Luogo e data di registrazione		-
	Registrazione: live / studio		studio
	Edizione LP		AMADEO - AVRS 6337 - (1 lp) - durata 45' 45" - (p) 1966 - Analogico
	Altre edizioni LP		AMADEO - AVRS 6337 - (1 lp) - (Edizione francese Costallat, Paris) MUSICAL HERITAGE SOCIETY - MHS 528 - (1 lp) - (1) MUSICAL HERITAGE SOCIETY - MHS 743 - (1 lp) - (2, 4) MUSICAL HERITAGE SOCIETY - MHS 641/642 - (2 lp) - (3)
	Prima Edizione CD		-
	Note		Stereo compatibile

WITH THE DISINTEGRATION OF THE HANSEATIC LEAGUE at the end of the 17th century Hamburg became the great trading-center of North Germany. With prosperity came a great upsurge of cultural life which led to 18th century Hamburg becoming the cultural centre of Germany, with an Opera and a National Theatre. GEORG PHILIPP TELEMANN was one of the most highly thought of and prolific composers of his day. His versatility was such that he was as adept at German counterpoint as he was at catering for French and Italian tastes. Though older than Bach, Telemann turned his back on baroque form and helped to pave the way for the classics. The title of the OVERTURE SUITE for 2 oboes, 2 horns and bassoon indicates a Suite in the French style, and the programmatic titles of the individual movements also betray French influence. The first movement, in the Overture, is a brisk Allegro with rudimentary symptoms of sonata form resembling J. C. Bach and the Mannheim School, though its elegance and vivacity are typically French. THE CONCERTO IN A MINOR for 2 flutes and orchestra is an early work, probably composed at the Ducal Court at Eisenach. It was here that Telemann first became acquainted with French music, and its influence is clearly discernible in this work. The Concerto opens with a slow introduction which is followed by a quick movement. If the "Largement" is typically French, the Rhytm of the Finale is typically Telemann. THE CONCERT IN E FLAT for 2 horns and orchestra is from Part III of the "Tafelmusik" and was originally written for "Waldhörner", the use of which, coupled with the nature of the thematic material, makes the Concerto a sort of panorama of a hunting scene, something like a French tapestry. In the first movement the company assembles, in the second it moves off into the forest, the third is a respite in a sheltered valley, and in the fourth the hunt is in full cry. THE CONCERTO IN F MINOR for oboe and orchestra probably dates from Telemann's Frankfurt days (1712-1721). The first movement is a fugato, the second a leisurely Siciliana in which the violas are prominent. The Finale, which is strikingly reminiscent of Vivaldi, is characterised by dynamic contrast. ALFONS ÜBELHÖR (Translation: Richard Rickett)