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GEORGE PHILIPP TELEMANN (1681 – 1767)
Telemann: Essercizii Musici (Musical Diversions, Complete) - Aulos Ensemble
Telemann: Essercizii Musici (Musical Diversions, Complete) - Aulos Ensemble
In his too-brief notes to this album, Richard Taruskin sums up Telemann's galanterie, that "quality of civility and wit, grace and everyday congeniality that was worlds away from the passionate heroics of the baroque...--The MHS Review, quoting the liner notes for this release, written by Richard Taruskin
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Violin Sonata in F Major, TWV 41.F4 I. Andante
2:11
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Violin Sonata in F Major, TWV 41.F4 II. Allegro
2:13
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Violin Sonata in F Major, TWV 41.F4 III. Siciliana
2:16
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Violin Sonata in F Major, TWV 41.F4 IV. Allegro
4:06
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Flute Sonata in D Major, TWV 41.D9 I. Largo
2:31
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Flute Sonata in D Major, TWV 41.D9 II. Vivace
3:26
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Flute Sonata in D Major, TWV 41.D9 III. Dolce
2:59
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Flute Sonata in D Major, TWV 41.D9 IV. Allegro
2:47
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Viola da Gamba Sonata in A Minor, TWV 41.a6 I. Largo
3:19
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Viola da Gamba Sonata in A Minor, TWV 41.a6 II. Allegro
1:40
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Viola da Gamba Sonata in A Minor, TWV 41.a6 III. Soave
2:18
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Viola da Gamba Sonata in A Minor, TWV 41.a6 IV. Allegro
2:30
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Recorder Sonata in D Minor, TWV 41.d4 I. Affetuoso
1:27
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Recorder Sonata in D Minor, TWV 41.d4 II. Presto
3:50
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Recorder Sonata in D Minor, TWV 41.d4 III. Grave
0:43
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Recorder Sonata in D Minor, TWV 41.d4 IV. Allegro
3:05
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Oboe Sonata in B Major, TWV 41.B6 I. Adagio
2:41
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Oboe Sonata in B Major, TWV 41.B6 II. Allegro
3:39
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Oboe Sonata in B Major, TWV 41.B6 III. Cantabile
3:29
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Oboe Sonata in B Major, TWV 41.B6 IV. Vivace
3:09
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Harpsichord Suite in C Major, TWV 32.3 I. Largo
2:56
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Harpsichord Suite in C Major, TWV 32.3 II. Allemanda
3:46
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Harpsichord Suite in C Major, TWV 32.3 III. Luna
1:58
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Harpsichord Suite in C Major, TWV 32.3 IV. Corrente
3:08
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Harpsichord Suite in C Major, TWV 32.3 V. Minuet I Minuet II
3:12
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Harpsichord Suite in C Major, TWV 32.3 VI. Giga
2:51
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Violin Sonata in A Major, TWV 41.A6 I. Dolce
1:35
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Violin Sonata in A Major, TWV 41.A6 II. Allegro
3:26
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Violin Sonata in A Major, TWV 41.A6 III. Grave
0:41
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Violin Sonata in A Major, TWV 41.A6 IV. Allegro
4:53
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Flute Sonata in G Major, TWV 41.G9 I. Cantabile
1:26
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Flute Sonata in G Major, TWV 41.G9 II. Allegro
2:03
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Flute Sonata in G Major, TWV 41.G9 III. Affettuoso
1:32
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Flute Sonata in G Major, TWV 41.G9 IV. Allegro
1:48
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Recorder Sonata in C Major, TWV 41.C5 I. Adagio Allegro Adagio Allegro
2:38
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Recorder Sonata in C Major, TWV 41.C5 II. Larghetto
1:34
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Recorder Sonata in C Major, TWV 41.C5 III. Vivace
2:57
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Oboe Sonata in E Minor, TWV 41.e6 I. Largo
2:28
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Oboe Sonata in E Minor, TWV 41.e6 II. Allegro
1:58
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Oboe Sonata in E Minor, TWV 41.e6 III. Grave
1:34
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Oboe Sonata in E Minor, TWV 41.e6 IV. Vivace
1:39
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Harpsichord Suite in F Major, TWV 32.4 I. Cantabile
4:45
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Harpsichord Suite in F Major, TWV 32.4 II. Bouree
1:51
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Harpsichord Suite in F Major, TWV 32.4 III. Sarabande
2:52
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Harpsichord Suite in F Major, TWV 32.4 IV. Gavotte
2:36
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Harpsichord Suite in F Major, TWV 32.4 V. Passepied
0:48
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Harpsichord Suite in F Major, TWV 32.4 VI. Gigue
2:17
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Trio Sonata for Recorder, Oboe and Basso Continuo, TWV 42.c2 I. Largo
2:50
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Trio Sonata for Recorder, Oboe and Basso Continuo, TWV 42.c2 II. Vivace
3:01
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Trio Sonata for Recorder, Oboe and Basso Continuo, TWV 42.c2 III. Andante
1:48
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The good friend of Bach and Handel, Georg Philipp Telemann was about as close to a "Renaissance man" as a composer is likely to be. Virtuoso on almost any instrument he picked up, poet, botanist, musical theorist, mathematician, and impresario, he was also the most successful composer in Germany in his time. Only Johann Adolf Hasse (1699-1783), court opera composer to the elector of Saxony and king of Poland, and Handel, who had settled in Great Britain in 1712, could challenge his supremacy. Yet, within 50 years of his death in 1767, Telemann had been just about forgotten. He was remembered only by such music historians like Forkel and Fétis, who dutifully took note of him in their books. Fame truly is a fickle friend, for the very traits that made Telemann such a success contributed to his eclipse. In the long run, it was his bad luck that he wrote so well for the tastes of his time, unlike Bach, who practically against his will and without being aware that he was doing it, wrote for posterity. Only Handel was able to combine both talents, and even he does not enjoy quite the same renown as Sebas tian Bach. So, as taste changed, Telemann's works disappeared into libraries to gather dust until the renaissance of interest in baroque music after World War Il, when they were rediscovered and introduc ed to whole new generations of listeners who welcomed them with open arms, or rather, open ears.

I have read, with some amusement, the Papierkrieg over the "Vivaldi glut" in the Letters column of this organ (well, harmonium at least). Is it just me (as resident exsanguine turnip), or isn't there also a Telemann glut? Considering that he holds the Guinness record for musical prolificity, there's certain grave danger of one.
As with Vivaldi, it was not always so, and many a man is now alive who can remember when Telemann records were harder to come by than the sunken treasures of the Titanic. The second edition of The Gramophone Encyclopedia of Recorded Music (1942), for example, lists the A minor Suite, two quartets, a trio sonata, two movements from the Tafelmusik, three songs, six keyboard fantasias, a single fantasia, and an unidentified aria. Schwann now lists several columns of LPs and CDs, any one of which probably contains as much music as what I have cataloged above.
I believe that there is an inherent danger in extraordinary artistic fertility: it makes one suspect of glibness and lack of seriousness of intent. Though his contemporaries considered Telemann up there with the best of them, later generations taxed him with just such sins. Just for the heck of it, I attempted a very unscientific rundown on how long such attitudes lasted. I began with two older histories, one general (Lang) and one of the period (Bukofzer). Neither gave Telemann much individual attention, being content to cite him as an also-ran with those typical of his time.
Deems Taylor's updating of The Music Lover's Encyclopedia (1939) accords Telemann eight lines which call him "prolific and facile." (Bach gets three-and-a-half pages plus a family tree; Handel gets threeand-a-half columns.) The American History and Encyclopedia of Music (1908), however, gets down to business. Acknowledging Telemann's technical knowledge, it continues " ... but his works are lacking in depth and grandeur, and his church pieces particularly seem shallow. He had a bad influence on the church music of his day .... He seems to have been affected by Italian composition, then decadent .... His writings are lacking in depth and originality." This view was echoed and embroidered as recently as 1954 by Grove V: "With all of his undoubted ability, he originated nothing, but was content to follow the tracks laid down by the old contrapuntal school of organists, whose ideas and forms he adopted without change." His fertility, contrapuntal skill, and technical mastery "were neutralized by his lack of any earnest Ideal and by a fatal facility naturally inclined to superficiality... The shallowness of the church music of the latter half of the l8th century Is distinctly traceable to Telemann's influence "
But, taking a forward leap of only 30 years to the Britannica, we find Telemann enshrined In Its "Macropedia" (reserved for the most important entries). Here we are told that, thanks largely to Max Schneider and Romain Rolland, the official view of the composer has been upgraded, and we are given such judgments as this: "He composed equally well for the church as for opera and concerts. His music was natural in melody, bold in harmonies, buoyant in rhythm, and beautifully instrumentated. Profound or witty, serious or light, It never lacked quality or variety."
And In his too-brief notes to this album, Richard Taruskln sums up Telemann's galanterie, that "quality of civility and wit, grace and everyday congeniality that was worlds away from the passionate heroics of the baroque ... Telemann wore his learning lightly, occasionally affected a pleasing melancholy but never (at least in a chamber piece) went after deep pathos, would count himself successful if his hearers smiled and said 'How pretty.' "
This release completes the Aulos Ensemble's "authentic" reading of the Essercizti musicti, a collection of 24 sonatas published in 1739, the year after Telemann's stay in Paris. Those who acquired volumes I and 2 will know what to expect; those who didn't will have to wait some time to hear Telemann better performed.
David M. Greene, The Musical Heritage Review
11/29/2024

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