Luogo e data di registrazione		- Doopsgezinde Kerk, Amsterdam (Olanda) - gennaio & novembre 1971 [13, 26] - Bennebroek (Olanda) - aprile & maggio 1969 [4-8, 31-32]
	Registrazione: live / studio		studio
	Producer / Engineer		Wolf Erichson [4-8, 13, 26]
	Prima Edizione LP		- Telefunken "Das Alte Werk" - SAWT 9435-B - (1 LP) - durata 47' 25" - (p) 1967 - Analogico [1-3, 9-12, 14-16, 22-25, 27-30, 33-36] - Telefunken "Das Alte Werk" - SAWT 9545-A - (1 LP) - durata 41' 45" - (p) 1969 - Analogico [4-8, 31-32] - Telefunken "Das Alte Werk" - SAWT 9582-A - (1 LP) - durata 52' 43" - (p) 1972 - Analogico [13, 26] - Telefunken "Das Alte Werk" - SAWT 9482-A - (1 LP) - durata 48' 01" - (p) 1966 - Analogico [17-19, 20-21]
	Edizione CD		Teldec - 4509-93688-2 - (1 CD) - durata 74' 44" - (c) 1995 - ADD
	Note		-

Georg Philipp Telemann, a cosmopolitan composer who was born in Magdeburg in 1681 and died in Hamburg in 1767, published a set of multi-movement Fantasias TWV 40:2-13 in 1732 or 1733 as Fantaisies à Travers, sans Basse (the title given in a contemporary publisher`s catalogue - the only surviving printed copy of the music has an incorrect title page). The pieces were in fact written for the transverse flute. However, it was not unusual to play such compositions on the recorder. In order to do this it was necessary to transpose them up a minor third: the lowest note of the treble recorder is a minor third higher than that of the transverse flute. Thus the keys on the present recording are those of the transposed versions. A few years before these fantasias were written, Telernann published a biweekly periodical (based on English models), Der getreue Music-Meister. This had twenty-five instalments, each four pages in length, and contained pieces of music instead of literary texts. The composer and publisher rather cleverly encouraged subscribers to buy the following instalments by dividing up multi-movement pieces between various issues, just like a serialized novel. Written for a wide variety of scorings, these compositions were aimed at a rather heterogeneous middle-class public that took an interest in domestic musicmaking. Here it was provided with the kind of fare it wanted - trios, duets, sonatas (sometimes entitled “solo”), arias, thoroughbass songs (“Singe-Sachen”), fugues and other kinds of music. They are short and entertaining pieces, and occasionally they are by other composers. With the exception of the Sonata in F major TWV 41:F2, the Sonatas from Der getreue Music-Meister were written in the traditional four-movement form of the sonata da chiesa. The canonic Sonata in B flat major, TWV 41:B5, can be played on various instruments - viola and basso continuo, viola da gamba and basso continuo, recorder and viola, recorder and viola da gamba, transverse flute and viola, etc. On this recording it is played, like the other sonatas, on recorder and continuo instruments (harpsichord and violoncello). In the case of the Sonata in F minor, TWV 41:f1, Telemann envisaged an alternative scoring. Although entitled "Fagotto solo", the piece has a note stating: "This solo can also be played on the recorder". The three-moveinent Sonata in C major, TWV 41:C5, and the four-movement Sonata in D minor, TWV 41:d4, come from another of Telemann's collective publications, Essercizii Musici overo Dodeci Soli e Dodeci Trii à diversi stromenti, which appeared in Hamburg in 1739 or 1740 as the 47th and last of the works published under the composers imprint. Martin Elste Translation: Alfred Clayton ····· A brief history of the recorder 1. The early history of the recorder from its beginnings to the 17th century In appearance, the recorder was originally simplicity inelf; a tube made of wood or bone with keyless holes, partly closed at one end, with a lip (or labium) to divide the air-stream, it was simple to make and relatively simple to play. In this form the instrument has a long history, as is clear from illustrations including a 13th-century misericord in Chichester Cathedral. As a folk instrument it must have been limited to everyday use and was certainly never a leading instrument of professional musicians, but was used, rather, to provide an important alternative tonal colour in municipal and court wind ensembles. All that we know about the history of the recorder from its origins until the early 16th century comes from descriptions such as the one found on the walls of the New Lodge of Leckingfield Manor House in Yorkshire: “The recorder of his kynde the meane dothe desyre / Manyfolde fyngerynge & stoppes bryngithe hy [m] from his tunes clere / Who so lyst to handill an instrument so goode / Must se in his many fyngerynge that he kepe tyme stop and moode.” (The recorder of this kind does desire manifold fingerings & cross fingerings in order to produce clear tunes. He who would like to play well must see to it that - with the many fingerings - he keeps in time.) What is probably the oldest surviving recorder was discovered under a 15th-century house in Dordrecht in the Netherlands. It is approximately 30 cm long, made of elmwood and has nine holes (a thumb-hole and eight fingerholes; the lowest hole is double-bored, so that both the left and right hand could be used as the lower hand, the hole not in use being stopped with a wax plug). With the development of instrumental music at the beginning of the 16th century came the publication of didactic works devoted to individual instruments. Probably the oldest treatise is Sebastian Virdung's Musica getutscht (i.e., Music, translated into German), printed in Basle in 1511. Virdung describes three types of recorder: the “descant” with a lowest note of g’ (i.e., the equivalent of the modern treble [in the USA “alto”] instrument), the tenor in c’ and the bass in f. A "Coppel" or consort consisted of four recorders - one treble, two tenor and one bass. This combination was used to play vocal music, as Virdung indicates by means of the example of O haylige, onbeflecte zart lunckfrawschafft Marie. We do not know whether singers were involved or whether these versions were purely instrumental. A detailed description of the recorder and the manner in which it was played is provided by Sylvestro Ganassi in his Opera Intitulata Fontegara, published in Venice in 1535. As such, it is the first treatise to be devoted exclusively to the recorder. Essentially concerned with "diminution" (i. e., the sorts of passaggi that may be applied to the melodic line in order to ornament it), it also includes precise instructions on breathing, fingering and articulation. In his opening chapter, Ganassi makes the point, in the context of contemporary performing practice: "You should know that, in regard to the human voice and in comparison with it, all musical instruments are inferior to it." A number of important instruments from this period have survived in playable form and are the work of Hans and Casper Rauch von Schratt [enbach]. As their name implies, both these makers were active in Schrattenbach in southern Germany between around 1450 and 1550. Their surviving instruments are entirely typical of the period, with almost cylindrical inner bores and a range of nearly two octaves. As is generally the case, only larger recorders have survived, their smaller counterparts having generally been played out and discarded. Peter Holtslag Translation: Stewart Spencer