Telemann - Complete Suites & Concertos for Recorder
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Label: Brilliant Classics
Cat No: 95248
Format: CD
Number of Discs: 1
Genre: Orchestral
Release Date: 20th May 2016
Contents
Works
Overture for Flute pastorelle, Strings and b.c. TWV55:Es2Recorder Concerto in C major, TWV51:C1
Recorder Concerto in F major, TWV51:F1
Suite in A minor for treble recorder, strings and basso continuo, TWV55:a2
Artists
Erik Bosgraaf (recorder & direction)Ensemble Cordevento
Works
Overture for Flute pastorelle, Strings and b.c. TWV55:Es2Recorder Concerto in C major, TWV51:C1
Recorder Concerto in F major, TWV51:F1
Suite in A minor for treble recorder, strings and basso continuo, TWV55:a2
Artists
Erik Bosgraaf (recorder & direction)Ensemble Cordevento
About
These suites and concertos may be less overtly virtuosic than works in the same genre which were beginning to appear around the same time over the other side of the Alps, but Telemann yields nothing to his Italian counterparts in terms of melodic freshness and fertility. The suites are styled in the French manner, as a series of courtly dances, though the A minor Suite features a grand and tragic ‘Air in the Italian style’ and concludes with a snappy Polonaise – one of Telemann’s favourite dance rhythms – reeling away like an inspired tavern fiddler.
Erik Bosgraaf’s discography on Brilliant Classics ranges from Vivaldi (BC94637 – now also available on LP) to Boulez (BC94842), not to mention two previous sets of Telemann – the solo fantasias (BC93757) and sonatas with basso continuo (BC95247) – as well as more rarely encountered delights by Jakob van Eyck (BC93391). These discs and others have garnered both popular attention and critical praise. Of Bosgraaf’s own, composer‐approved transcription of the Dialogue de l’ombre double by Boulez, Gramophone commented that ‘balance between recorders and electronics is ideally judged, giving this music an immediacy yet also intimacy beyond that of any other recorded option.’
Closer to the recorder’s natural home in music several centuries earlier, Julie Anne Sadie wrote in the same magazine about Bosgraaf’s ‘magical version of the ubiquitous Four Seasons. ‘A carefully researched and arrestingly translucent chamber interpretation… the rapport between solo and ripieno forces is simply fabulous.’
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