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Telemann: Flute Concertos

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Georg Philipp Telemann (Composer), Rainer Kussmaul (Conductor), Berlin Baroque Soloists (Orchestra), Format: Audio CD
4.7 4.7 out of 5 stars 41 ratings
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Editorial Reviews

Product description

PAHUD / BERLINER BAROQUE SOLIS

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This is a delightful record. Telemann, one of the most prolific composers of all time, wrote music that is technically masterful, endlessly inventive, full of surprises, emotionally mercurial, and continuously engaging. In these five concertos, composed over two decades, the solo flutist is often joined by one or more soloists from the ranks of the orchestra, who, as in Telemann's day, are all fully equal to the task. This results in a wide variety of combinations and colors, illustrating Telemann's skill in displaying each instrument at its best, so as to "give the player joy, the listener pleasure," as he himself put it.

These performances certainly radiate infectious enjoyment. The concertos all follow the traditional form, alternating four slow and fast movements, but are infinitely diverse in tonality, texture, mood, and character. There are carefree, sprightly, playful, elegant dances, humorous imitation games, brilliant passage-work and cadenzas, startling chromaticisms, and deeply expressive melodies that beguile the ear and touch the heart. The first movement of the opening Concerto is so reminiscent of a Bach Arioso that one of the two composers must have "borrowed" it from the other. The playing is superb in a modified period-style: the pitch is normal; the sound wonderfully pure, but rich and full; tempi are designed to invite both virtuosity and leisurely enjoyment of musical and expressive details. Pahud uses a narrow, restrained vibrato that underlines the flawless beauty of his tone. The other players, all like him present or past principals of the Berlin Philharmonic, match him in the perfection of their intonation, phrasing, and ensemble. --Edith Eisler

Product details

  • Is Discontinued By Manufacturer ‏ : ‎ No
  • Product Dimensions ‏ : ‎ 4.88 x 5.59 x 0.47 inches; 3.6 ounces
  • Manufacturer ‏ : ‎ EMI Classics / Warner Classics
  • Item model number ‏ : ‎ 724355739728
  • SPARS Code ‏ : ‎ DDD
  • Date First Available ‏ : ‎ December 7, 2006
  • Label ‏ : ‎ EMI Classics / Warner Classics
  • ASIN ‏ : ‎ B00006L3S5
  • Number of discs ‏ : ‎ 1
  • Customer Reviews:
    4.7 4.7 out of 5 stars 41 ratings

Customer reviews

4.7 out of 5 stars
4.7 out of 5
41 global ratings

Top reviews from the United States

John
5.0 out of 5 stars Smooth as Smooth.
Reviewed in the United States on March 2, 2013
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Most of us are used to hearing Telemann's music played on original instruments, with a "plucky" hollow sound from catgut strings and horsehair bows stroking them. This modern version using current instruments is however, very impressive. Emmanuel Pahud shows that he is a most accomplished flute player; I never know whether it is flautist or flutist ! so I say flute player! This Swiss-French born artist was appointed to the position of Principal Flute of the Berlin Philarmonic Orchestra at the age of 22, a post which he held for 8 years.One can see why on hearing this CD.,
The flute playing here is wonderful, with great delicacy and grace, blending beautifully with the orchestra that is made up of soloists from the Berlin Philarmonic. Telemann himself expected his accompaning orchestra members to be fine soloists in their own right , as is the case here.
The 1st and 3rd concertos in this performance are having their World Premiere Recordings,and fit in superbly with the better known ones.
This entire performance is smooth as smooth, and I think Georg Phillip Telemann (1681-1767) would approve.
It has my highest recommendation.
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J. TIMMERMAN
5.0 out of 5 stars The usual high standard
Reviewed in the United States on October 9, 2007
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Telemann is my favourite composer, a supreme master of melodic invention. Generally I prefer Baroque music played on period instruments, so I had some of these concertos played on recorder, but the performances here are so fine and so much in the (assumed) "period" style that I'm very impressed with these "modern" instrument versions. Pahud is fluid and dexterous and the Berlin Baroque Soloists is a very tight and lively ensemble. The orchestra's instruments are generally ancient ones anyway, if not tuned down a semitone or played with gut strings. Importantly, the melodies are artfully caressed so they achieve an appropriate prominence. Recording quality is very good too, and there's a couple of premiere recordings here. The opening track was a surprise as it's so very much like the middle movement of Bach's fifth keyboard concerto. Not unusual though, Handelian themes turn up in Telemann every so often too. Who stole from whom?
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Manuel Carranza Cueto
5.0 out of 5 stars Telemann music is very beautiful. Pahud is simply outstanding!
Reviewed in the United States on May 9, 2017
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This masterworks of Telemann are simply wonderful. Greats compositions. Pahud is a tremendous flutist and his work here is simply beautiful. The sound flute, the music style, the performance is very excellent. The Berlin Baroque Solisten are extraordinary. Magnific!!!
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Matthew M. Yau
5.0 out of 5 stars Pahud makes a strong case, with two debut recordings
Reviewed in the United States on May 25, 2004
TELEMANN: FLUTE CONCERTOS is a rarely beautifully compilation. The five concertos for flute chosen for this recording illustrates exactly what suits the instrument best and accentuates the instrument's beauty. Georg Philipp Telemann (1681-1767) not only wrote concertos for one flute or two, but also variously combined the flute with other concertante instruments, showing the virtuoso flute in a wide range of different roles.
The five pieces heard in this compilation were composed over a period of more than 20 years and fully demonstrate Telemann's engagement with the concerto genre. In each of the five works almost every member in the orchestras at Telemann's disposal was capable of taking solo parts. The beauty of sound springs forth from the combination with softer tone of instruments such as oboe d'amore, viola d'amore or violone, which enhance the flute's brilliance and crispness, while an often astonishing playfulness could develop in the high registers when Telemann introduced a second flute or a violin, as manifested obviously in the Concerto for Flute, Violin, Cello, Strings and Continuo in A from "Musique de Table I" (5-8).
Concerto for Flute, Strings and Continuo in G (1-4) is a first recording because the only manuscript copy of the parts was in an extremely poor condition that the piece was sadly considered unplayable (until 2000). The concerto was composed for oboe as well as for the transverse flute of the time. The andante movement is the most beautiful movement, so elegantly and stately executed. Pahud makes such a strong case for the first recording of this concerto.
Concerto for Flute, Violin, Cello, Strings and Continuo in A from "Musique de Table I" (5-8) is probably the most beautiful concerto in Musique de Table. The agility and swiftness of notes best suited the festive occasions for which Telemann composed in 1733. This might be the most well-known and most played piece out of this compilation. Even Handel himself performed some of the pieces and some of his own compositions (flute sonata and oboe sonata) show the inspiration of Telemann.
Concerto for Two Flutes, Violone, Strings and Continuo (9-12) is also a debut recording for the piece, with a deep, velvety tone of the violone that creates an impressive contrariety to the agility of the flutes, notably when the flutes and the violone play together in parallel for long stretches.
Concerto for Flute, Oboe d'amore, Viola d'amore, Strings and Continuo in E (13-16). The Largo in D minor forms a sharp contrast to the vivacious movements to Part 1 of Music de Table. In the Siciliano, the repeated theme and expression is achieved by repetition of three concertante instruments without the continuo.
Listen for the only concertos with a combination of flute and two other different solo instruments in the final piece of the compilation, Concerto for Flute, Strings and Continuo in D (17-20).
Overall high marks for the agility, flow, and swiftness of all the performances in this compilation.
2004 (33) © MY
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Ross Kennett
5.0 out of 5 stars Superb Telemann
Reviewed in the United States on November 6, 2007
Telemann: Flute Concertos; Emmanuel Pahud

Let me suggest that you should first read the editorial review by Edith Eister above, I agree with all she says. This is an excellent performance by Emmanuel Pahud, and the other soloists, with the Berliner Barock Solisten, of some of the works for flute by the prolific Georg Philipp Telemann. The Berliner Barock Solisten is made up of leading members of the Berlin Philamonic, here they employ a mix of period and modern instruments, essentially all the strings are period instruments with gut strings, and the wind solo instruments, flutes and oboe d'amore, are modern. While I would generally prefer a period performance, this mix works very well indeed, thanks to the level of skill of soloists and orchestra. The balance between soloists is excellent, and the rapport between soloists is palpable.
Two of the concertos we hear on this CD are premier recordings, and two are well known; the concerto for flute, violin, cello, strings and continuo is from Telemann's well known Tafel Musique, and the superb concerto for flute, oboe d'amore, viola d'amore, strings and continuo.
The sound quality is first class, as are the informative cover notes.
Pahud has established a fine reputation as a flautist in baroque, classical and romantic music, and can be regarded as successor to Rampal.
This is an excellent performance, highly recommended, I have no hesitation in giving it 5 stars.
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Mr. I. Henderson
5.0 out of 5 stars A must for lovers of Telemann
Reviewed in the United Kingdom on April 24, 2019
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Virtuistic playing of Telemann. Highly recommended
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aprosdoketon
5.0 out of 5 stars Il flauto di Telemann
Reviewed in Italy on July 2, 2018
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In questo CD del 2002 Emmanuel Pahud, accompagnato dai Berliner Barock Solisten – emanazione barocchista dei Philharmoniker, cui fanno capo strumentisti di notorietà mondiale come Rainer Kussmaul, Wolfram Christ, Jacques Zoon – presenta un manipolo di concerti per flauto estratti dall’inesauribile forziere di Telemann. Di essi è particolarmente famoso quello in la maggiore per flauto, violino e violoncello, che appartiene alla prima “produzione” della Tafelmusik (e pare piacesse particolarmente ad Haendel), mentre quello in sol maggiore che apre la rassegna è stato ricostruito solo in anni recenti sulla base di un manoscritto deteriorato custodito presso la biblioteca di Rostock. Come sempre avviene in Telemann, non si osservano peraltro grandi divergenze qualitative tra i vari brani: la costante è una sorta di livellamento verso l’alto, per cui tutte le composizioni sono perfettamente riuscite ma nessuna può considerarsi un capolavoro assoluto: siamo insomma di fronte a un compositore che va apprezzato soprattutto valutandolo in una prospettiva d’insieme.
Uno dei lavori più interessanti, a ben vedere, è anzi proprio il concerto ricostruito, che presenta un iniziale andante intriso d’incantato lirismo (molto affine ai tempi lenti dei concerti per violino di Bach) seguito da un Vivace in tempo di polacca, profilo ritmico che incontriamo anche nel secondo tempo del triplo concerto della Tafelmusik: e le polacche di Telemann presentano connotati incisivi e variopinti che le differenziano nettamente dalle linee più stilizzate dei coevi esemplari bachiani (primo Concerto Brandeburghese e seconda Suite per orchestra).
La forma adottata è sempre quella della sonata da chiesa in quattro movimenti, con alternanza di tempi lenti e veloci; piuttosto varie le dimensioni (il concerto della Tafelmusik dura una ventina di minuti, gli altri in media circa la metà). Il più breve della serie, il concerto in la minore per due flauti, è il più affine al gusto francese, con tutti i tempi incentrati su riconoscibili modelli di danza: introduzione in ritmo puntato, corrente, Loure, giga. Da segnalare anche le combinazioni timbriche tipicamente barocche del concerto in mi maggiore, altra pagina di ampio respiro, dove al flauto si associano l’oboe d’amore e la viola d’amore.
Note illustrative di Ulrike Feld in inglese, francese e tedesco. Il libretto contiene anche l’elenco dei componenti dell’orchestra e la tabella (con qualche refuso) degli strumenti utilizzati, tra cui figurano uno Stradivari originale e due Guarneri ricostruiti.
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ariznaf
5.0 out of 5 stars Gran precio para una buena recopilación de las obras de Telemann
Reviewed in Spain on November 8, 2017
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Telemann es un compositor que ha mimado a los flautistas especialmente en sus composiciones.
Sus conciertos con la flauta como protagonista son muy conocidos.
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yannjab
5.0 out of 5 stars parfait
Reviewed in France on May 8, 2014
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Peut etre pas la musique la plus profonde du monde, mais en tous cas une grande variété de couleurs, de rythmes, et un soliste parfait que demander de plus.... ,
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Christina Sterenborg
5.0 out of 5 stars Schöne Flötenklänge
Reviewed in Germany on April 19, 2011
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Da ich selber Flöte spiele sammle ich gern verschiedene Klänge und interpretationen von unterschiedlichen Stücken. Ein CD die es Wert ist zu besitzen zum Entspannen, Geniessen und zu "Lernen".
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