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1512

GEORG PHILIPP TELEMANN

TRUMPET CONCERTO in D MAJOR

VIOLA CONCERTO in G MAJOR

CONCERTO in C MAJOR for 4 Violins

CONCERTO in E MINOR for Flute, Recorder and Strings

CONCERTO in D MINOR for 2 Clarinets and Strings

ANDRE BERNARD, Trumpet

PHILIPP NAEGELE, Viola

ANNEGRET LUCRE, Recorder

WERNER RICHTER, Flute

DIETER KLOCKER and ANDREAS BONIFERT, Clarinets

Heidelberg Chamber Orchestra

MHS 1512 MHS 1512

GEORG PHILIPP TELEMANN (1683-1767)

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Side 1:

CONCERTO in D MAJOR for Trumpet and Orchestra

Adagio - Allegro - Grave - Allegro

CONCERTO in G MAJOR for Viola and Orchestra

Largo - Allegro - Andante - Presto

Andre BERNARD, Trumpet Philipp Naegele, Viola Heidelberg Chamber Orchestra

CONCERTO in C MAJOR for 4 Violins

Philipp Naegele, Gerhard Ohnheiser, Masafumi Hori and Ottavia Kortner, Violins

Side 2:

CONCERTO in E MINOR for Recorder, Flute dnd Orchestra

Largo - Allegro - Affetuoso - Presto

CONCERTO in D MINOR for 2 Clarinets and Orchestra

Largo - Allegro - Adagio - Allegro

Annegret Lucke, Recorder

Werner Richter, Flute

Dieter Klocker, Clarinet

Andreas Bonifert, Clarinet

Heidelberg Chamber Orchestra

Whereas Telemann’s "French” works are provided with

French titles and indications for performance, II Signor

Melante” (his own Italianized anagram!) uses the lan¬

guage of Dante as soon as he enters upon Italian stylistic

ground. He was one of the first German composers who

mastered the young form of the Concerto for one or

several solo instruments of the Vivaldian type, even pre¬

ceding Bach by some years in this respect.

In the majority of his 170 Concertos, he keeps to the

older four-movement form of the Church Concerto Con¬

certo da Chiesa), with the sequence slow-fast-slow-fast,

whereas the "modern” three-movement form appears far

less frequently. Our selection may provide an idea of the

incredible instrumental variety of Telemann’s production

in the Concerto field!

The Trumpet Concerto in D-major belongs into the

brilliant category of festive church music, as exemplified

in many compositions by Torelli. In the opening Adagio

the solist is able to unfold his possibilities in the cantabile

style, while the two fast movements require all his nimble

virtuosity. Following a current practice of the time, the

trumpet remains silent during the whole third movement,

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Timings:

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Side 2:

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a moving Grave in B-minor of noble expressive power.

The Viola Concerto in G-major is the earliest of its

kind, and the only one from Telemann’s pen. Since it is

one of his finest works and since the viola’s repertoire is

very limited in number, it has acquired early popularity.

All four movements have their beauties, the two fast move¬

ments, above all the sprightly dance of the concluding

Presto, provide the solist with most interesting opportuni¬

ties for display, but the crown of the work remains the

strongly expressive third movement, an Andante in E-

minor of astonishing formal freedom and harmonic bold¬

ness, featuring some daring enharmonic turns.

Telemann’s Concertos for jour Violins without bass

(actually genuine Violin Quartets!) are masterworks of the

rarest kind. Here, as our recording of the four-movement

C-major Concerto makes clear, he is as close to Vivaldi

as to justify a true confusion between both composers!

The peculiar charm of the Concerto in E-minor for Flute,

Recorder and orchestra is due above all, naturally, to the

confrontation of the two different flutes, of which the

Recorder was about to die out at the time. Telemann also

used this tonal contrast with great subtlety in his chamber

music.

Stereo records may be played on modern mono equipment. It is advisable to wipe record with antistatic dust cloth before playing.

the musical heRitaqe society inc i99i t\Roa6way, new yonk. n. y. 10023

The tender and dreamy atmosphere of the slow move¬

ments forecasts the rising age of Empfmdsamkeit. It is

hard to imagine a stronger contrast than between the two

fast movements: here, a dark and melancholy Allegro, set

in an austere fugal style, there, a purely "French” Rondo,

a kind of Musette or Rigaudon, such as to be found in

Rameau’s Operas. Just before the end, we may hear a

stupendous premonition of the opening movement of

Beethoven’s Pastoral Symphony!

The progressive-minded, open-to-the-world Telemann was

quick in getting enthusiastic about the newly invented Clari¬

net. To be true, his Concerto in D-minor for 2 Clarinets

and orchestra calls the instruments by their current name

at that time, Chalumeau (spelled in a most amusing pho¬

netic was as "Schaliimoo”’), but there can be no doubt

about their identity. The Concerto is a dark-hued, austere

piece, of which even the closing minuet-like Rondo

(Allegro) does not manage to remove all melancholy. The

opening Largo, alternating tutti and unaccompanied clari¬

net duets, shows startling originality!

Harry Halbreich

Library of Congress Catalog Card No. 72-751038

MUSICAL HERITAGE SOCIETY

GEORG PHILIPP TELEMANN

CONCERTO in D MAJOR for Trumpet & Orchestra Adagio - Allegro - Grave - Allegro

CONCERTO in G MAJOR for Viola & Orchestra Largo - Allegro - Andante - Presto

Andre BERNARD, Trumpet \ Philipp Naegele, Viola \ Heidelberg Chamber Orchestra

. \ CONCERTO in C MAJOR for 4 Violins / ^ n. Philipp Naegele, Gerhard Ohnheiser, /

\ Masafumi Hori & Ottavia Kortner, A Violins