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Hyperion Records

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Susanna and the elders by A member of the circle of Adam Elsheimer (1578-1610)
Reproduced by kind permission of The Governors of Dulwich Picture Gallery, London
Track(s) taken from CDH55108
Recording details: May 1986
Forde Abbey, Somerset, United Kingdom
Produced by Nicholas Parker
Engineered by Nicholas Parker
Release date: June 1987
Total duration: 8 minutes 42 seconds

'A thoroughly enjoyable excursion into the most fertile territory of Telemann's chamber music' (Gramophone)

'This is one of my all-time favourite recordings and I'm so happy to have it on CD' (Early Music Review)

'One of the best records of early music that I have heard lately, and really something special' (Hi-Fi News)

Quartet for violin, oboe, viola da gamba and continuo in G minor

Lento  [2'09]
Vivace  [2'31]
Adagio  [1'19]
Allegro  [2'43]

Introduction  EnglishFrançaisDeutsch
The unusual grouping of instruments in this work is indicative of Telemann’s fascination with sonority, which seems to have remained with him throughout his life. The Quartet in G minor for violin, oboe and viola da gamba exists in a manuscript in the Hessian State Library at Darmstadt. The four-movement structure is that of the Italian ‘sonata da chiesa’ into which Telemann injects both virtuosity and individuality. In each of the movements the viola da gamba is an equal partner with the oboe and violin; indeed, Telemann seems particularly to have concentrated his energy in creating a virtuoso role for this longest-surviving member of the viol family. That Telemann held this instrument in affection we cannot doubt, since he included two fine solo sonatas for it in his musical periodical, Der getreue Musicmeister (1728/29), as well as composing a suite for viola da gamba and strings and two further sonatas in one of his most mature chamber music collections, the Essercizii Musici. The delicately restrained Lento leads to a lively Italianate Vivace whose oboe ‘cantabile’ floats above the busier figures of violin and viola da gamba. The brief Adagio has a strong modulatory element as the parts dovetail into one another, whilst the Allegro finale, with its restless and virtuoso viola da gamba part, remains more firmly rooted in the tonic key.

from notes by Nicholas Anderson © 2002

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