Luogo e data di registrazione		Huize Queekhoven, Breukelen & Hervormde Kerk, Bennebroek (The Netherland) - Febbraio, Settembre, Ottobre e Dicembre 1964
	Registrazione: live / studio		studio
	Producer		Wolf Erichson
	Prima Edizione LP		Telefunken "Das Alte Werk" | SAWT 9451/52-A | 2 LPs - durata 41' 41" - 45' 10" | (p) 1965 | ANA Telefunken | 6.35060 DX (TK 11548/1-2 | 2 LPs - durata 41' 41" - 45' 10" | (p) 1974 | 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		Georg Philipp Telemann von Valentin Daniel Preisler nach dem Gemälde von Ludwig Michael Schneider.
	Note		-

In der second "Production" of his "Musique de Table", as also in the other two parts, Telemann has made extensive use of his universal symthesis of styles and forms and, in accordance with his aesthetic creed and the obligation laid upon him by society and his own fame always to seek - and to have to seek - something new, he deliberately and imaginatively modified the second "Production" in comparison with the other two parts of the work. This is manifested most of all in the orchestration: Overture and Conclusion employ the oboe and the trumpet as 'concertante' solo instruments in addition to the four-part string orchestra, the Quartet and Trio also give preference to wind instruments (recorder, flutes and oboe), and only the Concerto (for there violins) and the Solo Sonata (for violin and continuo) are written for strings only. The D major Overture begins with the traditional festive Lentement of the French Overture in dotted rhythms and rolling runs, but inserts a surprising little episode with rustically swaying parallel sixths and thirds over sustained chords. (Handel, the only English subscriber to the "Musique de Table", let himself be inspired by this introduction, and used its two contrasted sections in the final chorus of the first act of "Hercules" in 1744.) The Allegro that follows ("Vite") begins in the traditional fugato manner, but soon introduces typically "Telemannic" rhythmic jokes, triplets and spicy symcopations which give the movement almost the character of hunting music. The firther sequance of movements is hardly in the fugato French style any more, but rather in the 'concertante' Italian style with big solos for the oboe and first violin and frequent parallel thirds between the oboe and the trumpet. The latter is used here - characteristically for Telemann - not so much with "heroic" motifs as in true 'cantabile' style. The movement is rounded off with a varied repetition of the introduction. There now follow four "Airs" in which traditional dance-movement characters of the French Overture and movement forms of the Italian concerto mingle with each other in highly "modern" fashion; a large-scale, energetic quasi-Allemande with extensive solos for oboe, trumpet and first violin (arranged by Handel as the second movement of his Organ Concerto Op. 7 No. 4), a somewhat briefer and less extravagant Minuet in 3/8 time, a Bourrée, again with large-scale, completely "concertante" solos and finally a quasi-Gigue which combines the hunting of the first movement with the exuberant gaiety of the Bourrée. The Quartet in D minor is for two flutes, recorder and continuo; instead of the recorder the bassoon or the cello may be chosen alternatively, the part being written in the French treble clef (g' on the lowest line) so that it many easily be read as bass clef, an octave lower - a technique which Telemann obviously borrowed from the French chamber music of his time. In spite of all the earnestness of expression and all the chamber music strictness and finesse of structure, the tendency to mix various spheres of style is again evident here. The sequence of movements of the baroque Sonata da chiesa is retained (slow - quick - slow - quick), but its polyphonic strictness is relaxed to 'concertante' playing, in places almost to thematic working out in the sense of the classical era, with little "speaking" motifs. The quick movements, with their extensive solo passages, show concerto-like features, and the finale with its rapturous A major middle section full of thirds is a little "concerto" in three sections in itself. This work is followed by a genuine Italian concerto that forms the centrepiece of the "Production" - a three-movement Concerto in F major (thus in the relative major of the D minor Quartet), for three violins and three-part string orchestra. In its outer movements this work develops a real virtuoso brilliance, especially in the broadly conceived and sonorous opening Allegro, while the Largo revels in Telemannian melodiousness, in parallel thirds and sixths of the solo violins over sustained chords and in genuine pastoral melody. The delicate sensitivity of this movements is transformed into the fine, intimate quality of chamber music in the Trio Sonata in E minor for flute, oboe and continuo, above all in the introductory affettuoso, whose motifs at first appear in dialogue form but are then presented simultaneously with great artistry in the second section. The second movement is lighter in its thematic material and more relaxed in its structure, developing alternately in 'concertante' style or in thise parallel thirds and sixths and anapaest rhythms which play such a prominent role in this entire "Production". A blending of the spirit of the suite and that of the sonata is then aimed at in the sensitive, elegiac Dolce in A major and the humorous Vivace finale. With its combination of sensitive, "sighing" melody and predeliction for thirds and sixths with the pointed humour of its composition and its "speaking" dialogues in which the two wind instruments alternate with one another over a continuo bass mostly thematically free, only providing harmonicsupport, this Trio Sonata is probably the most "modern" of its time and, in its wealth of expressive nuances and thematic and structural ideas, perhaps the most important work of this "Production". As in the First Part of the "Musique de Table", the solo sonata - here a Violin Sonata in A major - seems less demanding and more conventional, although it attains concerto-like virtuosity in the second movement and develops, partocularly in the quick movements, the polonaise-like Vivace and the final Gigue, typical Telemannian rhythms with their "snappy" iambic and anapaestic formulae with magnificent verve. Finally, the Conclusion links up with the Overture in its key and its instrumentation, demonstrating the main purpose of the entire "Musique de Table" - the synthesis of all styles and forms of instrumental music of that time. This is done programmatically as it were, by blending concerto-like 'dacapo' form with a dignified Adagio middle section, concerto movement form (with symmetrically ordered solo passages framed and separated by a ritornello) and fugal principle (the ritornello is laid out as a fugal exposition) into a magnificently energetic, colourful and virtuoso "final dance". Ludwig Finscher