TELEMANN

 

Early Concertos & Sonatas

 

Ensemble Cordia, Stefano Veggetti

 

Concerto in D TWV53:D3

à tromba, violino concertato, 3 violini, 2 viole, violoncello obbligato e basso

1          I. Vivace 3’44

2                      II. Adagio 4’41

3          III. Allegro 5’34

 

Concerto in D minor TWV43:d2

à 4, per 2 violini, viola e cembalo

4          I. Largo 2’08

5          II. Allegro 2’19

6          III. Andante 1’48

7          IV. Presto 3’04

 

Concerto in D TWV43:D4

a viola da braccio concertata,

2 violini, viole e cembalo

8          I. Largo 3’09

9          II. Allegro 2’35

10         III. Andante 3’28

11         IV. Presto 3’26

 

Sonata in E minor TWV44:e5

a 2 violini, 2 viole e continuo

12         I. Adagio 2’27

13         II. Allegro 2’21

14         III. Grave 1’57

15         IV. Allegro 1’38

 

Concerto in D TWV51:D8

a corno da caccia, violini,

2 viole e cembalo

16         I. Vivace 1’58

17         II. Largo 3’02

18         III. Allegro 3’43

 

Concerto in D TWV43:D4

à 4, per 2 violini, viola e cembalo

19         I. 1’56

20         II. 2’04

21         III. Adagio 3’14

22         IV. 2’04

 

Ensemble Cordia / Stefano Veggetti

 

Chamber Music and Concertos in chamber music setting of Georg Philipp Telemann, the Baroque composer who produced an astonishing amount of compositions of an astonishingly high quality.

 

Performances on period instruments played by the finest Italian specialists. 

 

A welcome addition to the impressive Telemann discography on Brilliant Classics. 

 

The works on this CD represent an unfamiliar aspect of Telemann’s work. They date from early in his career when his was experimenting with the different musical and stylistic influences he was exposed to. It was during his time as Kapellmeister at Eisenach that he commenced his incredible output of sonatas and concertos for diverse groups of instruments. He found initially the modern Italian style too superficial (although Corelli was an early influence), and it was the French style that appealed, so much so that he said his concertos ended up ‘smelling of France’. Eventually his view of Italian music softened, probably as his friend the violinist and composer J.G Pisendel had travelled to Venice and become a friend of Vivaldi, and it is not hard to imagine Telemann writing a brilliantly scored concerto for his friend’s return.

 

Brilliant Classics 94208