musica Dei donum
CD reviews
Georg Philipp TELEMANN (1681 - 1767): Trios & quartets
[I] "Trios & Quatuors avec viole de gambe"
La Rêveuse
rec: Sept 2013, Sancerre, Église Saint-Pierre
Mirare - MIR 267 (© 2014) (61'38")
Liner-notes: E/D/F
Cover, track-list & booklet
Quartet for transverse flute, violin, viola da gamba and bc in e minor (TWV 43,e4) (modéré) [3];
Sonata for transverse flute, violin, viola da gamba and bc in g minor (TWV 43,g1) [2];
Sonata for transverse flute, viola da gamba and bc in a minor (TWV 42,a7);
Sonata for transverse flute, 2 viole da gamba and bc in G (TWV 43,G12);
Sonata for viola da gamba, harpsichord and bc in G (TWV 42,G6) [4];
Trio for violin, viola da gamba and bc in g minor (TWV 42,g1) [1]
Serge Saitta, transverse flute;
Stéphan Dudermel, violin;
Florence Bolton, Emily Audouin, viola da gamba;
Benjamin Perrot, theorbo;
Carsten Lohff, harpsichord
[II] "Quatuors Parisiens"
Les Ombres
rec: Sept 19 - 23, 2013, Nuglar-St. Pantaleon (CH), church
Mirare - MIR 255 (© 2014) (55'50")
Liner-notes: E/D/F
Cover, track-list & booklet
Concerto for transverse flute, violin, viola da gamba and bc in G (TWV 43,G1) [2];
Quartet for transverse flute, violin, viola da gamba and bc in e minor (TWV 43,e4) [3];
Sonata for transverse flute, violin, viola da gamba and bc in g minor (TWV 43,g1) [2];
Sonata for transverse flute, violin, viola da gamba and bc in A (TWV 43,A1) [2]
Sylvain Sartre, transverse flute;
Varoujan Doneyan, violin;
Margaux Blanchard, viola da gamba;
Jonathan Pesek, cello;
Nadja Lesaulnier, harpsichord
[III] "Trios & Quartets"
Bassorilievi
rec: April 26 - 29, 2014, Calenzano, Oratorio della Compagnia del Santissimo Sacramento
deutsche harmonia mundi - 88875069922 (© 2015) (76'59")
Liner-notes: E/D/F
Cover & track-list
Concerto for transverse flute, viola da gamba, bassoon and bc in C (TWV 43,C2);
Concerto for transverse flute, viola da gamba, bassoon and bc in b minor (TWV 43,h3);
Sonata for transverse flute, viola da gamba and bc in c minor (TWV 42,c6);
Sonata for transverse flute, viola da gamba and bc in F (TWV 42,F5);
Sonata for transverse flute, viola da gamba and bc in g minor (TWV 42,g7);
Sonata for transverse flute, viola da gamba and bc in g minor (TWV 42,g15);
Sonata for transverse flute, viola da gamba and bc in a (TWV 42,a7);
Sonata for transverse flute, viola da gamba and bc in b minor (TWV 42,h4) [4]
Elisa Cozzini, transverse flute;
Francesco Tomei, viola da gamba;
Viola Mattioni, cello;
Umberto Codecà, bassoon;
Alessandro Giachi, violone;
Giovanni Bellini, theorbo;
Federica Bianchi, harpsichord
Sources:
[1] Sechs Trios, 1718;
[2] Quadri, 1730;
[3] Nouveaux quatuors en six suites, 1738;
[4] Essercizii Musici, 1740
Scores
Georg Philipp Telemann was the most admired composer of his time in Germany. He was also the most productive and most versatile who contributed to any genre, in every form and for all the instruments in vogue. Chamber music ensembles can find much material for concerts and recordings. He wrote about 150 pieces for two instruments and around 60 for three instruments and basso continuo. It is assumed that this is only a part of his production. A considerable number of his works were in the private collection of his brother-in-law Michael Böhm, who for many years was the flautist at the court in Darmstadt. Unfortunately his collection has been completely lost.
These three discs have in common that they include pieces with a solo part for the viola da gamba. In the case of the ensemble La Rêveuse that was the focus of the programme. Bassorilievi looked for compositions in which the gamba is joined by the transverse flute. Les Ombres selected some of the best-known pieces of this kind, from two collections generally known as 'Paris Quartets'; these include a third solo part for the violin. The fact that only two pieces appear on two discs tells us something about the frequency with which Telemann used the flute and the viol in one piece. That is notable as they represent two different eras in music history. The viola da gamba was one of the preferred instruments of the 17th century in Germany and was in the process of being overshadowed by the cello in Telemann's days. Whereas the gamba represented the past, the transverse flute pointed to the future. It was to become the most fashionable instrument from the 1720 onwards, especially among amateurs. This explains the increasing number of chamber music compositions with a solo part for the flute. In his sonatas for transverse flute and viola da gamba Telemann links past and future. In the booklet to Bassorilievi's disc we find an interesting observation in regard to the combination of these two instruments. Among Telemann's preferred affects were what can be called dolce and cantabile, and the transverse flute and viola da gamba are perfectly able to produce those affects, as they are "inclined to melancholy". This is confirmed by the characterisations of these instruments by Johann Joachim Quantz and Johann Mattheson respectively. It is also pointed out that Telemann seems to have preferred minor keys in music for this combination of instruments.
Various pieces in Telemann's oeuvre often appear with different titles on disc and in concert programmes. What is called sonata on one disc is given the title of trio or quartet on another. The Sonata in b minor (TWV 42,h4) is called as such in the copy by Christoph Graupner which has been preserved in the library of the Darmstadt court but is entitled trio in a modern edition of the Essercizii Musici. What title Telemann has given this piece is unknown as most of his works have been preserved in copies by Graupner or Johann Samuel Endler, respectively Kapellmeister and vice-Kapellmeister in Darmstadt. It doesn't really matter how they are called because those titles tell us little or nothing about their form. We see the same in Vivaldi's oeuvre: some concertos for three instruments and basso continuo are also called sonatas. The reference to Vivaldi is relevant here, because some pieces are not very different in structure from the concerti da camera by the master from Venice. That goes especially for the two concertos for transverse flute, viola da gamba, bassoon and bc which Bassorilievi included in its programme. The Sonata in G (TWV 43,G12) (La Rêveuse) falls into the same category. It has three solo parts: transverse flute and two viole da gamba, but the former plays the main part, and the viols are largely confined to an accompanying role, comparable to that of two violins in a concerto da camera.
These chamber works include traits of the various styles which Telemann became acquainted with during his career. He undoubtedly had a strong preference for the French style which comes especially to the fore in the 'Paris Quartets': the Quadri of 1730 and the Nouveaux quatuors en six suites of 1738. However, he always mixed the French taste with Italian elements and influences from Polish and Bohemian traditional music. All these influences were embedded in the German tradition in which counterpoint was an essential element. The latter is clearly present in the compositions from the early stages in his career but fades more into the background in many later compositions. These three discs impressively show the versatility in Telemann's oeuvre in his use of various compositional forms and the realization of the ideal of goûts réünis. This was noticed by his contemporaries. Johann Joachim Quantz stated that Telemann's quartets - "the true touchstone of the contrapuntist's art" - were "excellent models for anyone wishing to practice this musical genre".
Today we are in the happy circumstance that we can enjoy fine recordings of these "excellent models". Discs like those reviewed here attest to the growing reputation of a master who once was not taken really seriously, especially because of the size of his output. It is now recognized that he didn't only compose relatively easy stuff for amateurs. Especially the music with parts for the viola da gamba seems technically too demanding to be intended for non-professional players. This probably explains that most of the pieces played here were never printed.
The three ensembles deliver very fine performances. Obviously there are some differences but these are not essential. A comparison has also little significance as there are only a few duplications. One of them is the Sonata in g minor (TWV 43,g1): Les Ombres plays the opening andante considerably faster than La Rêveuse (2'25" vs 3'13") and that seems quite right; an andante is certainly not a slow tempo. The closing movement is also a little more lively and slightly faster in the former's interpretation. Considering the general level of the performances this difference doesn't really matter.
There is an issue in the recording of Bassorilieva which needs mentioning, and that is the treatment of the basso continuo. The liner-notes tell us that German basso continuo realisations show a "fullness" which has inspired the ensemble to a larger line-up of the basso continuo sections in some sonatas. Assuming that the observations are correct I am not sure that the use of more instruments is the most plausible option. Maybe a more concertante performance from the harpsichord - through fuller chords - would be more suitable. However, the escapades of the harpsichord in the menuet from the Sonata in c minor (TWV 42,c6) seem off the mark.
All in all these three discs can be recommended without reservation as they do full justice to Telemann's brilliance and inexhaustible creativity.
Johan van Veen (© 2015)
Relevant links:
Bassorilievi
Les Ombres
La Rêveuse