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Telemann: Tafelmusik - Florilegium

Telemann: Tafelmusik - Florilegium

Channel Classics  CCS SA 19102

Stereo/Multichannel Hybrid

Classical - Chamber


Telemann: Tafelmusik

Florilegium

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Review by John Miller - April 22, 2010

Georg Philipp Telemann (1681-1767) was an extraordinary character amongst the myriad of Baroque musicians and composers. Although showing an interest in music from an early age, he was strongly dissuaded from this course by his parents, who wanted him to become a lawyer. Even so, as a teenager, he taught himself to be proficient on a surprising variety of string, wind and brass instruments, all the better, he thought, to write music for them. At the age of 20 he arrived in Leipzig to study law, but musical encounters and the strong musical offerings of the city could not be ignored, and he abandoned himself to music. On the way to Leipzig, he had stopped at Halle and met the 16 year old Händel, who became a life-long friend. Telemann then held important positions in Soraue, Eisenach and Frankfurt, finally settling in Hamburg as its Music Director. He is said to have been the most prolific composer of the Baroque era.

Much of Telemann's income came from publication of instrumental pieces, which were greatlly in demand for domestic and civic entertainments. His Tafelmusik, issued in 1733 by subscription, came in several parts and was a convenient compilation for his prolific outpouring of suites, overtures, quartets and other pieces, mostly in the popular French style. It was sold widely in Northern Europe, but the only English subscription came from Handel, who happily used a number of its infectious melodies in works of his own (intellectual copyright had yet to be recognised). Tafelmusik was often thought of as being music meant to accompany dining. While that may certainly have been one purpose, the collections offered a wide variety of music-making material for amateurs as well as professionals, real "occasional music".

Florilegium is one of Britain's most outstanding period instrument ensembles, specialising in Baroque music. Here, they field eleven players, including a pair of flutes, oboe, treble recorder, two violins, viola, cello, bass, baroque lute and harpsichord, the last four instruments constituting a continuo section. Channel give them an exemplary recording, set in an airy acoustic which is not at all "churchy" and is best appreciated in with multichannel equipment. High-resolution reproduction of this unspectacular music is itself spectacular in its faithful presentation of the subtle and delectable timbres of the period-type instruments on display. For example, one can even hear the subtle differences between two wooden flutes from different makers. There is plenty of deep bass, the rhythmic engine of late Baroque music, while the lute and harpsichord provide modest continuo support without drawing attention to themselves with needlessly fussy or ostentatious accompaniments. Refinement and restraint are the keywords here.

The programme is a selection oftypical ensemble pieces, mainly from Tafelmusik Part 1. The whole ensemble take part in the introductory Suite in E minor, which is not unlike one of JS Bach's orchestral Suites; a French Overture with double-dotted notes heading a collection of contrasted dance movements. Florilegium's lightly sprung rhythms and terraced dynamics here would have delighted Terpsichore herself.

A Quartet in G major follows, for 2 flutes, 2 violins, viola, cello, bass and harpsichord. It features much playful imitation between the flutes, and a lovely Grave movement has the flutes suggesting evening zephyrs caressing a pair of lovers (represented by violins). The Trio in E flat major, for a pair of violins, cello, lute and harpsichord, brings to mind Vivaldi, especially the virtuosic violin parts in its first movement, quite technically challenging. An oddly-named single-movement 'Conclusion in E minor', for two flutes, two violins, viola, cello, lute and harpsichord has a cheerful fast section, featuring strongly-rhythmic counterpoint which needs to take a breath in a short slow section, before sprinting off breezily again. A comically robust running part from the lower regions of the string bass comes to a proper 'conclusion'.

Finally, a Quartet in D minor from Part II of the Tafelmusik marks the return of the recorder, together with flutes, cello, lute and harpsichord. The plaintive recorder tones are charmingly imitated by cooing flutes in a first movement as sweet as a fine dessert confection; a scampering vivace introduces a typically rustic Largo, and a motoric allegro with instruments chasing each other completes the Quartet.

Florilegium's beautifully-nuanced and relaxed playing is the epitome of co-operative music-making with friends which is enshrined in these pieces. Far from the often overwrought attack and frenetic speeds which often pass these days for authentic Baroque style, their playing is completely fit for purpose - that of pure and gentle entertainment.

Channel and Florilegium have produced a disc which would be a fine introduction to Telemann for newcomers, who might then pass on to more elaborate works such as his Water-music, 'Hamburger Ebb und Flut’.

Copyright © 2010 John Miller and HRAudio.net

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