Caterina Sforza · 18-Апр-20 18:51(5 лет 4 месяца назад, ред. 19-Апр-20 21:32)
Telemann - Concertos and Chamber Music, Vol. 5 Жанр: Classical concertos / chamber Страна-производитель диска: Made in Germany Год издания диска: 2007 Издатель (лейбл): MDG Gold Номер по каталогу: MDG 309 1450-2 Дата записи: 2006 Аудиокодек: FLAC Тип рипа: image+.cue Битрейт аудио: lossless Продолжительность: 01:05:19 Источник: релизер сайт-источник/ник/другое: odeonmusic; Caterina Sforza - тяжелейшая работа с cue (два часа), доп. сканы Наличие сканов в содержимом раздачи: да, три полных авторских буклета jpeg и pdf, 23 стр. и 10 стр. (чуть разные издания) Треклист: 01-04. Concerto TWV 43:A4
A major / la majeur / A-Dur for 2 violins, viola and B. c. 05-08. Sonata TWV 42:d10
D minor / ré mineur / d-Moll for recorder, violin and B.c. 09-15. Ouverture TWV 55:g8
G minor / sol mineur / g-Moll for 2 violins solo, 2 violins in ripieno and B. c 16-18. Quadro TWV 43:G6
G major / sol majeur / G-Dur for recorder, oboe, violin and B.c. 19-22. Sonata TWV 40:203
C major / utmajeur / C-Dur for for 4 violins without bass 23-29. Partia 5 TWV 41:e1
E minor / mi mineur / e-Moll for recorder and B. c.
Исполнители
Georg Philipp Telemann (1681-1767) Concertos and Chamber Music Vol. 5 Concerto in A major for 2 violins, viola and B.C. TWV 43:A4 Sonata in D minor for recorder, violin and B.C. TWV 42:d10 Ouverture in G minor for 2 violins solo, 2 violins ripieno and B.C. TWV 55:g8 Quadro in G major for recorder, oboe, violin and B.C. TWV 43:G6 Sonata in C major for 4 violins without bass TWV 40:203 Partita 5 in E minor for recorder and B.C. TWV 41:e1 Musica Alta Ripa [on period instruments]: Danya Segal (recorder 05-08, 23-29) Hans-Peter Westermann (oboe 16-18) Anne Röhrig (violin 01-18, 09-15, 19-22) Ulla Bundies (violin 01-04, 09-22) Susanne Dietz (violin 09-15, 19-22) Christoph Heidemann (violin 09-15, 19-22; viola 01-04) Juris Teichmanis (violoncello 16-18) Albert Brüggen (violoncello 01-15, 23-29) Barbara Hofmann (violone 01-04, 09-15) Dennis Götte (chitarrone 01-18, 23-29) Bernward Lohr (harpsichord 01-18, 23-29) Rec. 28 January, 7-10 September, 2006, Schloss Nordkirchen, Germany
Лог создания рипа
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Содержание индексной карты (.CUE)
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Presto" PERFORMER "Musica Alta Ripa: Danya Segal, Albert Brüggen, Dennis Götte, Bernward Lohr" FLAGS DCP INDEX 01 64:48:45
Review
Does Telemann ever disappoint? Very rarely, in my experience. He doesn’t, of course, make more than an occasional and relatively distant approach to the profundity and sublimity of Bach; one will inspect his work largely in vain if one seeks music that has the passion and panache of Scarlatti; he rarely has the sheer rhythmic drive of Vivaldi – to compare him with just three near contemporaries. But Telemann’s music has, behind a considerable variety of style, an all-pervading sense of common humanity, especially a sense of what one might call social humanity. In him the conversation of instruments seems to express the dynamics of social intercourse with a particular intimacy and forcefulness. Telemann’s music is subtle and elegant in its oblique expression of how human beings behave towards one another at those times when society ‘works’. His is not the music of the heroic individual or, indeed, of profound innerness or spirituality, but rather of dialogue, of social relations. He is a musical poet of complementarity rather than conflict. For the most part, his music is melodic and its rhythms are largely symmetrical. He tends to avoid excess or exaggerated rhetoric; there is a consistent sense in his music of instruments behaving towards one another with the kind of consideration desirable in a harmonious social group. Many of these virtues are evident in the attractive music collected on this present disc. It is part of an ongoing series – this is volume five; unfortunately I have heard only fragments of the previous four volumes. The present selection is delightfully various – anybody who thinks, as some appear to, of Telemann as a merely repetitive composer (a suspicion always felt about artists as prolific as he was) need only listen to the six compositions here in order to be disabused of that assumption. The four-movement Concerto in A major, which opens the programme, is scored for two violins, viola and continuo. It is full of playful metamorphoses of its basic material; the brief third movement, marked grave, is surely something of which any contemporary Italian composer would have been proud; its closing allegro is a witty study in imitative patterns and has a genuine rhythmic drive. The four movements of the trio sonata in D minor are a perfect example of the dialogic quality of Telemann’s music, the conversational exchanges between recorder and violin (this is a piece for recorder, violin and continuo) are sometimes subtle, sometimes more direct – just as spoken conversations are! The seductive dance rhythms of the closing presto presto make the conversation decidedly flirtatious. The Ouverture in G minor is, by some distance, the longest piece included in the present selection. It is scored for two solo violins, two ripieno violins, and continuo. It is a very good-humoured piece, the essence of sociability, as the music repeatedly switches between solo and tutti. Its seven movements include a rondeau, a passepied, a sarabande, a passacaglia and a minuet and the whole invokes and celebrates the stylised social harmony of the dance. This is a lovely piece, albeit one of no great profundity, which is full of engaging interplay between soloists and ensemble, not least in the witty fifth movement, ‘Eccho vistement’. The so-called Quadro of TWV 43:G6 – essentially a concerto – is a graceful, unforced composition, for recorder, oboe, violin and continuo. Its three movements (allegro-grave-allegro) are altogether unpretentious and intimate three way conversations - four if one counts the continuo, whose contribution is essential, after all. I have referred to three way conversations but, in fact, the two woodwinds only rarely become independent voices. The central slow movement is melancholic, even elegiac, though the emotion expressed never goes beyond the socially acceptable, as it were. Telemann’s astute ear for the differentiations of instrumental colour is very delightfully evident in the closing allegro. The Sonata in C major, for four violins without continuo, is a fascinating and delightful exercise in imitation and echo, modulation and metamorphosis; this is ‘conversation’ of a particularly sophisticated kind, as the four violins play in constantly changing groupings and combinations; for all the use of canon and fugue this never sounds like an academic exercise. There is too much vivacity for that, too much dialogic give and take. A minor masterpiece, rarely heard, it is not hard to fancy that in listening to it one is hearing a transitional point in the movement from consort of viols to string quartet. Musica Alta Ripa close the present programme with one of the works included in Telemann’s 1716 publication Kleine Cammer-Music, bestehend aus VI Partiten. There is less sense of ‘conversation’ here, in a piece written for recorder and continuo. Even when writing for a ‘featured’ soloist, Telemann largely resists the temptation of virtuoso display. The Partia (or Partita) is made up of and opening andante followed by six arias, all essentially binary in construction. The initial andante is pleasantly peaceful and all of the succeeding arias – which vary in length from under forty-five seconds to almost three minutes – have something of interest to offer. I have, though, to say that I find Telemann writing for a single soloist less interesting – at least in this case – than Telemann writing for two or more soloists. Telemann is less a monologist than a writer of dialogue; his music seems to come more fully alive when instruments exchange ideas, when each comments on what the other has just said – in applause or mockery, in the flattery of imitation or the irony of mild parody. Alta Musica Ripa clearly have a thorough understanding of Telemann’s music; they are entirely at home in this repertoire; without any inappropriate flashiness or egotistical self-assertion they put themselves wholly at the service of this highly sociable music. They sound, indeed, precisely the kind of ‘harmonious’ social group of which Telemann’s music seems so often to both speak and embody. The recorded sound is exemplary, clear but intimate, not overly assertive or insistent. Glyn Pursglove
Review
AllMusic Review by James Leonard Musikproduktion Dabringhaus und Grimm's splendid series of recordings called Telemann Concertos and Chamber Music continues here with Vol. 5 -- and it's another clear winner. All six pieces are entertaining and involving, from the sunny opening two-violin concerto in A major through the gloomy closing recorder Partita in E minor. Second, Musica Alta Ripa is first-rate, including dulcet recorder player Danya Segal -- listen to her poignant Sonata in D minor -- and soulful cellist Juris Teichmanis -- listen to his always melodic continuo playing in the Quadro in G major. Together the group plays with the controlled freedom of a great jazz band. Third, the sound is incredible. Musikproduktion Dabringhaus und Grimm's recording puts the listener in a comfortable chair with the musicians seated in a semi-circle around them -- and the effect is uncannily realistic. Anyone who has heard any of the prior discs in this series will no doubt want to hear this disc, too, and anyone with a fondness for Telemann who hasn't could start here with no regrets -- and then work backwards to the beginning.
