Luogo e data di registrazione		Hervormde Kerk, Bennebroek (The Netherland) - 16/21 Dicembre 1964 e 12/22 Gennaio 1965
	Registrazione: live / studio		studio
	Producer		Wolf Erichson
	Prima Edizione LP		Telefunken "Das Alte Werk" | SAWT 9453/54-A | 2 LPs - durata 31' 32" - 38' 55" | (p) 1965 | ANA Telefunken | 6.35064 DX (TK 11564/1-2 | 2 LPs - durata 31' 32" - 38' 55" | (p) 1975 | 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		-

The Third "Production" is clearly modelled on the first in its character and form, particularly in the Overture and the Concerto, so that the three large-scale sections of the complete work together form a symmetrical grouping, just as they are symmetrically constructed in themselves. The Overture -Suite in B flat major (for two oboes and strings) is in seven movements, like that the First Part, but its "fashionable" character is strengthened by the inclusion of purely programmatic pieces and the use of modern character designations in place of the traditional French dance titles for the individual movements, except for the opening Overture itself and the final Minuet. The Overture already seeks to modify the French character of the movment in the 'Lentement' introduction by mixing the traditional dotted rhythms and dignified, rolling runs with "Italian" mannerisms (Lombardic rhythms), rustic triplets, "sighing" appoggiaturas and finally (similarly to the Overture of the second "Production") a pastoral episode with swaying wood-wind thirds over sustained string chords within the smallest space a wealth of musical characters and nuances of expression that almost seems to brust the characteristic form of such an introduction as it has come down to us. The Presto that follows is again a blending of fugue and concerto as tried out so often by Telemann in his "Musique de Table". The free fugato opening returns four times in varied form as a "concerto ritornello"; in between there are concertante episodes in which the first violin in particular is given an important role to play. The variety of instrumental combinations in these solo passages and the sturdy dance character of the movement contribute further to the modification of the usual style of the French overture allegro. The movement ends in customary fashion with a varied repetition of the Lentement section. As in the Suite of the first "Production", the movements that now follow are suite movements whose character is modelled on concerto structure, the solo passages being played, as in the Presto of the Overture, by the oboes and the first and second violin (mostly without continuo). Their basic mood is one of harmless, rough-and-ready enjoyment in which Telemann, far removed from all courtly bearing, gives free rein to his predeliction for folk-music and picturesque tone-painting, for genre music-making and for powerful rhythmic effects. Thus the "Bergerie" really is an energetic "Shephrds' Dance", with two extensive solo episodes between three ritornellos. Just as much in folk-music style is the "Allegresse", whose Trio is extended into a big concertante "Solo" for two oboes, two violins and 'cello' without continuo. The genre character of the "Postillins" is quite unmistakeably clear, this merry piece of programme music being built around a stylized post-horn motif and formally laid out like the "Bergeries". In accordance with its title, the "Flaterie" is more contemplative, gentle and somewhat coquettish in its effect; it transforms the traditional Sarabande character, still just discernible, completely into that of a characteristic piece, and even introduces tutti-solo contrasts within the minute space of the individual formal sections of a suite movement. The "Badinage", related not only in title to the "Badinerie" of Bach's B minor Suite, is again full of humour and vitality ("Très vite"), and corresponds exactly to the "Allegresse" in its form. The suite ends with a rustically energetic Minuet (with a dance movement trio played by the soloists alone, as in the "Allegresse" and the "Badinage"). Handel, an illustrious subscriber to the original edition, made considerable use of its music; the introduction of the Overture appears in the corresponding section of the Overture to "Hercules" (1744), the Presto of the Overture again in the corresponding section of the Overture to the "Occasional Oratorio" (1746) and the "Postillons" in the programmatic Sinfonia in Act II of "Belshazzar" (1744). If this Suite can be called "popular" in style, the Quartet in E minor for flute, violin, 'cello and continuo can with equal justification be called "erudite". This is just as true of its overall form, which consistently follows the model of the four-movement Church Sonata in its sequence of movements and their individual types, as of its relatively strict polyphony, which leaves but little room for concertante episodes but nevertheless develops all the melodic and rhythmic charm of which Telemann's ingenuity was capable, even in the most demanding and artificial of musical forms. In the third "Production", as in the first Concerto (here in E flat major) is not only the forman centrepiece but also the musical climax of this part of the work, again combining, as in the first part, concerto principles with suite movement forms in the four movements of the Church Sonata. Two solo corni da caccia lend it the unconventional colour and character of a resplendent and resounding piece of hunting music. The dignified, grand Maestoso and above all the elegiac Grave in C minor, with its enchanting tone effects and its rapturous, sensitive melody in the solo violins, introduce more serious undertones into this basic mood. The two quick movements, however, especially the Finale in gigue style, bring the merry character of hunting music all the more into the foreground. The D major Trio Sonata for two flutes and continuo that follows this powerful work corresponds to the skillfully written E minor Quartet only in its position in the whole cycle, in its "remote" key and in its traditional four movements. In its style and musical language, on the other hand, it is extremely "modern" in effect, in the sense of post-baroque, "sensitive" stylistic character, created by its rapturous, singing melody with delicately balanced periods in song style, by the parallel writing in thirds an sixths for the two flutes, which overgrows all stricter techniques of part writing, and by its simple bass writing with frequent "drum" effects. The Oboe Sonata in G minor is, like the other two solo sonatas of the "Musique de Table", a modest piece of "musique for playing" that still clearly recalls in its style those baroque traditions which the Trio Sonata had already left far behind; by means of the little "Tempo giusto" Minuet in G major, which is inserted after the second movement, it extends the form of the Church Sonata in suite style. Finally, the 'Conclusion', with its tempo indication "Furioso" indicate of unusual things to come, summarizes once again the stylistic elements of the three "Productions", intensifying the mood of the Suite and the Concerto in a loosely constructed interplay of fugue and concerto techniques and strains of hunting and folk-music into a truly "furious" finale. Handel also recalled this delightful charachteristic piece re-creatively in the Overture to "Samson" (1741) and that to the "Occasional Oratorio". But even without such a "patent of nobility" the piece, and with it the entire "Musique de Table", must be classed not only among Telemann's best works, but among the greatest of all instrumental compositions of the early 18th century. Ludwig Finscher