TELEFUNKEN
1 LP - SAWT 9440-B - (p) 1963

OUVERTÜRE - CONCERTO GROSSO - SYMPHONIE






Georg Philipp TELEMANN (1681-1767) Ouvertüre fis-moll für Streicher und Basso continuo * --' --" A1

- (1. Ouverture · 2. Les Plaisirs · 3. Angloise · 4. La Badinerie Italienne · 5. Loure · 6. Menuet I/II · 7. Courante · 8. Le Batelage)



Carl Philipp Emanuel BACH (1714-1788) Symphonie Es-dur - Zweite Orchester-Symphonie
--' --" A2

- (1. Allegro di molto · 2. Larghetto · 3. Allegretto)


Pieter HELLENDAAL (1718 oder 1721-1799) Concerto grosso d-moll, Op. 3 Nr. 2
* --' --" B1

- (1. Ouvertüre [Largo]-Allegro-Adagio · 2. Affettuoso · 3. Presto-Adagio · 4. Borea)


Wolfgang Amadeus MOZART (1756-1791) Symphonie Nr. 23 D-dur, KV 181
--' --" B2

- (1. Allegro spiritoso · 2. Andante grazioso · 3. Presto assai)







 
Gustav LEONHARDT, Cembalo *
AMSTERDAMER KAMMERORCHESTER
André Rieu, Dirigent

 






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


Registrazione: live / studio
studio

Producer
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Prima Edizione LP
Telefunken "Das Alte Werk" | SAWT 9440-B (Stereo) - AWT 9440-C (Mono) | 1 LP - durata --' --" | (p) 1963 | ANA


Edizione CD
Non si è a conoscenza di una ripubblicazione in Compact Disc


Cover

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Note
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Overture, Concerto Grosso, Symphony - these three form types dominate the large-scale instrumental music of the eighteenth century and, at the same ime, illustrate a decisive phase in the development of European orchestral music from the baroque to the classical style. The Overture (Suite) was a creation of baroque France, having developed from the courtly opera overture, whose strctly standardized movement charachters (Adagio in dotte rhythms - fugal Allegro - free repetition of the Adagio) reflected the absolutist majesty of the baroque age and the order of rationalist thinking, to which dances and characteristic pieces could then be added in any desired number and order. The Concerto Grosso, on the other hand, grew on Italian soil; in its relative freedom of form (based on the four-movement scheme slow-quick-slow-quick), in the loose and varied formation of the individual movements and in the colourfulness of the orchestration it reflected the unproblematic delight in musicmaking and the refined artistic atmosphere - directed less towards magnificence than towards connoisseur anjoyment - prevailing in Italy's princely courts and her wealthy trading cities with their patrician rulers. Finally the Symphony, which took the place of the Overture and the Concerto Grosso from the middle of the century onward, fed itself on the spirit and forms of its two predecessors as well as on the Italian opera Sinfonia (Overture), from which it borrowed the initial three-movement formal scheme (quick-slow-quick), its light structure and its brilliantly festive mood. On German soil, towards the end of the century, it grew into the representative large-scale form of courtly and bourgeois concert life, in which the personal and the social, skilful musical work and a wealth of stimulation from folk-music, dance types and 'absolute' instrumental forms were blended into a new guise, infinitely rich and variegated yet cyclic and concise.
Telemann's Overture in F sharp minor - one of the more than 110 Overtures he wrote - possibly dates from the composer's Frankfurt period (1712-21). Both in its mixture of dance movements and characteristic pieces and in the French titles to its movements and French tempo indications it completely follows the model of the French Overture-Suite, though in the part-writing (for instance the no longer Vivace of the Overture proper) and in the clearly defines periodizing of the melody it already represents a bridge between the late baroque and early classical styles. In its bubbling abundance of ideas and carefree pleasure in music-making it displays Telemann's "social art" in the best possible light.
A far more serious note is struck by the impressive Concerto Grosso by Hellendaal, which closely approaches Handel and Geminiani in style and whose composer lived and worked in England from 1752 until his death. His Op. 3 (1758) is one of the last printed editions of concerti grossi of the age; yet it is completely free from any sign of decadence, and the Concerto in D minor can, by virtue of its strong, earnest character and abundance of harmonic ideas, the powerful energy of the quick movements, the elegiac quality of the Affettuoso and the catchy thematic material of the Presto (on a theme by Handel) and the Borea (Bourrée), take uts place worthly alongside the very best concerti grossi, even including those of Handel.
The Symphony in E flat major by Bach's secon son (composed 1775-76, printed 1780) is, together with its three sister-works of the same edition, not only one of the leading works of the "Hamburg Bach" but the crowning and ultimate fulfillment of the North German orchestral symphony altogether. His contemporaries praised this late work of the masters for its "urgency, fulness of harmony, genuinely German melodic style, sun-like warnth of feeling." The passionate agitation of a genuine musical "Sturm und Drang", a kaleidoscopic wealth of ever changing moods and surprising ideas that literally chase one another and the thoroughly independent musical language of an original genius who lived only for self-expression are the leading characteristics of the E flat major Symphony as also of its sisterworks, and it is these qualities that give a unique historical position and significance to the four last symphonies of this composer, who was perhaps the most important pioneer of the classical period.
Also in three movements that lead into one another on the model of the Italian Sinfonia is Mozart's Symphony in D major, which was written down on the 19th May 1773 in Salzburg, six months before the magnificent "Little" Symphony in G minor KV 183. Any similarity with C.P.E. Bach's eruptive masterpiece, however, ends with this external formal scheme; Mozart's work is still very clearly an "Italian" symphony in idion too, resplendent with surging orchestral tremoli, broken chords and a colourful abundance of themes and, in contrast to the G minor Symphony, carefully avoiding to touch upon darker regions of expression. And yet there lives in its outer movements a great deal of the spiritual gaiety of the "genuine" Mozart, and in the simple oboe melody in folk-song style of the Andantino there already speaks a truly personal, inspired voice - enough alone to bear also this "minor work" of its creator to eternity.