Luogo e data di registrazione		Doopsgezinde Kerk, Haarlem (Olanda) - luglio 1979 [17-22]
	Registrazione: live / studio		studio
	Producer / Engineer		Heinrich Weritz [17-22]
	Prima Edizione LP		- Telefunken "Das Alte Werk" - SAWT 9464-B - (1 LP) - durata 45' 20" - (p) 1964 - Analogico [1-16] - Telefunken "Das Alte Werk" - 6.42365 AW - (1 LP) - durata 39' 49" - (p) 1979 - Analogico [17-22]
	Edizione CD		Teldec - 4509-97467-2 - (1 CD) - durata 60' 31" - (c) 1995 - ADD
	Note		-

Georg Philipp Telemann was appointed musical director of Hamburg's five main churches in 1721. Apart from his onerous official duties, he also pursued a whole series of other activities, not least of which was the active promotion of his own works, which he printed and published at his own expense. His Musique de table, a three-part collection of instrumental pieces scored for various combinations, was issued in 1733. It includes, in Part II, the present D minor Quartet for three solo instruments and continuo (as alternatives to the recorder, Telemann suggested the bassoon or cello). Whereas all three solo instruments dispute the musical line in the opening movement, the following movement is cast in the form of a concerto movement with extended passages for the solo recorder. The third movement contains motifs reminiscent of the empfindsamer Stil, while the motoric rhythms of the final Allegro are effectively contrasted with a middle section marked “cantabile” by the composer. With its immense variety the D minor Quartet is rightly regarded as one of Telemann’s finest chamber works. Like the other pieces included in the present disc it is notable for the fact that it is scored for both recorder and flute. In Johann Friedrich Fasch’s G major Quartet, by contrast, it is the transverse flute that dominates, with the two recorders adding only occasional interiections (by preference in parallel motion). Fasch was court Kapellmeister in Zerbst between 1722 and his death in 1758, and wrote not only sacred music but also many instrumental works. Posterity has had repeated difficulty in trying to identify the individual members of the Loeillet family many of whom were instrumentalists and composers, and to provide a precise attribution for the various works that have survived under their name. The most famous member of the family, John Loeillet, is known to have settled in London in 1705 and to have made a living as an oboist and harpsichordist. With its two “voice flutes", his B minor Quintet is the only known surviving work for this combination of instruments. Flutes and recorders merge effortlessly with each other. All the instruments share the same compass and, by giving preference to their middle and lower register, invest the piece with a dark-hued tonal character. In the course of his musical studies, Johann Joachim Quantz learned to master a whole series of instruments, including the recorder and flute. But it was the flute that became his principal instrument, since he hoped that it would provide him with the best career opportunities, a decision that proved well-founded, when Frederick the Great offered him a court appointment on highly favourable terms- In Quantz’s Trio Sonata in C major the two flutes are treated as equal partners, entering into virtuoso rivalry especially in the final movement. Alessandro Scarlatti’s F major Sonata is remarkable for its combination of different compositional techniques, with polyphonic writing in the three upper voices in the opening movement contrasting with homophonic textures in the following Allegro. The Minuet, finally, is a brief dance movement over a simple chordal accompaniment. Johann Mattheson is remembered chiefly as a music theorist and critic. His G minor Sonata for three recorders (and no bass) was published in Amsterdam in 1708 and is notable, above all, for its final Chaconne - variations on a simple theme - that is played by all the voices in unison at the beginning and end of the movement. Christian Bothmann ····· A brief history of the recorder 5. The recorder in the 18th century National styles: the Low Countries (II) A remarkable aspect of Dutch instrument making in the 18th century is the large number of woodwind instruments made at this time. The profession of fluyttemaker was held in high regard and commensurately well paid. By the end of his life, the oboe maker Hendrik Richters, for example, was one of the wealthiest men in Amsterdam. When Richard Haka died in Amsterdam in 1705, he left behind him a host of (ex-)apprentices, of whom the most important were Jan Steenbergen, Abraham van Aardenberg and Coenraad Rijkel. Jan Steenbergen (1676-c.1730) was active as a woodwind-instrument maker in Amsterdam from 1692. Among his surviving instruments is a treble recorder in the Frans Brüggen Collection that is heard in tracks 17-22. Made of boxwood with ivory inlay it is particularly well preserved and has a fully rounded tone. As with other Baroque recorders from this time, it is tuned a semitone lower than modern standard pitch. Born in Amsterdam, Abraham van Aardenberg (1672-1717) made not only recorders but also oboes and bassoons. His surviving recorders (cf Vol. 3) are notable for their unusual arrangement of the block (or plug) and labium (i.e., the sharp edge that divides the air-stream), and also for their peculiar bore, which produces a somewhat rustic but round and penetrating tone. In this respect Aardenberg's instruments are similar to many of the recorders made by the Van Heerde family. Jan Jurriansz Van Heerde (1638-1691) was born in Groenlo and settled in Amsterdam in 1663. His son Albertus and grandson Jan followed him into his profession. There are seven known surviving examples of recorders by the Van Heerde family (see Vol. 3). Other makers active in Amsterdam were Willem Beukers (father and son) and Engelbert Terton. There are eight surviving recorders by the Beukers, including a descant recorder that may be heard in Jacob van Eyck’s Doen Daphne in Vol. 4. Like Terton’s instrument, these descant recorders are in two sections, with a double seventh hole. Engelbert Terton (1676-1752) was born in Rijssen and was granted a patent allowing him to practise as a maker of woodwind instruments in Amsterdam in 1710. His recorders, flutes and oboes were internationally sought after. Perhaps his most remarkable instrument is a boxvvood descant instrument heard in Vol. 4. Quite apart from its striking appearance (it is decorated with engraved silver rings), it produces a clear, full tone and has a range of c" - d ””. Important recorder makers who were active outside Amsterdam include Robert Wijne (1698-1774) and Joannes Hyacinthus Rottenburgh (1672-1765). Wijne's surviving recorders (one descant and two treble instruments heard in Vol. 3) have a limited expressive range in terms of their attack and dynamics but make up for these limitations with their exceptionally delicate and mellifluous tone. The Rottenburgh family is the source of much scholarly confusion. They appear to have hailed originally from Salzburg but were active in Brussels as composers, string players and makers of woodwind and string instruments. Joannes Hyacinthus Rottenburgh was the father and uncle of several later generations of instrument makers, in addition to being a court violinist in his own right. His son Godfridus Adrianus was an organist and made flutes, oboes, clarinets and bassoons. Ten surviving recorders attributed to the Rottenburghs (6 treble, 2 tenor and 2 bass, one of which is heard in Vol. 1) were probably made by Joannes Hyacinthus. Peter Holtslag Translation: Stewart Spencer