Freiburger Barockorchester, Petra Mullejans, Gottfried von der Goltz - Telemann - Musique de Table
Артист: Freiburger Barockorchester, Petra Mullejans, Gottfried von der Goltz
Альбом: Telemann - Musique de Table, 2010
Издатель: Harmonia Mundi / HMC902042.5
Жанр: Classical
Формат файла: NetLab
Ссылка 1: eMule CD 1
Ссылка 2: eMule CD 2
Ссылка 3: eMule CD 3
Ссылка 4: eMule CD 4
Ссылка 5: Torrent
Ссылка 6: Magnet
Нахождение: eDonkey/Torrent
Disc reviews David Vickers "GRAMOPHONE"
Telemann’s Musique de table (Hamburg, 1733) received over 200 subscriptions from all over Europe, not least from eminent musical colleagues such as Pisendel and Quantz in Dresden, and the adopted Londoner Handel. The Tafelmusik consists of three "productions", each of which is structured into a sequence of overture (and suite), quartet, concerto, trio, solo sonata and a tutti conclusion (much like a festive banquet has many courses). Within these productions, Telemann uses a broad variety of instrumental combinations from two to seven parts, and draws together French, Italian, Polish and German musical techniques imaginatively – Freiburger flautist Karl Kaiser calls it "a European union" in his illuminating booklet-note.

Pioneering surveys by Frans Bruggen and Concerto Amsterdam (Warner, 5/65R), Nikolaus Harnoncourt’s Concentus Musicus Wien (Warner, 7/67R) and Reinhard Goebel’s Musica Antiqua Koln (Archiv, 10/89R) have all been reissued on CD at budget price but the discography is not overcrowded with eminent versions of a recent vintage, so the Freiburg Baroque Orchestra’s set is a winner from all perspectives. There is plenty here to confirm that the Freiburgers are nowadays the finest German period-instrument orchestra: their playing sparkles with elegance and expressiveness but has none of the impatient abrasiveness one expects from their clinical peers in Berlin and Cologne; co-directing violinists Petra Mullejans and Gottfried von der Goltz ensure judicious balance between energy, articulation and refinement. The spirit of Rameau seems close by during the delightful E minor overture of the first Production, with each of the seven movements presenting affectionate interplay between ripieno and concertino forces. Each section of the ensuing quartet for flute, oboe, violin and cello (plus continuo) is played with a conversational tenderness that brings Haydn to mind, whereas the allegros of the concerto for flute, violin and cello brim with Italianate gusto.

The second Production’s airy overture is an articulate dialogue between the orchestra, concertino strings, oboist Ann-Kathrin Bruggemann and trumpeter Friedemann Immer; the compatible timbres of the natural trumpet and Baroque oboe are blended closely, and snatches of the second movement will sound familiar to those who know Handel’s Organ Concerto Op 7 No 4 (HWV309). The Freiburgers’ choice of bassoon for the optional scoring of the top line of the D minor quartet conjures a beguiling texture with two flutes, viola da gamba, lute and harpsichord. The opening Allegro of the F major Concerto for three concertino violins and ripieno strings is played with striking bravado; the Vivaldian Largo is played beautifully by the trio of fiddlers Mullejans, Goltz and Anne Katharina Schreiber, and the concluding Vivace has plenty of tension and drama (no wonder Handel recycled it in the overture to Judas Maccabaeus). I also admired Mullejans’s sweet phrasing and tasteful appoggiaturas during the slow cantabile movement of the Violin Sonata.

The French-style overture and suite of the third Production are performed with dance-like panache, especially the trio passages for two oboes and bassoon; the lilting French pastoral atmosphere of the Bergerie is charming, the Flaterie is warmly sensuous, and the Postillons scampers wittily (no doubt the sort of effect that Handel imagined when he borrowed its theme for a symphony in Act 2 of Belshazzar that conveys hapless soothsayers baffled by the divine writing on the wall). The E minor Quartet for violin, flute, cello and continuo is exquisite, with its slow dolce movement interpreted with delicacy; the peculiar modulation to E flat for the subsequent concerto features a cameo for two majestic horns: Teunis van der Zwart and Bart Aerbeydt display impressive agility in long lines of fast repeated notes during the Vivace but also sensitivity in the extraordinary Grave. Listening while reading along with the score, I was reminded time and again that Telemann’s music is extraordinarily good, and amazed at the quality of the Freiburg Baroque Orchestra’s performances. This is an unmitigated joy.

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