Luogo e data di registrazione		- Casino Zögernitz, Vienna (Austria) - marzo & aprile 1966 [1-7] - Casino Zögernitz, Vienna (Austria) - febbraio 1968 [8-11] - Palais Schwarzenberg, Vienna (Austria) - novembre 1965 [12-15]
	Registrazione: live / studio		studio
	Producer / Engineer		Heinrich Weritz - Wolf Erichson [1-7]
	Prima Edizione LP		- Telefunken "Das Alte Werk" - SAWT 9507-A - (1 LP) - durata 51' 58" - (p) 1967 - Analogico [1-7] - Telefunken "Das Alte Werk" - SAWT 9533-B - (1 LP) - durata 49' 51" - (p) 1968 - Analogico [8-11] - Telefunken "Das Alte Werk" - SAWT 9483-A - (1 LP) - durata 53' 50" - (p) 1966 - Analogico [12-15]
	Edizione CD		Teldec - 4509-97472-2 - (1 CD) - durata 65' 03" - (c) 1995 - ADD
	Note		-

It's not enough for notes alone to sound And for the rules to be observed; I've found That if each instrument receives its due, The player's pleased, and you'll have pleasure too. Thus Georg Philipp Telemann, momentarily visited by the muse of poetry, summed up his artistic credo in 1718 in the first of his three autobiographies. Telemann himself was fully aware not only of the need to give each instrument its due but also of what each could achieve, tailoring his music to suit them all, including the recorder, which he used in his orchestral works in a whole series of cyclical forms from overture to solo and double concerto. The Overture for recorder strings and continuo TWV 55: a 2 serves as an introduction to various different orchestral suites by the composer, the individual movements of which are programmatical in character - in this case Les Plaisirs, a light-hearted, fleet-footed dance in alla breve metre that follovvs the actual French-style overture, and a songlike Air à l'Italien. The majority of Telemann's surviving concertos are four-movement works formally indebted to the sonata da chiesa, with its slow-fast-slow-fast order of movements, and the Concerto for recorder, strings and continuo in C major is no exception. In all four movements, the soloist engages in dialogue with the accompanying strings, solo passages being framed by the tuttis. The final movement is a virtuoso envoi. The Concerto à 6, a double concerto for recorder and bassoon, strings and continuo that could also be described as a concerto grosso is structured along similar lines. With its imitative part-writing, the opening movement recalls italian concertos of the period, while the passagework of the second movement is bound to bring a smile to the listener's lips, such is the virtuosity demanded of its soloists. Both here and in the final movement, with its syncopated subject, there is constant interplay between the ripieno or tutti and concertino or solo group. In the middle section of the third movement, a Largo in A minor the solo instruments are heard against a carpet of strings that is purely harmonic in its conception. Although its formal structure is highly traditional, the Double Concerto is fascinating not least for its characterful contrast between the higher register of the recorder which is quintessentially a solo instrument, and the lower register of the bassoon, here liberated from its subordinate role as an obbligato continuo instrument. Martin Elste ····· A brief history of the recorder 10. The recorder in the 20th century The early music revival The recorder survived the 19th century only in the form of the flageolet and csákány but at the beginning of the 20th century new attempts were made to rescue the instrument from the oblivion into which it had sunk. An important figure in this development was Arnold Dolmetsch (1858-1940), who was born into a family of musicians in Le Mans and who studied the violin with Henry Vieuxtemps in Brussels and with Henry Holmes in London. He took up the gamba and harpsichord in 1890 and three years later built his first lute, followed in 1894 by his first clavichord. After periods in Boston and Paris, he returned to England in 1914. In 1915 he published The Interpretation of the Music of the XVII and XVIII Centuries, a milestone in early music studies and, at the time, without precedent. He made his first recorder in 1919, modelling it on a treble instrument by Bressan, and between now and his death ran his own workshop at Haslemere in Surrey. His influence as an instrument maker as editor of countless works of early music and as a scholar with an interest in the art of early ornamentation and dance went far beyond the confines of the British Isles, not least as a result of his lively contact with musicians in Germany, the Netherlands, France and America. During the 1920s the German guitarist and instrument maker, Peter Harlan, bought a set of Dolmetsch’s instruments and attempted to reproduce them in Germany. Either he failed to understand the fingering system of early recorders or because he thought very little of it, he changed the fingering technique used for the fourth degree of the scale and abandoned the forked fingering used hitherto, so that the note was produced by the right index finger alone. Although this change unfortunately caused problems of intonation, this did not prevent Harlan’s system from becoming standard as the “German fingering” method. Thanks to Harlan's efforts, two types of recorder were mass-produced, in a and d (possibly as a result of a misunderstanding of the tunings of early instruments). In consequence, the descant recorder became instantly popular in Germany where it was taken up by the Youth Movement. It was for this type of instrument that Paul Hindemith wrote his Recorder Trio for the 1932 Plöner Music Festival. Meanwhile, the German flautist and recorder player Gustav Scheck was pursuing his own researches. In 1930 he began to work with the cellist and gambist August Wenzinger and the harpsichordist Fritz Neumayer, with whom he played l7th- and 18th-century music on period instruments - a unique phenomenon in Germany at this time. Occasionally they would also join forces with other players to form a chamber ensemble. In 1933 Paul Sacher founded his Schola Cantorum Basiliensis. The school's teachers included Ina Lohr and August Wenzinger and, during the 1940s, Eduard Müller (harpsichord) and Gustav Scheck. One of the first instrumentalists in modern times to play Bach on a Baroque flute in the Low Countries was the flautist Frans Vester. Also during the 1950s, the recorder was given a new lease of life by two Dutch musicians, Joannes Collette and Kees Otten. Otten was originally a jazz clarinettist, but later developed a love of the recorder. Thanks to the efforts of these two musicians, it became possible to study the recorder as a main subject at colleges of music in the Netherlands from 1954/5 onwards. In turn, this led to a definitive division between, on the one hand, amateur musicians with a love of folk and youth music and, on the other professional recorder players. One of the first students of the recorder to graduate from the Amsterdam Muzieklyceum was Frans Brüggen. Peter Holtslag Translation: Stewart Spencer