TELEFUNKEN
1 LP - SAWT 9435-B - (p) 1963
1 LP - SAWT 9435-B - (p) 1963
1 LP - 6.41056 AS (SAWT 9435-B) - (p) 1963
1 CD - 4509-93688-2 - (c) 1995

SECHS SONATEN FÜR BLOCKFLÖTE UND BASSO CONTINUO






Georg Philipp TELEMANN (1681-1767) Sonate F-dur, TWV 41:F2 - aus "Der getreue Musikmeister", Hamburg 1728

5' 51" A1

- (1. Vivace · 2. Largo · 3. Allegro)




Sonate f-moll, TWV 41:f1 - aus "Der getreue Musikmeister", Hamburg 1728
10' 36" A2

- (1. Triste · 2. Allegro · 3. Andante · 4. Vivace)



Sonate C-dur, TWV 41:C5 - aus "Essercizii Musici", Hamburg 1739/40

7' 35" A3

- (1. Allegro · 2. Larghetto · 3. Vivace)



Sonate (Canonic) B-dur, TWV 41:B3 - aus "Der getreue Musikmeister", Hamburg 1728

6' 41" B1

- (1. Largo · 2. Allegro · 3. Largo · 4. Vivace)



Sonate d-moll, TWV 41:d4 - aus "Essercizii Musici", Hamburg 1739/40
9' 18" B2

- (1. Affettuoso · 2. Presto · 3. Grave · 4. Allegro)



Sonate C-dur, TWV 41:C2 - aus "Der getreue Musikmeister", Hamburg 1728
7' 24" B3

- (1. Cantabile · 2. Allegro · 3. Grave · 4. Vivace)







 
Frans BRÜGGEN, Blockflöte (Hans Coolsma, Utrecht 1963)
Gustav LEONHARDT, Cembalo (J. C. Neupert, Nürnberg 1960)
Anner BYLSMA
, Violoncello (Carlo F. Landolfi, Milano 1753)

 






Luogo e data di registrazione
(luogo di registrazione non indicato) - 1963


Registrazione: live / studio
studio

Producer
Wolf Erichson


Prima Edizione LP
Telefunken "Das Alte Werk" | SAWT 9435-B (Stereo) - AWT 9435-C (Mono) | 1 LP - durata 47' 25" | (p) 1963 | ANA
Telefunken "Das Alte Werk" | SAWT 9435-B | 1 LP durata 47' 25" | (p) 1963 | ANA | Riedizione
Telefunken "Das Alte Werk" | 6.41056 AS (SAWT 9435-B) | 1 LP durata 47' 25" | (p) 1963 | ANA | Riedizione


Edizione CD
Teldec Classics | LC 6019 | 4509-93688-2 | 1 CD - durata 74' 44" | (c) 1995 | ADD

Cover

-


Note
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In Telemann's endlessly abundant output of compositions, still hardly scrutinized and hardly assessable today, the chamber music works occupy a special place by virtue of their number, quality and historical significance. His contemporaries already thought he “had shown his best powers” in chamber music; the trio sonata in the French tradition first became established in Germany through him more than anyone else. By giving preference to an instrumental bass of singing character as it were, “in natural melody", with clearly defined periods built out of small-scale elements adapted for serious chamber music from dance music, and a melodic style closely approaching folk music and at the same time easy to follow and saturated with . expression, he played a considerable part in the replacing of the strict late baroque style by the ‘galant’ style. The sonatas on this record are also ‘galant’, lightly constructed, elegant and yet not in the least superficial, and in them French, Italian and German traditional elements are blended with one another with playful and masterly elegance.
Telemann's „Der getreue Music-Meister”, from which four of the sonatas recorded on this disc are taken, was published in Hamburg in 1728 as a fortnightly series of “lessons” for collection that was to contain “for singers as well as for instrumentalists all sorts of musical pieces... moral, operatic and other arias, likewise trios, duets, solos etc., sonatas, overtures etc. and also fugues, counterpoints, canons etc. ...“ In order to stimulate sales, most of the works in several movements were spread out over several issues. The “Essercizii Musici overo Dodeci Soli e Dodeci Trii a diversi stromenti ...“ (also published in Hamburg after 1720) were, in contrast to this highly unusual (and not very successful) type of publication for its time, a “normal” publication in the style of the epoch.
With the exception of the Sonata in F major, the sonatas in the “Music-Meister” adhere to the traditional four-movement form of the Sonata da chiesa (slow - quick - slow - quick); their movements are altogether quite short, strictly binary in form with repeat marks in the fast tempi and freely binary in the slow. The small dimensions and the forceful, telling themes are anything but signs of musical primitiveness, as is clearly shown by altogether careful craftsmanship in the interior of the movements. The continuo bass part takes up motif material from the melody part on a quite unusual scale, particularly in slow tempi, and in this feature, as also in the generally very dense texture of the writing in combination with concentrated brevity of form and rational simplicity of expression, the didactic intention of the work also becomes clearly evident. The sonatas from the “Essercizii“ display less craftsmanship in the smaller details, but their dimensions are larger, their technical demands greater and their expression more profound. They are clearly intended for “connoisseurs” and professional musicians, whereas the works of the “Music-Meister” have been created with an eye to an amateur public capable of and interested in musical education, in other words principally for the music-lover interested in music-making at home.
The Sonata in F major is completely under the influence of Vivaldi's type of concerto and sonata, both in its three-movement form and in its series of brief, graphically concentrated motifs. The Largo (Sarabande) and Finale (Gigue) display an unmistakeable dance character which is again underlined in the form by binary structure with repeat marks, even in the slow movement.
The Sonata in F minor was primarily intended for the bassoon; in the printed edition, however, Telemann has noted: “This solo can also be played on the flûte à bec”. In accordance with its key, it is an unusually serious, highly chromatic work; the second movement, unlike most of the quick movements of these sonatas, has been laid out as a “da capo aria” rich in thematic material.
The Sonata in C major begins with a movement most unusual in its form - a short Adagio introduction followed by a virtuoso Allegro in toccata style; the two sections are repeated. The second movement is a Siciliano full of powerful feeling, the third a merry Allegro in binary form.
The Sonata in B flat major can be played optionally on the recorder, the flute, the viola or the gamba. All four movements have been constructed as strict canons at the octave between the melody part and the continuo bass; in spite of these formal fetters the character of the individual movements - the dignity of the slow tempi and the dance-like playfulness of the fast ones - is able to develop quite unhindered.
The Sonata in D minor leads up into darker regions of emotion, above all in the first movement with its abruptly torn off single notes, its sighing motifs and its dignified leaps; the fast movements - the second with typical concerto themes in the style of Vivaldi and the last a virtuoso Gigue - brighten up the serious mood through their playfulness.
The Sonata in C major is full of uncommon virtuosity in its quick movements; the slow movements, especially the introductory Cantabile, reveal a ‘galant’, sensitive melodic style of vocal character whose simple beauty already belongs to a more modern era than the baroque style.