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Track(s) taken from CKD368

Trio Sonata for oboe, violin and continuo in G minor, Twv 42:g5

from Essercizii musici, Hamburg, 1740

Ensemble Meridiana
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: March 2010
National Centre for Early Music, York, United Kingdom
Produced by Philip Hobbs
Engineered by Philip Hobbs
Release date: April 2011
Total duration: 10 minutes 56 seconds

Other recordings available for download

The Chandos Baroque Players


'Ensemble Meridiana performs both [concertos] with sensibility and well-balanced ensemble in the ritornello sections. Reinhard Goebel and members of Cologne Musica Antiqua put up hot competition in a recording issued in 2005, but … my preference lies with the more expressively relaxed playing of Ensemble Meridiana … the disc is sympathetically recorded and well worth investigation' (International Record Review)» More

'Bach wasn't the only 18th-century German composer to soak up the foreign musical manners that are attested to by the French or Italian adjectives in the titles of some of his works. This new CD focuses on Telemann as a master of French and Italian styles as well as a consummate practitioner of 18th-century fusion. The players of Ensemble Meridiana are appropriately international (Swiss, British, Swedish and Norwegian) and they play with real spirit and zest' (The Irish Times)

'[Ensemble Meridiana] have been taking the early music world by storm … having recently won their third international award, they have also just released their debut album, Tastes of Europe. If you're not sure Telemann chamber music is for you, think again—the group's interpretation of these trios and quartets is astoundingly good and well worth a listen' (Early Music Today)
Two sources exist of this fine sonata, one in Darmstadt and the other in Dresden. It falls into the slow-fast-slow-fast pattern for which Telemann showed a preference in his sonatas and, up to a point, in his concertos too. The opening ‘Mesto’ has a wistful character and a seriousness which utterly confounds the all-too-frequently voiced opinion that Telemann was capable only of lightweight utterances. The following Allegro is tightly constructed, with predominantly imitative phrases in the two melody parts.

The Largo is framed by an eight-bar Andante whose affecting language illustrates Telemann’s love of the fugitive, of the indefinable, in a meandering sequence of modulations and suspensions. The finale, a Vivace, is an elementary ‘rondo’ whose initial recurring syncopated figure, presented first by the oboe, determines the dance-like character of this individual movement.

from notes by Nicholas Anderson © 2002

Cette superbe page nous est parvenue grâce à deux sources, l’une étant à Darmstadt et l’autre à Dresde. Elle renoue avec la coupe lent-vif-lent-vif pour laquelle Telemann avait témoigné sa préférence dans ses sonates, et jusqu’à une certaine mesure, dans ses concertos. Le «Mesto» initial possède un caractère nostalgique et sérieux propre à déconcerter totalement les voix par trop fréquentes qui s’élèveraient pour soutenir que Telemann ne serait capable que d’expressions légères. L’Allegro qui s’ensuit est soigneusement construit avec une prédominance de phrases imitatives en deux parties.

Le Largo est encadré par un Andante de huit mesures dont le langage affecté illustre l’amour que Telemann portait au fugitif, à l’indéfinissable, dans une séquence de modulations et de retards qui s’entrelacent. Le finale, Vivace, est un «rondo» élémentaire dont la première figure syncopée, énoncée d’abord au hautbois, détermine le caractère de danse de ce mouvement individuel.

extrait des notes rédigées par Nicholas Anderson © 2002
Français: Isabelle Battioni

Für diese schöne Sonate sind zwei Quellen erhalten, eine in Darmstadt und die andere in Dresden. Sie weist die Satzfolge langsam-schnell-langsam-schnell auf, die Telemann bei seinen Sonaten und bis zu einem gewissen Grad auch bei seinen Konzerten bevorzugte. Das einleitende „Mesto“ wirkt wehmütig und zeugt von einem Ernst, der die allzu oft geäußerte Meinung, Telemann sei nur zu Seichtem fähig, Lügen straft. Das nachfolgende Allegro ist straff aufgebaut, mit überwiegend imitativen Phrasen in beiden Melodiestimmen.

Das Largo wird von einem achttaktigen Andante eingerahmt, dessen ergreifender Ausdruck Telemanns Vorliebe für das Unstete, das Undefinierbare, mit einer gewundenen Folge von Modulationen und Vorhalten veranschaulicht. Das Finale, ein Vivace, ist ein schlichtes „Rondo“, dessen anfänglich wiederholte, synkopierte Figur erst von der Oboe präsentiert wird und den tänzerischen Charakter dieses individuellen Satzes bestimmt.

aus dem Begleittext von Nicholas Anderson © 2002
Deutsch: Anne Steeb/Bernd Müller

Other albums featuring this work

Telemann: Chamber Music
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