Luogo e data di registrazione		Huize Queekhoven, Breukelen (The Netherland) - Febbraio 1964 Hervormde Kerk, Bennebroek (The Netherland) - Giugno 1964
	Registrazione: live / studio		studio
	Producer		Wolf Erichson
	Prima Edizione LP		Telefunken "Das Alte Werk" | SAWT 9449/50-A | 2 LPs - durata 41' 00" - 54' 39" | (p) 1964 | ANA Telefunken | 6.35056 DX (TK 11537/1-2 | 2 LPs - durata 41' 00" - 54' 39" | (p) 1973 | ANA | Riedizione Telefunken | 6.35298 FX | 6 LPs - durata 252' 55" | (p) 1976 | ANA | Riedizione (Produzioni I-II-III)
	Edizione CD		Warner Classics | LC 06019 | 0825646945726 | 4 CDs - durata 252' 55" | (c) 2014 | ADD | (Produzioni I-II-III)
	Cover		-
	Note		-

In the first "Production" of his "Musique de Table", as also in the other two parts of the collection, Telemann has fully exploited the possibilities a universal synthesis of style on a large and splendid scale. The Overtures in E minor begins with a solemn Lentement which Handel, an illustrious subscriber of the work, recalled very clearly three years later when composing the Overture to "Alexander's Feast"; there follows an extensive Allegro whose traditional fugato is relieved by three concertante episodes without continuo. This section is almost symmetrical in form, closely approaching the da capo pattern and the Italian concerto movement, so that in the movement as a whole the combination of the French and Italian traditions is clearly suggested. It ends with a modified repetition of the slow introduction. The dance movements that follow do not bear any of the traditional dance titles - with the exception of the final Gifue - but instead "character" titles, thus following the custom of the later French overture; they are extended, again apart from the Gigue, by trio sections in the form of humorous or sensitive dialogues between two flutes or two violins. The traditional tonal unity of the suite, or the other hand, is never sacrificed. The Réjouissance shows traces of Polonaise-like melody; it is followed by a Rondeau strongly reminiscent of Rameau (A B A C A), an elegiac, melodious Loure with a Trio full of sighing motifs, an elegant Passepied, an Air in cantabile style "Italianized" by Lombardic rhythms and, finally, the Gigue which, with its 6/4 time and its characteristic up-beats, is clearly in the French gigue and suite tradition. The Quartet in G major /thus in the relative major of E minor) for flute, oboe, violin and continuo is even more clearly derived from a blend of different traditions than the Overture. A melodious Largo in swaying 12/8 time opens it in the manner of an Italian Sonata da Chiesa. The fugato Allegro that follows and the abridged repetition of the Largo, however, bring this first section of the work nearer to the form of the French overture; on the other hand, a non-thematic continuo and concertante counter-mofifs to the fugue subject impart unmistakably "Italian" features to the movement. The next group of movements also has a three-part outer formal scheme, but here the tempo sequance is reversed (quick-slow-quick). A humourous and extremely virtuoso "Italian" concerto covement in da capo form, in which zach of the descant instruments presents its own thematic material, introducing itself in little concertante solo episodes, is followed by a short, sensitive and delicate Moderato; after this the Allegro is repeated unchanged. A brief Grave in the form of a "written-out cadenza" finally leads into the Finale which, although only described as a Vivace, is in reality a stylized Italian Gigue in 6/8 time. The centrepiece of the first "Production" is formed by one of Telemann's finest instrumental woeks: the Concerto in A major for flute, violin and five-part string orchestra, in which the concertante character of the cello part, quite independent of the continuo, is one of the most striking features. Just as unusual as this instrumentation (the five-part writing for the orchestra is of French derivation) and the work's dimensions is also its relation of large-scale from and movement types. The more ancient movement sequance of the Sonata di Chiesa contradicts the character of the individual pieces, which follow entirely the movement types of the later Italian instrumental concerto - in the tender melodiousness of the slow movements (almost rapturous in the first movement) as also in the striking initial motifs and the moledious episodes of the quick movements, both showing, again unaccustomedly, large-scale da capo forms, the last movement even eith strangeley subdued, melancholy and strongly chromatic middle section in A minor. The Trio Sonata in E flat major entirely follows the Sonata di Chiesa in its form, but shows a character very much of its own in the unusually fine working out of the individual movements. It also increases the intensity and the wealth of nuances of the concerto's emotional language by repressing the latter's brilliant, extrovert features in favour of the intimacy of chamber music. The peculiarly "floating" and powerfully expressive rhythm of the Grave in C minor with its triplets is just as characteristics a "Telemanian" feature as the infectious dance-like energy of the quick movements. The Flute Sonata in B minor, again in four movements, is, by way of contrast, a relatively modest work, concentrating entirely on the techniques and expressive of the solo instruments and adhering firmly to the baroque unity of emotion of each movement and to the traditional movement characters. The "Conclusion", a brilliant concerto movement in da capo form with a brief Largo as middle section, recalls the Overture in its key, its instrumentation and its formal scheme, and is also related in its mtifs to the first Allegro of the Overture. It thus rounds off the entire "Production" of this truly universal cycle into a meaningful entity. Ludwig Finscher