Telemann, G P - Trio Sonatas - Bosgraaf, Erik

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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. Critics are enthusiastic: “One of the world’s most gifted recorder players..a real winner..a virtuoso with a sense of style.. “(Musicweb International), “magical..simply fabulous..Bosgraaf’s virtuosity is stunning, as is his artistry” (Gramophone). This new recording presents Telemann’s sonatas for recorder, violin and B.C. Played by violinist Dmitry Sinkovsky, cellist Balazs Mate and harpsichord Alexandra Koreneva and the inimitable Erik Bosgraaf on recorder. The present recording includes all five surviving trio sonatas for recorder, violin and basso continuo by Georg Philipp Telemann. As an encore, there is a charming duet for recorder and violin Telemann published in 1728-29 in his music periodical Der getreue Music-Meister. There is also a duet for these two instruments hidden in the Trio Sonata in A minor (TWV 42:a1) which has no basso continuo in the trio section of the final menuet. 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 Universitats- 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! That seemed to confirm the new attribution and solve the mystery. In my opinion the opposite is more probable. Other compositions show Prowo to be an incorrigible dilettante, unimpeded by much imagination. He had no problem with parallel fifths or octaves. The fact that his Trio Sonata for recorder and viola da gamba contains a section beginning almost exactly like the Brussels trio argues against his authorship rather than for it. It looks as though Prowo was hoping for some sparks of genius of his own by following the example of an inspired contemporary. Examining the rest of the Trio Sonata for recorder and viola da gamba, one sees him fail dismally. That Provo was capable of composing a sparkling, irresistible “Telemannesque” trio of the calibre of TWV 42:d10 is highly unlikely. The version of TWV 42:d10 in Schwerin has an extra movement: a poorly conceived, eight-measure adagio. The recorder offers only cliches, the violin accompanies and plays the initial measures unisono with the bass, in parallel octaves. This is where we discern Prowo’s mediocrity, I’m afraid. There is no comparison with the others movements. It would be taking things too far to go into detail here, but I suspect that this is what happened: two upper parts - recorder and violin- of a trio sonata in D minor by Telemann were in circulation during the first half of the eighteenth century without the corresponding basso continuo. Pierre Prowo added one (in his typical dilettante fashion) and also added a clumsy little adagio. He felt justified in setting his own name to it: the “Schwerin version”. Somebody in the vicinity was aware of the circumstances, took the original upper parts, kept Prowo’s continuo part, left out the extra movement and restored the name of the real composer, reinstating Telemann: the “Brussels version”. Prowo provided the first movement with an unimaginative (and for Telemann unidiomatic) bass, dominated by groups of repeated eighth notes. I have written an entirely new continuo part for this movement. In other places I have made corrections in the bass, there where the voice leading has parallel octaves. And the solo parts for recorder and violin? Let’s uphold Telemann – Telemann at his best. (Thiemo Wind)
Artikelnummer 0301006BC
Streckkod 0885470010069
Utgivningsdatum 2017-11-17
Kategori Klassiskt
Skivbolag Berlin Classics
Enhet CD
Antal enheter 1
Artister Bosgraaf, Erik
Sinkovsky, Dmitry
Kompositörer Telemann, G P
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