Lardrot, oboe

I Solisti di Zagreb; Antonio Janigro, conductor
94.  I. Soave
95.  II. Allegro
96.  III. Adagio
97.  IV. Vivace

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Telemann is fourth on the rung of composers that The Bach Guild showered with love and recordings in the 1950s. However, as befitting his place as the “Ringo” of the BachGuild Beatles (Bach, Haydn, Vivaldi and Telemann, yeah yeah yeah!) Telemann didn’t get as much attention or credit as he could have received from The Bach Guild.

In fairness, scholarship for Telemann evolved much more slowly than the dizzying pace that was given to Bach, Haydn and Vivaldi in the 1950s. Telemann’s recordings on The Bach Guild are exclusively devoted to his orchestral output. However, looking through a 2014 hourglass, it seems like a slight, and it might be, and it possibly showed a snobbishness to prefer Bach and Handel over Telemann as a composer of choral and vocal works.

So what we have in the catalog is a collection of orchestral works of Telemann, in both original instrument recordings, as well as orchestral performances. Telemann and Bachare the only composers in the Bach Guild catalog to be recorded using historically informed practice and big-band orchestra. (Bach Guild’s Haydn and Vivaldi recordings all use modern instruments.)

Unfortunately, the fact that this is a “Little Box” and not a Big Box indicates that the devotion to Telemann was not strong. In fact, it looks as if the devotion runs wide but not deep. Works by Telemann are repeated in the catalog, from the 1950s era recordings to the mid 1990s. In that time, oceans could be filled with new scholarship about Telemann that was unknown prior to the Vienna 1950 recordings. But the 1990s Omega-era recordings do not take advantage of that – in fact, the Omega Telemann recordings feature the exact same repertoire that was recording in 1954 (Don Quixotte Suite, for example). So one can surmise that there was a feeling that there was plenty of Telemann to go around for Bach Guild’s liking.

But in its heyday of the 1950s and 1960s, The Bach Guild’s nod to Telemann is still important. Nikolaus Harnoncourt’s historic early instrument recording of Tafelmusik is included here, as are the exceptional recordings of the New York based Esterhazy Orchestra under David Blum. But there are no revelatory moments to a jaded, learned listener, just a sense that Bach Guild did devote itself to recognizing the music of George Philippe Telemann with a series of recordings that reveals him the equivalent of Vivaldi, if not in prolificacy then in skill. These recordings prompt smiles and elicit good feelings, rather than send one to find out more about this composer. But at the time, this is what they were meant to do.

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