In 1725 Georg Philipp Telemann (1681–1767) in addition to his official and other professional responsibilities started his own publishing firm with which he realized a variety of projects, some of them using innovative formats. While it is generally known that he engraved his music onto copperplates himself, a look at his correspondence reveals that he also organized the distribution of the finished products by selling copies from his own apartment and in the “music shop at the stock exchange” as well as through his contacts with musicians, booksellers and merchants throughout Europe. Until 1740 Telemann published severalhundred works gathered in almost fifty printed opera. The culminating point of his private publishing endeavor was his Musique de Table of 1733, which apart from enhancing his international reputation must have been highly profitable, as he was eager to invest in new projects. To this end he offered, in his catalogue flyers, “works that may be edited by and by” in order to whet his clients’ appetite for new compositions and to find out which kind of music might sell.
Total time: 01:38:48
Microphones – Neumann km130 DPA (B & K) 4006 ; DPA (B & K) 4011 SCHOEPS mk2S ; SCHOEPS mk41
|Original Recording Format|
Erdo Groot, Roger de Schot
5th Studio of The Russian Television and Radio
|Recording Type & Bit Rate|
|Release Date||October 30, 2015|
Each movement of each suite is both engaging and inventive, and none of the music overstays its welcome. One can give individual praise to violinists Sergey and Pavel Filchenko in the first G-Minor Suite (TWV 55:g8), oboists Philippe Nodel and Svetlana Usacheva and bassoonist Mikhail Shilenkov in the B?-Suite (TWV 55:B11), violinist Dmitry Lepekhov in the A-Major Suite, flautist Olga Ivusheykova in the E Minor, violinist Marina Katazhnova in the second G Minor, and Renée Allen and Fyodor Yarovoy on natural horns in the F Major.
One cannot praise the wonderful camaraderie one hears from this orchestra highly enough. Each member is obviously a virtuoso, yet each emerges from the ensemble for his/her solo turns and then blends right back in. This group almost breathes together: Listen to their subtlety and intelligence in the use of nuances. Every note of each suite sounds as if it had been studiously assessed as to the exact weight and pressure to exert within each phrase, but the end result is playing that has a spontaneous joie-de-vivre that is anything but studied.
Listen, particularly, to the light passages within the Allegro s, where only two or three instruments are playing, and the way Pratum Integrum almost makes the music float. This is, quite simply, extraordinary early-music playing. The orchestra raises these suites up to the level of Handel’s and Rameau’s best orchestral music. Very highly recommended.
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