Telemann: Tafelmusik (Selections)

On this CD:

1. Overture for 2 oboes, strings & continuo in B flat major (Tafelmusik, Book 3, No. 1), TWV 55:B1
Composed by Georg Philipp Telemann
Performed by Cologne Musica Antiqua

2. Quartet for transverse flute, violin, cello & continuo in E minor (Tafelmusik Book 3, No 2), TWV 43:e2
Composed by Georg Philipp Telemann
Performed by Cologne Musica Antiqua

3. Concerto in F major (Tafelmusik Book 2 No. 3), TWV 53:F1
Composed by Georg Philipp Telemann
Performed by Cologne Musica Antiqua

4. Trio in E flat major
Composed by Georg Philipp Telemann
Performed by Cologne Musica Antiqua

5. Sonata for violin & continuo A major (Tafelmusik Book 2 No. 5), TWV41:A4
Composed by Georg Philipp Telemann
Performed by Cologne Musica Antiqua

6. Conclusion for 2 oboes, strings & continuo in B flat major (Tafelmusik, Book 3, No. 6), TWV 50:10
Composed by Georg Philipp Telemann
Performed by Cologne Musica Antiqua

Telemann: Tafelmusik (Selections), Music, Georg Philipp Telemann, Musica Antiqua Köln, Baroque Orchestral Music, Baroque Suite/Partita for Orchestra, Chamber, Classical, Classical Music, Concerto, Concerto for Three Solo Instruments, Mixed Chamber Ensemble with Keyboard, Opera / Operetta / Oratorio, Orchestral, Recorder Solo/Sonata, Trio Sonata, Violin with Keyboard

Telemann: Flute Concertos; Emmanuel Pahud
Average customer rating:

Telemann: Pleasurable Instrumentation - Modern Flute + Oboe D'Amore

Elegance and Charm, Not to Mention Beauty

Telemann Perfection

Pahud makes a strong case, with two debut recordings

Telemann: Flute Concertos; Emmanuel Pahud
Emmanuel Pahud , Rainer Kussmaul , and Berlin Baroque Soloists
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
General | Classical | Styles | Music
General | Chamber Music | Classical | Styles | Music
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Vivaldi: Flute Concertos

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Khachaturian & Ibert: Flute Concertos; Emmanuel Pahud

Bach: Flute Sonatas

ASIN: B00006L3S5
Release Date: 2003-01-07

Tracks:

Andante
Vivace
Adagio
Allegro
Largo
Allegro
Gratioso
Allegro
Lentement
[Ohne Satzbezeichnung]
Loure
[Rondeau]
Andante
Allegro
Siciliano
Vivace
Moderato
Allegro
Largo
Vivace

Amazon.com

This is a delightful record. Telemann, one of the most prolific composers of all time, wrote music that is technically masterful, endlessly inventive, full of surprises, emotionally mercurial, and continuously engaging. In these five concertos, composed over two decades, the solo flutist is often joined by one or more soloists from the ranks of the orchestra, who, as in Telemann's day, are all fully equal to the task. This results in a wide variety of combinations and colors, illustrating Telemann's skill in displaying each instrument at its best, so as to "give the player joy, the listener pleasure," as he himself put it.

These performances certainly radiate infectious enjoyment. The concertos all follow the traditional form, alternating four slow and fast movements, but are infinitely diverse in tonality, texture, mood, and character. There are carefree, sprightly, playful, elegant dances, humorous imitation games, brilliant passage-work and cadenzas, startling chromaticisms, and deeply expressive melodies that beguile the ear and touch the heart. The first movement of the opening Concerto is so reminiscent of a Bach Arioso that one of the two composers must have "borrowed" it from the other. The playing is superb in a modified period-style: the pitch is normal; the sound wonderfully pure, but rich and full; tempi are designed to invite both virtuosity and leisurely enjoyment of musical and expressive details. Pahud uses a narrow, restrained vibrato that underlines the flawless beauty of his tone. The other players, all like him present or past principals of the Berlin Philharmonic, match him in the perfection of their intonation, phrasing, and ensemble. --Edith Eisler

Customer Reviews:

Telemann: Pleasurable Instrumentation - Modern Flute + Oboe D'Amore .......2007-06-12

"Give every instrument what suits it best. The player will enjoy himself and you'll be pleased." (Telemann - quoted from liner notes)

A couple of years ago, I played this recording of these flute concertos so much that I feel I lived in this music. I took them everywhere with me and listened to them all the time for several months. They are very beautiful, lively and will definitely lift the listener's spirits. The three other reviewers, particuarly Matthew M. Yau, have written very good and complete reviews. My only addition is to particularly praise the combination of the flute and oboe d'amore in the Concerto in E (#13-16) and the Vivace (#16) in particular. It is unbelieveably beautiful! I am also extremely fond of the Concerto in D (#17-20) and the Andante of the Concerto in G (#1). The liner notes tell an interesting story of this movement's reconstruction/restoration.

Elegance and Charm, Not to Mention Beauty.......2006-06-13

I'll leave the musical analysis to others here, but this is one of the most charming and lovely flute recordings I've come across. Pahud has the right felicitous touch for this charming---there's no other word for it---music from the prolific G.P. Telemann. I've listened to it many times and never tire of it. Really. It's terrific.

Telemann Perfection.......2005-07-08

Every recording I've heard from the EMI catalogue featuring Pahud and whatever orchestra he's accompanying has been splendid. He must have a great sense about whom to team up with and when. I really have to hand it to him and to his agent. This recording is no exception. Sublime interchange between composer, orchestra and soloist! Maestro Vivaldi lives on mainly in the vaults of Venice churches, where you have to travel to to appreciate the true quality of his music...It truly reverberates only in those ancient, richly adorned tempples.

The CD builds, fresco by fresco.. Starting with the Adagio driven G Major Flute , then travelling rather quickly to the Vivace second movement. The entire CD tends to be a study in that sort of contrast, which is one of the reasons that no matter in what venue we are listening to Vivaldi, he always mangaes to keep us alert! He was one of the first composers to engage in that sort of dimminuendo,zzzzzzzzzzzz.
Quiet you down to the stage that you're ready to nod off and then set a fire cracker off near your right ear!

Maybe not that bad, but I think Beethoven got a lot of his ideas in contrasting modes from first Vivaldi, then Mozart. It's just my own little theory, and I'm definitely no music maven, so just chalk it up to UFO theory type conjecture.

Don't let any of that dissuade you from purchasing this CD, however. It's clear, distinct, exceptionally executed! I can't detect a flaw in the ointment! 5 stars, no debate!

BK

Pahud makes a strong case, with two debut recordings.......2004-05-26

TELEMANN: FLUTE CONCERTOS is a rarely beautifully compilation. The five concertos for flute chosen for this recording illustrates exactly what suits the instrument best and accentuates the instrument's beauty. Georg Philipp Telemann (1681-1767) not only wrote concertos for one flute or two, but also variously combined the flute with other concertante instruments, showing the virtuoso flute in a wide range of different roles.

The five pieces heard in this compilation were composed over a period of more than 20 years and fully demonstrate Telemann's engagement with the concerto genre. In each of the five works almost every member in the orchestras at Telemann's disposal was capable of taking solo parts. The beauty of sound springs forth from the combination with softer tone of instruments such as oboe d'amore, viola d'amore or violone, which enhance the flute's brilliance and crispness, while an often astonishing playfulness could develop in the high registers when Telemann introduced a second flute or a violin, as manifested obviously in the Concerto for Flute, Violin, Cello, Strings and Continuo in A from "Musique de Table I" (5-8).

Concerto for Flute, Strings and Continuo in G (1-4) is a first recording because the only manuscript copy of the parts was in an extremely poor condition that the piece was sadly considered unplayable (until 2000). The concerto was composed for oboe as well as for the transverse flute of the time. The andante movement is the most beautiful movement, so elegantly and stately executed. Pahud makes such a strong case for the first recording of this concerto.

Concerto for Flute, Violin, Cello, Strings and Continuo in A from "Musique de Table I" (5-8) is probably the most beautiful concerto in Musique de Table. The agility and swiftness of notes best suited the festive occasions for which Telemann composed in 1733. This might be the most well-known and most played piece out of this compilation. Even Handel himself performed some of the pieces and some of his own compositions (flute sonata and oboe sonata) show the inspiration of Telemann.

Concerto for Two Flutes, Violone, Strings and Continuo (9-12) is also a debut recording for the piece, with a deep, velvety tone of the violone that creates an impressive contrariety to the agility of the flutes, notably when the flutes and the violone play together in parallel for long stretches.

Concerto for Flute, Oboe d'amore, Viola d'amore, Strings and Continuo in E (13-16). The Largo in D minor forms a sharp contrast to the vivacious movements to Part 1 of Music de Table. In the Siciliano, the repeated theme and expression is achieved by repetition of three concertante instruments without the continuo.

Listen for the only concertos with a combination of flute and two other different solo instruments in the final piece of the compilation, Concerto for Flute, Strings and Continuo in D (17-20).

Overall high marks for the agility, flow, and swiftness of all the performances in this compilation.

Customer Reviews:

That's right! I stepped up!.......2007-03-13

I've been looking at this box set for a while now hoping that someone would buy it and review it. I've seen these sets sell for over $100, so I thought this one would be a dud at only $11.99. And with no samples, I just about wrote it off. But finally I took a chance.

I'm here to tell ya that if you like this music, don't hesitate to buy this box set. It has great sound, performances, and liner notes. Don't let the price fool you. I would have paid this price for the first cd alone. I don't know how these cds are selling at this price, but I won't argue.

I hope this opens the flood gates!

Average customer rating:

Pieces of Pieces--4.5 stars
A great baroque album by one of the masters of baroque composition
A Great Introduction at a Great Price
Delightful Baroque Variety

The Best of Telemann

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004TQOX
Release Date: 2000-07-18

Tracks:

Recorder Ste in a: Ov - Jiri Stivin/Capella Istropolitana/Richard Edlinger
Recorder Ste in a: Les Plaisirs - Jiri Stivin/Capella Istropolitana/Richard Edlinger
Recorder Ste in a: Air A L'Italienne - Jiri Stivin/Capella Istropolitana/Richard Edlinger
Recorder Ste in a: Rejouissance - Jiri Stivin/Capella Istropolitana/Richard Edlinger
Va Con in G: Largo - Ladislav Kyselak/Capella Istropolitana/Richard Edlinger
Va Con in G: Allegro - Ladislav Kyselak/Capella Istropolitana/Richard Edlinger
Tafelmusik I: Qt in G: Vivace - Moderato - Vivace - Orch Of The Golden Age
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Ov in C, 'Darmstadt': Sommeille - Cologne CO/Helmut Muller-Bruhl
Ov in C, 'Darmstadt': Rondeau - Cologne CO/Helmut Muller-Bruhl
Son No.5 in b, Op.2: Largo - American Baroque
Son No.5 in b, Op.2: Vivace - American Baroque
Ov in D, 'Darmstadt': Harlequinade - Cologne CO/Helmut Muller-Bruhl
Tpt Con in D: Adagio - Niklas Eklund/Drottningholm Baroque Ens/Nils-Erik Sparf
Tpt Con in D: Allegro - Niklas Eklund/Drottningholm Baroque Ens/Nils-Erik Sparf
Tpt Con in D: Grave - Niklas Eklund/Drottningholm Baroque Ens/Nils-Erik Sparf
Tpt Con in D: Allegro - Niklas Eklund/Drottningholm Baroque Ens/Nils-Erik Sparf
Ste La Changeante: Menuet I/Menuet II - Northern CO/Nicholas Ward
Ste La Changeante: La Plaisanterie - Northern CO/Nicholas Ward
Ste La Changeante: Hornpipe - Northern CO/Nicholas Ward
Ste La Changeante: Avec Douceur - Northern CO/Nicholas Ward
Ste La Changeante: Canarie - Northern CO/Nicholas Ward
Tafelmusik II: Conclusio in D - Orch Of The Golden Age

Customer Reviews:

Pieces of Pieces--4.5 stars.......2007-06-05

According to Keith Anderson's CD insert (in English, French, & Spanish), "Georg Philipp Telemann [1681-1767] was among the most distinguished composers of his time." He was a friend of Bach's & was Bach's 2nd son's godfather. This CD contains many of Telemann's best & most famous works. I have other versions on CD's, esp. the Suite in A-moll (minor), Viola Concerto in G major, Trumpet Concerto in D major, & table music. For more of the latter--there's a 2 CD set "Dinner Music" B0001XBBPO Georg Philipp Telemann; Dinner Music Vol. 1 & 2 with Concertos by Johann Hummel & Franz Richter and "Musique de table" by Essential Classics/Sony. This CD is a generous 71:07 in 23 tracks/movements. It's strength is in its selection & variety. This, however, is also its weakness--many selections are pieces of pieces--not the entire composition. Thus, they appear shorter than other versions--mostly due to this excerpting. Similarly & simultaneously plus & minus, except for 2 by the Cologne Chamber Orchestra, the pieces are performed by different orchestras. Thus, I'd say this CD is a fine introduction to Telemann, but suggest further exploration to comprehend the fullness of his compositions. Still, I would give this a 5 star except for one thing. The lead-in piece, arguably Telemann's most famous, the A-moll is simply IMHO played too fast. It lacks the majesty shown in other renditions of this piece. Not a good way to start.

Also, I'd recommend: Telemann: Viola Concerto; Don Quichotte; Hamburger Ebb und Flut /ASMF * Marriner and The Sensuous Baroque

A great baroque album by one of the masters of baroque composition.......2007-03-04

George Philipp Telemann is a great introduction in to the world of baroque music. This album was the very first classical album that I bought (about 10 years ago) and I have found my love for baroque and classical music to increase exponentially ever since.
This album shows the true beauty of baroque by using instruments to their fullest potential. The baroque period was one of growth in knowledge of the arts and music theory played a large part in that knowledge.
Telemann, in my opinion, was one of the greatest baroque artists. I know that works such as Vivaldi's "The Four Seasons" and Handel's "Messiah" were the defining works of baroque, but Telemann used the smaller and more intimate groupings like chamber music. Even his orchestations were minimalized so as to accentuate the instrument on which he chose to focus.
Telemann was a master of the baroque age, if somewhat unsung, and I would recommend any of his albums, but this one has a special place for me as it was the first classical album that I bought in a now excessively large classical library.

A Great Introduction at a Great Price.......2004-12-06

I had heard some of Telemann's work on interent classical stations and wanted to learn more. This is a great introduction to a great composer at a great price. I found the quality satisfactory and my stereo is fairly advanced. The music flows nicely, which is not always the case with "best of" compilations. This will become a core part of my classical collection.

Delightful Baroque Variety.......2003-12-23

Here for baroque lovers or those interested in exploring one of its most prominent composers is a collection of some of the very best of Telemann.

What an enormous output this great German composer put out! From church music to chamber music, Telemann uses all the styles of his era, from Italian to French to German, he does them all execeptionally well with his own style of clarity and fluidity.

The Viola Concerto is absolutely gorgeous, and it's a shame that this resonant, sensuous instrument doesn't not have a wider repertoire. Kyselak is marvelous in his phrasing and expressiveness.

The Recorder Concerto by Stivin is just delightful and exemplary of the fine liltiness of baroque. The Quartet in G Major from Tafelmusik I is admirably performed by the Orchestra of the Golden Age with passion and sensitivity.

The Overture in D and C Major, Darmstadt, is just exquisite. This is exciting music with great swellings and undertonings throughout.

I thoroughly enjoy baroque and this collection with its varying instrumental groupings highlighted and the variety of styles and genres is truly stimulating and relaxing to listen to. For the price, this is just an outstanding find.

Customer Reviews:

A WORTHY TRIBUTE TO A GREAT ARTIST.......2007-05-07

ISAAC STERN WILL ALWAYS BE UNIQUE AS HE HAD A TONE AND TECHNIQUE WITH THE VIOLIN THAT DEFIES DESCRIPTION. ON THIS RECORDING LISTEN TO THE RONDO FROM BEETHOVEN'S VIOLIN CONCERTO OP 61 - IT IS SIMPLY SPINE TINGLING. ANOTHER EXAMPLE WOULD BE FRITZ KREISLER'S LIEBESLEID HOWEVER TO MY ESTIMATION THE FIRST CD RELEASE OF BEETHOVEN'S VIOLIN SONATA OP 30 NO 2 - 'ALLEGRO CON BRIO' HAS TO BE HEARD BY ANY LOVER OF THE VIOLIN AND IS IN MY OPINION ONE OF THIS GREAT ARTIST'S FINEST RECORDING - BUY THE CD JUST FOR THIS ALONE. EVERYTHING ELSE IS SUPERB SO DON'T HESITATE TO ADD THIS CD IN YOUR COLLECTION.

Good for beginners.......2003-03-01

I am a newbie to classical music. I love this CD. I realize that it doesn't do justice to many works due to the fact that only one track is played from each work, but to people like me, this is a good starting point. From here, I now know of areas of Isaac Stern's body of work that I want to delve into. I also have a better idea of which composers I want to take a closer look at. In my opinion, for a person just starting out in classical music, this is a good "sampler" of classical violin music. It's probably not something for a serious collector due to the fact that it is a collection of previously released works. I would consider it in league with a "greatest hits" album from a rock band. It's not for serious listeners, but it's a good starting point for beginners. This is a good starting point.

A tribute to the artist.......1999-10-20

Of course the playing is magnificent, absolute magic. But does this CD serve any purpose? Very few serious collections are without some Stern offerings in which he plays the COMPLETE WORK. I emphasize those words to get to a complaint I always have with programs that consist of parts of longer works that make little musical sense detached from the context for which they were intended.

The Dvorak "Humoresque," for example, stands up very nicely as a single work; while the first movement of the Beethoven Piano Trio Op. 70 makes you anticipate the wonderful second movement which never comes. And so on and so on. So one will not purchase this for the music but for the artist.

Tracks:

Viola Concerto In G: 1: Largo
Viola Concerto In G: 2: Allegro
Viola Concerto In G: 3: Andante
Viola Concerto In G: 4: Presto
Recorder Suite In A Minor: 1: Overture
Recorder Suite In A Minor: 2: Les plaisirs
Recorder Suite In A Minor: 3: Air a Italienne
Recorder Suite In A Minor: 4: Menuet I
Recorder Suite In A Minor: 5: Menuet II
Recorder Suite In A Minor: 6: Ruissance
Recorder Suite In A Minor: 7: Passepied I & II
Recorder Suite In A Minor: 8: Polonaise
Concerto In F For 3 Violins (From Tafelmusik): 1: Allegro
Concerto In F For 3 Violins (From Tafelmusik: 2: Largo
Concerto In F For 3 Violins (From Tafelmusik: 3: Vivace
Concerto For 2 Horns (From Tafelmusik): 1: Maestoso
Concerto For 2 Horns (From Tafelmusik): 2: Allegro
Concerto For 2 Horns (From Tafelmusik): 3: Grave
4: Vivace

Customer Reviews:

A very skilled recorder recording!.......2005-04-30

Dude, I can't agree with the negative reviews for this recording. The recorder suite doesn't sound choppy or pale. Plus, that claim about "relabling movements" was a complete lie. You can tell yourself just by looking at the cover and track list on the website here. I thought that the recorder and orchestra really blend together very well, authentically and harmonically. Consider the fact that I've been in love with Teleman's recorder music for a very long time. For a long time I've wanted to get a good recording in which the recorder was played with the great skill and technique that both Teleman and I the listener expected. This recording had everything that I wanted and I enjoyed every bit of it. I got this recording for the reocrder suite, but I also enjoyed every bit of the viola and horn concertos. The viola and horn concertos also blend the orchestra and solos with clearly defined skill, creating a beautiful harmonic and melodic sound. It sounds like heaven to me. Are there better recordings than this one? Maybe there are, but that doesn't mean that this recording isn't good at all. Take it from a twenty one year old classical music fan who knows how to enjoy music rather than critique every little thing like those old people do. To me this is a very very good recording of some great baroque music that sounds just as great and beautiful as baroque music is and always was.

Pleasant enough but with shortcomings.......2004-11-09

Although this is a rather pleasant disc to listen to, it does have some shortcomings, especially if you really want to hear what Telemann wrote. The Viola Concerto in G Major is quite nicely done, it is true, but a comparison with the 1968 recording by Paul Doctor and Concerto Amsterdam directed by Frans Brüggen makes it plain that the viola can be played more movingly and that the use of historical instruments makes Telemann sound so much better, although this could also be a result of Warner's better recorded sound (despite the age of the recording). The A minor Suite for Recorder is, on the Naxos disc, almost a solo performance, with the Capella Istropolitana rather pale and standing well behind the soloist Jiri Stivin. The repeat of the overture as a 'Lento' at the end of the concerto is a nice idea but does not seem in any way to be authentic. Here, too, I preferred Frans Brüggen's 1962 recording, now re-released on Warner's budget label Apex, especially as Brüggen's recorder sounds much more brilliant. Brüggen's tempi are quite slow, but the recording (with the Südwestdeutsche Kammerorchester directed by Friedrich Tilegant) has a charm of its own that was not even matched by Brüggen's later recording with Nikolaus Harnoncourt's Concentus Musicus.

The two other pieces on the Naxos disc are taken from Telemann's Banquet Music (Tafelmusik) and have been recorded so often and so well on period instruments that I would recommend turning to these versions, e. g. by the Camerata of the 18th Century (Dabringhaus und Grimm) or by Musica Antiqua Cologne (Deutsche Grammophon).

One to avoid.......2003-08-12

Ah, well, these Naxos CD's are always hit or miss affairs and this one is an almost certain 'miss'. The Viola Concerto, I must say, is a very good imterpretation, very well executed with Mr Kyselak's viola producing a warm, gentle sound. However, on the Recorder Suite, this recording falls apart. Mr Stivin's playing is rushed and sloppy and to top it off, they replay part of the overture as an 'eighth movement' (the labelling of the movements on the cover is also incorrect). I don't know what this is supposed to prove, although I have a suspicion that the producer was trying to be clever. The Concerto for 3 violins is sloppy as well, with the soloists often not playing together (maybe they recorded in seperate takes!) I had never heard the Concerto for 2 horns. It sounds very nice, up to the standard of the Viola Concerto but as Naxos seem to have a habit of either adding or removing parts of movements with complete disregard for the score (I have noticed this on many other Naxos recordings as well), I will leave it at that.

Wonderful music, great interpretation.......2002-02-14

As always, Telemann shows that imaginative, yet simple style that appeals to wide audiences somewhere between the complex and polyphonically orientated Bach, and the grandeur and pomp of Handel. At times he shows both, and this delightful recording conveys effectively that all-round mastery that led to the high esteem he was held in as the foremost composer of Germany in his day.

The performers on the CD have given us a stately interpretation with a down-to-earth quality, true to the composer and the music. There are no complaints on my part with this CD, which has ultimately provided a most enjoyable listening experience.

Leaves me cold.......2000-01-27

What is wrong with this recording? I'm not sure. The viola soloist is lovely, the violin soloists are also fine. So are the horns and the recorders. Why don't I love this recording? I think it has to do with a pedestrian approach.

The viola concerto is the best thing on this disc. It is engaging Telemann, and is well-performed for the most part. The orchestra accompaniment is pretty vanilla, however. A lack of clarity in the orchestra also hinders some of the joy of the Concerto for 3 violins.

Tracks:

Largo - Jozef Cejka
Largo - Ladislav Kyselak
Largo - Daniela Ruso
Largo - Hae-won Chang
Largo, E Piano - Capella Istropolitana
Largo E Mesto - Jozsef Kiss
Largo - Daniela Ruso
Largo Ma Non Tanto - Takako Nishizaki
Largo (E Cantabile) - Budapest Strings
Largo - Capella Istropolitana
Largo - Capella Istropolitana
Largo - Daniela Ruso
Largo - Jiri Stivin
Largo - Capella Istropolitana
Largo - Dagoberto Linhares
Sarabande (Largo) - Capella Istropolitana
Largo - Jindrich Pazdera
Largo - Capella Istropolitana
Largo - Gabriela Krckova
Winter (Largo) - Takako Nishizaki

Customer Reviews:

The best of quiet baroque.......2001-09-18

"Hey, where are Pachebel's Cannon and Bach's Air?"

They're not "Largo" movements and when Naxos says "Largo" they mean it, delivering 20 "Largo" movements (75 minutes) from the Baroque era. And while those two famous works are missing there is more than enough familiar and delightful music compiled here to make for a wonderful sampler. Casual classical fans will immediately recognize Handel's Largo from "Serse" as well as the movements from Vivaldi's Guitar Concerto, Flautino Concerto, and "Winter" from the Four Seasons. Other delights include movements from Bach's Piano Concerto in F Minor (played on a piano, rather than the harpsicord you would expect, to great effect) and Double Concerto in D Minor.

The performances and quality of the recordings from which these selections have been compiled are all first rate. If you enjoy relaxing to baroque then this disc is for you.

Very Lovely, Very Relaxing.......1999-05-22

I'm not sophisticated when it comes to classical music, but I really like this CD. With just the slow bits there isn't anything to intrude harshly on your conciousness, but there is plenty of complexity and soulfull beauty to enjoy when you want to pay attention.

Largo:Two Thumbs, Toes, and Heads up.......1998-11-24

Well, largo is a well rounded tune. I especialy like when they change key signatures. How do I know they do this: We're playing ths in band. It sounds good, a good sond to crank up on a rany day. Just don't turn tha base up too much.

Average customer rating:

Super Artists on Super Audio

Manufacturer: Channel Classics Nl
ProductGroup: Music
Binding: Audio CD

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Telemann: Concerto in D; La Bouffonne; Grillen-Symphonie; Alster Ouverture /Collegium Musicum 90 * Standage
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ASIN: B000000A62
Release Date: 1995-07-18

Tracks:

Concerto B-Flat major 3 oboes,3violins & continuo
Concerto B-Flat major 3 oboes,3violins & continuo
Concerto B-Flat major 3 oboes,3violins & continuo
Concerto A-major flute,violin,cello& strings (tablemusic I)
Concerto A-major flute,violin,cello& strings (tablemusic I)
Concerto A-major flute,violin,cello& strings (tablemusic I)
Concerto A-major flute,violin,cello& strings (tablemusic I)
Concerto F-major 3violins & strings (tablemusic II)
Concerto F-major 3violins & strings (tablemusic II)
Concerto F-major 3violins & strings (tablemusic II)
Concerto E-major flute,oboe d'amore,viola d'amore & strings
Concerto E-major flute,oboe d'amore,viola d'amore & strings
Concerto E-major flute,oboe d'amore,viola d'amore & strings
Concerto E-major flute,oboe d'amore,viola d'amore & strings

Customer Reviews:

Good sound.......2003-03-17

I'm generally not a big fan of Telemann, however all 4 pieces on this recording are pleasing and interesting. The performance by of the Collegium Musicum 90 is excellent; and although the playing style is mainstream, it is never bland thanks in part to articulate playing from the soloists. The recorded sound is just right (not in your face) and instruments seem naturally balanced (not extensively manipulated).

Dorothea Röschmann - Handel Deutsche Arien (German Arias)

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A Recording of Lesser Known But Exquisite Handel Arias
ALLES JAUCHZET
Joyous, Contemplative Music -- Earthy, Spiritual Singing
Pick up the pace, this is joyful music!
Ravishing young soprano

Dorothea Röschmann - Handel Deutsche Arien (German Arias)
George Frideric Handel , Georg Philipp Telemann , Dorothea Röschmann , and Akademie für Alte Musik Berlin
Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004RBWX
Release Date: 2000-03-14

Amazon.com

George Frideric Handel and Hamburg town councillor and poet Barthold Heinrich Brockes were students at the same time in Halle, and it's probable that they knew each other and were perhaps even friends. Brockes wrote a nine-volume anthology, from the first volume of which Handel, between 1724 and 1727, set his Nine German Arias. In translation, the Brockes work is titled "Earthly Delight in God, Consisting of Physical and Moral Poems," the texts reflecting pleasure in the glory of God's natural creation. Handel had been writing opera in England since 1710; the reason behind the composition of these arias, his last works in German, and which were unpublished in his lifetime, remains unknown. Nevertheless, this is ravishingly beautiful music, impeccably crafted and here performed with exquisitely balanced and open textures by the award-winning Akademie für Alte Musik Berlin. Dorothea Röschmann is a wonderfully warm soprano, ideally suited to the generous spirit of this repertoire. She has previously recorded Handel's Messiah, Bach's Christmas Oratorio, and Telemann's Orpheus; Telemann's E minor and G major quartets from his 1733 collection of "Table Music" make delightful instrumental interludes in this vibrant, eloquent, and utterly captivating program. --Gary S. Dalkin

Customer Reviews:

A Recording of Lesser Known But Exquisite Handel Arias.......2005-08-06

The various arias by George Frideric Handel and Georg Philipp Telemann gathered on this recording are less well known works by these great composers and as such they provide a fresh addition to the catalogue. Written for voice and continuo with occasional added flute, oboe, violin and cello, these nine arias by Handel were written between 1724 and 1727, well after Handel had established himself as a successful opera composer. They are elegant and eloquent: his consideration for the voice is ever present. The Telemann works are two of his quartets for voice and instruments and are better known than the Handel arias.

Dorothea Röschmann is a fine musician, far better known in Europe than in this country (a bit distressing!). She has a number of very fine recordings of oratorios and operas in the catalogue, each of which displays the broad spectrum of her talent. While the voice is not exuberantly exciting, Röschmann's musicality and intelligence is superb. Her voice is warm and flexible and she performs these baroque works with much style. Well worth adding to the collections of fine baroque recordings. Grady Harp, August 05

ALLES JAUCHZET.......2004-08-01

`Everything rejoices'. The poems of Handel's 9 German arias rejoice in God's creation as manifested in the beauty of nature. They are the work of Barthold Heinrich Brockes, a fellow-student with Handel at university with whom he seems to have stayed on friendly terms. Handel's arias are not early works, they date from the height of his English period and are not known or believed to have been written to any commission or for any specific occasion. They do not seem to have been composed as a set. In style they come as close to Bach as anything I know by Handel, although I don't mean by that that they sound like Bach. You would not easily mistake their authorship, but what they show is the `absolute' musician in Handel rather than the musical dramatist or rhetorician. The voice is accompanied in each song by a single solo instrument, mostly violin but varied on this disc with flute and oboe, and by a standard continuo, and they are simply exquisite. They are not miniatures either - the shortest, In den angenehmen Buschen, has no middle section and takes four and a half minutes or thereabouts, the longest, Suesser Blumen, takes nearly eight and a half - in other words they are the length of representative movements from the Beethoven sonatas. Where they resemble neither Bach nor Beethoven nor anyone else in musical history is in Handel's incomparable feel for the voice and his unequalled instinct for how words go to music.

Dorothea Roeschmann is a new artist to me, and an acquaintance I'm pleased to make. These days the standard of work we are offered by the various early-music groups is so high and so consistent that nothing less than excellence will do, and we are offered nothing less than excellence here, by Roeschmann, by the Berlin Akademie and indeed by Harmonia Mundi. The disc is also excellent value, containing as it does nearly 80 minutes of music. What they have all done is to make a concert of it rather than just a recording of 9 arias. The order of the arias is rearranged, which surely ought to bother nobody as they were not conceived as a set in the first place. After the fifth and ninth arias there is a `quatuor' for flute, oboe, violin and continuo by Telemann. These are in the standard four short movements with slow and fast alternating that one finds in the trio sonatas of Handel himself and other contemporaries. They are thoroughly enjoyable and offset the work of the greater master very effectively. The liner note accompanying the texts of the arias is by Roman Hinke with English and French translations at all points. It is really quite useful and informative, but I am still getting over the hearty Teutonic similitude comparing the Telemann works to `the culturally enriching equivalent of the swirl of whipped cream topping the pigeon pie with champagne truffles', which reads even better in German as `das schoengeistige Sahnehaeubchen zu Taubenpastete mit Champagnertrueffeln'. Hard to argue with that really, indeed in my own town we eat little else.

Joyous, Contemplative Music -- Earthy, Spiritual Singing.......2002-06-24

I cannot recommend this recording highly enough. All elements are in delightful harmony. With recordings of the Neun Deutsche Arien from two of my favorite singers, Arleen Augér and Emma Kirkby, this performance still came as a revelation. The strength of the ensemble deserves much credit, but it's the rich individuality of Ms. Röschmann's voice that is the recording's distinct and defining merit. A mezzo's cushiness, an alto's huskiness, with the soprano's reach-all lending the pieces an essential blend of the earthy and the spiritual. Her technique is quite unusual and interesting, and wholly convincing here, although an approach I hope she doesn't take indiscriminately elsewhere. She possesses melting legato, estimable breath control, delicious and judicious vibrato. Her way with the coloratura is surefooted ... yet somewhat throaty and with a somewhat unrefined feel, giving the music an appeal that is direct, simple, even humble rather than ornate. The flung leaps and offhand passage work might not work with an older voice or less attractive timbre, but here they seem to flow from the mood and the melody, truly enhancing the character of the music. (René Jacobs, the middling countertenor who has evolved over the last 15 years into one of the world's most accomplished early-music conductors, above all in Monteverdi, is credited with the ornamentation.)The pieces are an oddity even in Haendel's varied output. The texts are idyllic pictures of pantheistic contentment. These are couched in durable melodies, following the model of the da capo aria (ABA), but with the contrasting middle section here offering very little by way of contrast-certainly not in tempo or mood, though they can be less overtly melodic, almost parenthetical. (Omission of woodwind from the B section in a couple of instances is the only significant formal nod to this convention.) The instrumentation is for strings and harpsichord or organ, with woodwind in some pieces-flute, oboe, or bassoon, never more than one in any aria. It's a rather foursquare arrangement, but with some unusual harmonies expertly slipped in.The ensemble here is very accomplished: subtle and supple violin, expressive lower strings, appropriately recessed continuo, lilting winds. The violin work has an improvised effect, such is its sweetness of tone, fluidity in tempo, flexibility in rubato, sensitivity in ornamentation. The lower strings (including a viole d'amour that seems sometimes to be strummed) have less opportunity to shine, but are consistent and beautiful and never prone to tiring sameness; I did love the amusing digs of the bass in the seventh aria (presented second here) at the line "Die ihr aus dunklen Grüften" ("Ye that from dark pits"). These arias, with their spirituality residing securely in baroque formality, are very Bachian in nature and ability to satisfy.The virtues of the instrumental ensemble fully justify entrusting them with the "filler" items on the disc, two quartets by Telemann. (Note that the fourth part of the quartet is basso continue, which if my ears don't deceive can be taken by bass, harpsichord, or both.) The E minor quartet for flute, violin, cello, and continuo is fairly moody. The G major for flute, oboe, violin, and bass is more extrovert, with greater contrasts between sections: for example, the expansive second movement starts out briskly, but leads to an elegiac middle section with stirrings of the abandoned briskness before the restatement. The third movement, Largo, is transitory and not developed at all, leading into the jubilant finale with vigorously strummed strings that has an appropriate valedictory atmosphere.This recording is a wonderful treasure and was one of my very favorites of 2001. I look forward to hearing Ms. Röschmann in Lieder, where her gifts must certainly lead her.

Pick up the pace, this is joyful music!.......2000-09-05

After the high praise for this disk I was disappointed. Roeschmann has a clear but rich voice and sings beautifully. The German arias themselves are absolutely gorgeous. However, the Academie take most of the pieces at such a slow pace that I could not really enjoy the music. These are songs in praise of the wonder of the natural world and I think they should be sung joyfully, but most on the new disc are taken at a funereal pace. I much prefer the version Emma Kirkby did on EMI with the Parley of Instruments, unfortunately out of print now. Vocally she may not be quite as fluid as Roeschmann but her faster tempi (3 minutes shorter in the first song) are much more charming. The use of oboe on flute on the new version is a nice touch, though.

Ravishing young soprano.......2000-07-22

Some of you may remember Handel's Deutsche Arien from an old 1960's DG recording with Gundula Janowitz. Surprisingly, few if any other sopranos have recorded these gorgeous songs since then (a not very tempting recording with Catherina Lingendza came in between). So we must congratulate HM and Dorothea Roschmann for this marvelous release. These contemplative songs (no baroque bravura here) need a Lieder singer, and Dorothea Roschmann is admirable and delightful, not unlike a young Irmgaard Seefried. The solo group and the recorded sound are excellent, so this is one of the best recitals of the year, next to Sara Mingardo's Vivaldi disc in OPUS111.

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The Classical Child Dreams

Manufacturer: Classical Child
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000AF6R
Release Date: 2002-08-01

Tracks:

Eine Kleine Nachtmusik
Bouree
Moments Musicaux
Clair De Lune
Three-Part Invention No. 2
Divert (Sonatina)
Fant On 'The Last Rose Of Summer
Son No. 5 In A
Son No. 4 In C
Moonlight Son
Nutcracker Ste (Ov)
Blue Danube Waltz
Eine Klein Nachtmusik (Finale)

Album Description

THE CLASSICAL CHILD DREAMS features specially-selected classics with light evening themes. It's never been so easy to lullaby your child to sleep. Whether it's naptime or night time, the gentle and dreamy sounds of Clair de Lune, Moonlight Sonata, The Blue Danube Waltz and other selections will transport your child on a nighttime adventure of the gentlest kind...Come enjoy 'a little night music' with your little night child, and discover how The Clasical Child Dreams can create blissful rest times.

ENTERTAINMENT MAGAZINE "It's a charming effect, ideally suited to downsizing Bach and Beethoven for young ears..Parents will appreciate the smart arrangements and their ability to woo kids to classical melodies."

MOTHERING MAGAZINE "..Each piece is a lovely classic that you will be humming"

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