Alexis Kossenko returns to centre stage with a project focussing on works by Georg Philipp Telemann, one of the most prolific composers in the history of music, with more than 6,000 works to his name! From them, Alexis Kossenko has chosen two concertos with orchestra: one for flute, the other for flute and violin, preceded by an overture. This programme is perfectly composed to demonstrate what a great Baroque conductor he has become as well as, of course, showcasing his impressive qualities as a flautist. It is also the occasion to again find Zefira Valova as Konzertmeister and soloist in one of the concertos.
In each of these trios, Telemann prescribes a different instrumentation. He forms six entirely individual instrumentations consisting of four wind instruments, four stringed instruments, and continuo.
In terms of their reputations, it is the misfortune of both Albinoni and Telemann that they shared their time and space with Vivaldi and Bach - respectively, the nonpareils of Venetian Baroque and Baroque everywhere else. Nonetheless, these oboe concerti of Albinoni testify to the considerable talents of the Red Priest's contemporaries. Three of the four concerti that begin CD1 (those in d, C and g) are probably the equals of anything that Vivaldi wrote for this instrument. They show the 51 year old composer (former dilettante now turned professional) at the height of his powers. Telemann's works on these discs, meanwhile - and especially the wonderful Sonata in g from 'Tafelmusik III' - show him at his most inspired…By Jon Chambers (Birmingham, England)
"deutsche harmonia mundi" ist eines der wichtigsten und ambitioniertesten Label für die authentische Interpretation und historische Aufführungspraxis. 2013 feiert das Label bereits sein 55-jähriges Bestehen.
Zu diesem Jubiläum erscheint nun eine hochwertige 25CD-Edition mit vielfach ausgezeichneten und von der Presse hochgelobten Aufnahmen sowie einem ausführlichen Einführungstext über die Anfänge und die Geschichte des Labels…
“although these six concertos are undoubtedly music at the lighter end of the Baroque scale, their unfailing compositional skill and amiable artistic personality are realised with relaxed expertise by a pool of soloists able to run around them with ease. The 16-piece orchestra play with a sunny cordiality, and though their sound is more wispy than punchy, it is recorded with sympathetic soft clarity.” (Gramophone Magazine)
How admirably Telemann succeeds may be heard listening to these concertos. Eschewing the Italian three-movement model of fast-slow-fast, he adheres to the German layout of four movements: slow-fast-slow-fast. Also in contrast to the works of his Italian counterparts, who not infrequently fell into the lazy habit of writing the same concerto over and over again, each of Telemann’s examples is strikingly different, not just in its instrumentation, but in its melodic and harmonic content and in the patterning of its passagework. Nonetheless, exquisitely beautiful as some of his slow movements are—listen to the Largo of the A-Major Oboe d’amore Concerto—it would be disingenuous to pretend that Telemann (or German Baroque composers in general) ever mastered the art of the Italian instrumental cantilena that grew out of the melodiousness of the language and Italy’s long vocal tradition. Nothing in these concertos can compare, for example, to the timeless beauty of the Adagio from Albinoni’s D-Minor Oboe Concerto, op. 9/2, written at approximately the same time as the Telemann.
Telemann wrote wind concertos for up to four solo instruments. A majority of the concertos (including all but one on this recording) are in four movements, usually slow-fast-slow-fast format, though there are many in the Italian three-movement style of fast-slow-fast.