Telemann - Four Concertos - Pro Arte Chamber Orchestra Of Munich - Kurt Redel - LP

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George Philipp Telemann - Pro Arte Chamber Orchestra Of Munich, Kurt Redel– Four Concertos

Label: Erato / RCA

Catalog#: STU 70067

Format: Vinyl, LP

Record is VG++
Gatefold Laminated Cover is VG++

Country: French Issue

Genre: Classical

Style: Classical


Concerto For Trumpet: String Orchestra And Continuo, In D-Major

A1.a Adagio

A1.b Allegro

A1.c Grave

A1.d Allegro

Concerto For Flute: String Orchestra And Continuo, In D-Major

A2.a Andante

A2.b Allegro

A2.c Largo

A2.d Allegro Assai

Concerto For Oboe: String Orchestra And Continuo, In E-Minor

B1.a Andante

B1.b Allegro Molto

B1.c Largo

B1.d Allegro

Concerto For Viola: String Orchestra And Continuo, In G-Major

B2.a Largo

B2.b Allegro

B2.c Andante

B2.d Presto


Cadenza [Cadences] – Kurt Redel (tracks: A2.a to A2.d)
Composed By – George Philipp Telemann
Conductor, Flute – Kurt Redel
Liner Notes – Claude Rostand
Oboe – Kurt Kalmus
Orchestra – Pro Arte Chamber Orchestra Of Munich
Producer – Erato Records
Trumpet – Adolf Scherbaum
Viola – George Schmid

In recent decades period instrumental performers partial to the Baroque era have greatly increased Telemann's visibility. J.S. Bach, G.F. Handel, and Telemann all came from Lutheran north central Germany and knew each other, at least, in the case of Handel and Bach, by correspondence.
But while, as young men, Bach and Handel burnished keyboard skills to virtuosic levels, Telemann was busy seeking out and learning to play all the known instruments of his time.
So bassoonists, oboe players, cellists, also horn and trumpet players, recorder players and flutists, even clarinetists and trombone players have all manner of solo pieces and combinations of their instruments available to them in Telemann's chamber and chamber orchestral music.

Telemann was a child prodigy who had to keep his skills largely under wraps because of the ambitions of his widowed mother. She wanted him to go into law at the University of Leipzig, rather than the relatively low status of musician (she finally relented).

Telemann shared with Bach what might be called a "fourth dimensional musical memory". Whereas Bach preferred to use his gift to create seamless linear counterpoint of unequalled depth, Telemann rejected what he regarded as excessive formalism. Instead, he exploited "orchestral counterpoint", demonstrating one of the keenest and most creative ears for instrumental sonorities among all composers in history. His limitless creativity in combining rhythm, harmony, and unexpected shifts of mood have too often been buried by insensitive or oblivious performance styles. But the popularity and exotic flavor of Telemann's Polish folk-influenced works - which in fact brought him out of the shadows for me back in the 1980s - have helped get some of these qualities to wider attention
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Condition Used
Format LP
Label Erato