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Track(s) taken from CKD368

Trio Sonata for treble recorder, viola da gamba and continuo in F major, Twv 42:F3

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: 6 minutes 48 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)
This trio sonata comes from the collection of twelve solo sonatas and twelve trios which Telemann published in Hamburg under the title Essercizii Musici (c1739). The treble recorder part is, perhaps, one of the finest surviving testaments to Telemann’s unerring skill in exploring sonorities in an instrument of which he clearly had deep knowledge. In each of the three movements the recorder remains in those regions of its tessitura which enable it to speak articulately and authoritatively in a chamber music context and, of course, the softly-spoken viola da gamba provides an ideal partner. Most of the writing is closely imitative and Telemann’s chief concern is, perhaps, with sounds rather than musical intricacy. The blend of recorder and viola da gamba is potent in the ‘Mesto’ (mournful) slow movement, where Telemann’s skill in handling these instruments creates a brief but affecting elegy.

from notes by Nicholas Anderson © 2002

Cette sonate en trio provient d’un recueil de douze sonates pour instrument seul et douze trios que Telemann publia à Hambourg sous le titre d’Essercizii Musici (vers 1739). La partie de flûte à bec alto est peut-être, un des testaments les plus admirables du talent infaillible de Telemann à explorer les sonorités d’un instrument dont il avait manifestement une connaissance approfondie. Dans chacun des trois mouvements, la flûte à bec demeure dans les régions de sa tessiture qui lui permettent de parler de manière articulée et assurée dans le contexte de musique de chambre. Bien entendu, la viole de gambe, tout en douceur, en est le partenaire idéal. L’écriture est généralement en imitation serrée. Telemann se concentre essentiellement sur l’aspect purement sonore et non sur la complexité musicale à proprement parler. Le mélange de flûte à bec et de viole de gambe est particulièrement heureux dans le mouvement lent «Mesto» (endeuillé) où son talent dans le maniement des instruments crée une élégie courte, mais poignante.

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

Diese Triosonate entstammt der Sammlung von zwölf Solosonaten und zwölf Trios, die Telemann unter dem Titel Essercizii Musici (um 1739) in Hamburg veröffentlichte. Die Blockflötenstimme gehört wohl zu den kostbarsten Vermächtnissen von Telemanns unfehlbarer Kunstfertigkeit beim Ausloten der Klangfarben eines Instruments, das ihm fraglos sehr vertraut war. In jedem der drei Sätze verbleibt die Altblockflöte in jenen Bereichen ihres Tonumfangs, die es ihr ermöglichen, artikuliert und autoritativ im kammermusikalischen Kontext zu erklingen, und natürlich ist die sanft tönende Gambe eine ideale Partnerin. Die Stimmführung ist weitgehend dicht imitierend gehalten, und Telemanns Aufmerksamkeit gilt wohl eher dem Gesamtklang als musikalischen Feinheiten. Die Mischung von Blockflöte und Gambe kommt im langsamen, „Mesto“ (traurig) bezeichneten Satz besonders zum Tragen, in dem Telemanns Geschick im Umgang mit diesen Instrumenten eine kurze, aber anrührende Elegie hervorbringt.

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

Other albums featuring this work

Telemann: Chamber Music
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