price：$16.99
Cpo Records
Usually ships in 24 hours Core2Duoノートレビュー 's review (Esthetically crafted recording of Telemann chamber music for period instrument aficionados) 『My listening is schizophrenic. One side of me takes in overall musicological detail regarding Baroque compositions, skill and quality of performance, and the insight performers bring to their published recording. This side of me rates Parnassi Musici's recording five stars.
The boom in Baroque music has created many younger groups with fascinating European groups with mixed nationalities - and often American performers. Among this record's performers Matthias Fischer, violin; Stephan Schrader, violoncello; and Martin Lutz, harpsichord and organ, are German. Sergio Azzolini was born and got his early training in Bolzano a northern Italian city with strong influences from its former history as a part of Austria. His training to become one of the world's master baroque bassonists included studies in Hannover, and a professorship in Stuttgart,Germany. He's now associated with the Basel Music Academy in Switzerland. All the instrumentalists perform with effortless technique, and ensemble nuance.
Teaming up with her "European Union" colleagues, is Margaret MacDuffie, violin. Among her training influences was study in Warsaw, Poland under a Fulbright scholarship, and baroque violin studies with Daniel Stepner (now at Brandeis and Harvard Universities). She is now a member of the Southwest German Radio Orchestra of Freiburg, Germany.
One unusual feature of this recording is its knowledgeable and insightful liner notes on Georg Philipp Telemann and his music - devoid of usual cliches about Telemann's huge productivity, etc. This is also associated with the group's intensive library research and performance of rare works.
Examples include: "What for us seems to be so natural and self evident in his trio compositions - the balance of form, the casual conversational tone of the instruments, the ingenious singing design never overladen with counterpoint, and the sparkling allusions to stylistic models from Corelli to Polish inn (folk) music - all this had to be invented." and "..he packed into his trios everything that Germany's rich musical had to offer in sources of inspiration".
The notes also include a dated list of Telemann trios showing the evolution of this form, which among other things led to Telemann's pioneering chamber music in quartets for various instruments.
Now, having said these things, I have to admit the more emotional side of my schizophrenic listening. This is a "regressive" tendency to most enjoy Telemann played with modern instruments and tastefully adapted vibrato and adventuresome dynamics - something one normally has to go back to recordings before the 1980s recordings to find (but please let me know if I'm missing newer recordings). Part of the reason is that I think that Telemann was a (pre)romantic in temperament. He relished exploring new sonorities achieved with unusual instrumental combinations (like the Concerto for Flute and Recorder, in E-minor - where he uniquely exploits the timbres of each solo instrument and their combinations). His music can also obviously - to my mind - call for crescendi, sudden changes in rhythm, loudness or softness, and dramatic color effects. The wild Polish folk fiddlers and bagpipers incorporated in the finale of the above Concerto is a case in point.
However, I greatly enjoyed the Parnassi group's musicality, spirit, and choice of repertory, and am pleased to spend this time with fellow baroque music lovers in sharing a few details about their fine work.
』
(Baroque smoothie) 『Beautifully played and very realistically recorded, engaging music from the master of melodic invention. The Opening movement from the Quartet is one of the most seductive Baroque sound-pictures I've ever heard, with beautiful counterpoint between organ and violins. A winner.』
price：$35.99
Naxos
Usually ships in 24 hours Core2Duoノートレビュー 's review (Very enjoyable CDS, especially for the price) 『If you want better performances of Telemann's Tafelmusik than the ones here, you're almost certainly going to have to pay much more for them. Considering their amazingly low price, these are very enjoyable CDs. Some people might find the one-instrument-to-a-part approach rather lightweight, especially in the "grander" pieces, but frankly I nearly always find I prefer it when applied to Baroque music. Too many instruments gives a sound that is too homogenous for my taste, though the effect is lessened when "period" instruments are used. And this is, after all, meant to be dinner music. People usually like to enjoy conversation during dinner and, let's face it, if you can't hear what your fellow diners are saying it spoils the whole dining experience. There are indeed occasional flaws in the ensemble playing but they still don't detract from an overall highly enjoyable set of wonderful music from a composer who is still not rated as highly as he deserves.』
(Not A First Choice) 『Telemann's epic Tafelmusik is an amazing achievement by anyone's standard. Unfortunately the present recording doesn't really do it for me. The playing is not distinguished and there is some less than desirable intonation, especially from the woodwind. Better to try the Harnoncourt, Hunteler (with The Camerata of the 18th Century), or (if you like to eat fast) Goebel. There are still not that many complete recordings available to choose from, which begs the rather obvious question - when will Jeanne Lamon and her wonderful group ,Tafelmusik, do it?』
price：$18.98
Chandos
Usually ships in 24 hours Core2Duoノートレビュー 's review (Recommended Performance of Telemann Concertos) 『This recording, performed by Collegium Musicum 90, represents an good performance of Telemann's work.
I find Telemann to be one of the more under appreciated composers from the Baroque Period, and this recording offers a clear rendition of some impressive and moving music. The performance, while feeling a bit paced, is clear and of the sound quality is good.』
(Good sound) 『I'm generally not a big fan of Telemann, however all 4 pieces on this recording are pleasing and interesting. The performance by of the Collegium Musicum 90 is excellent; and although the playing style is mainstream, it is never bland thanks in part to articulate playing from the soloists. The recorded sound is just right (not in your face) and instruments seem naturally balanced (not extensively manipulated).』
price：$8.99
Naxos
Usually ships in 24 hours Core2Duoノートレビュー 's review (Getting More Than You Pay For) 『Since this is an exceptionally fair price to pay for some of Telemann's most famous recorder works I though I would do what I rarely do, which is undertake to review classical music. I've heard three different musicians perform these pieces, and played them myself, and it is interesting to compare the soloists and the approaches taken to the balancing of the string consort with the recorder (not counting me, of course).
The musicians in question are Michala Petri (now hard to find), Franz Bruggen (just about impossible to find), and here Daniel Rothert. Bruggen is more of a 'force' at the recorder than the other two, and most of his recordings tend to be more emotional rather than technically brilliant. Since Bruggen was almost single-handedly responsible for the resurgence of the recorder as an instrument I tend to forgive most of his sins. And, after all, he really was a fine player.
Petri really owns this music. She has the most polished tone and technique of any recorder player I've heard, and an exquisite sense of phrasing. I have only two issues with her. The first is that she tends to rush, which sometimes blurs an arpeggio or detailed passage. The second is that her tone is very restrained, and she will sometimes blend into the accompaniment just when you want to hear the details of her work.
Rothert, on this recording, is the great compromise. The recorder chosen for these pieces has a darker tone than Petri's, but has a bit less color than Bruggen's preferred instruments. Rothert also forces his notes more than Petri, which sometimes brings a high not into unexpected prominence. This is particularily noticable in the A minor Suite, which has one or two great leaps of recorder faith. Rothert does the best job of balancing with the strings, never getting lost in the shuffle. He is an admirable technician, one that may not take the risks that Petri does but who impresses nonetheless.
If you are looking for an extremely cost friendly way to add these pices to your collection, you will be greatly pleased with this purchase.』
price：$8.99
Naxos
Usually ships in 24 hours Core2Duoノートレビュー 's review (The best of quiet baroque) 『"Hey, where are Pachebel's Cannon and Bach's Air?"
They're not "Largo" movements and when Naxos says "Largo" they mean it, delivering 20 "Largo" movements (75 minutes) from the Baroque era. And while those two famous works are missing there is more than enough familiar and delightful music compiled here to make for a wonderful sampler. Casual classical fans will immediately recognize Handel's Largo from "Serse" as well as the movements from Vivaldi's Guitar Concerto, Flautino Concerto, and "Winter" from the Four Seasons. Other delights include movements from Bach's Piano Concerto in F Minor (played on a piano, rather than the harpsicord you would expect, to great effect) and Double Concerto in D Minor.
The performances and quality of the recordings from which these selections have been compiled are all first rate. If you enjoy relaxing to baroque then this disc is for you.』
(Very Lovely, Very Relaxing) 『I'm not sophisticated when it comes to classical music, but I really like this CD. With just the slow bits there isn't anything to intrude harshly on your conciousness, but there is plenty of complexity and soulfull beauty to enjoy when you want to pay attention.』
(Largo:Two Thumbs, Toes, and Heads up) 『Well, largo is a well rounded tune. I especialy like when they change key signatures. How do I know they do this: We're playing ths in band. It sounds good, a good sond to crank up on a rany day. Just don't turn tha base up too much.』
price：$16.99
Cpo Records
Usually ships in 9 to 14 days Core2Duoノートレビュー 's review (Telemann's Pesach Cantata) 『Jews and their 'significant others' and non-Jewish friends, the world over, celebrate Pesach (Passover) with a ritual meal at which they join in reading the Haggadah, the prayerful account of the Escape from the Egyptian Captivity, the story of Moses. "Das befreite Israel" (The Liberated Israel) focuses on the 'cinematic' flight of the Jews through the parted waters of the Red Sea, the destruction of the Pharoah's army, and the celebration that follows. It is possibly the only sacred cantata Telemann wrote that makes no mention of Jesus Christ. The librettist was Telemann's friend and frequent collaborator, Friedrich Zachariae (1726-77), a poet-professor in Braunschweig, a member of the circle of poets around Klopstock, a close friend of Moses Mendelssohn and also of Gotthold Lessing, author of the classic drama of religious tolerance Nathan the Wise. (But noooo... Telemann was not a crypto-Judaizer.)
The cantata, first performed in 1759, is wildly celebratory, with five soloists, a 4-part chorus, two flutes, two oboes, oboe d'amore, 2 horns, 2 bassoons (and with really juicy parts!), 3 trumpets, timpani, and (oh yeah) strings!, in 13 movements. Like most of Telemann's public concerts at the Drill House in Hamburg, Das befreite Israel was a "box-office" success, and with good reason. It's a dramatic masterwork, both in text and in music. The two bass soloists on this recording - Klaus Mertens and Ekkehard Abele - sing with the sort of masculine majesty that must have thrilled the proud Hamburgers and that can't fail to thrill an audience anytime, anywhere. Telemann's use of timpani was truly progressive, and the progress was straight toward Haydn and Beethoven. The trumpets and horns? Well, I've been at scores of concerts of baroque music and I can testify that, unless they burble and bleat, the brassy ones always get the loudest applause. Enough to make a reed player jealous and a violist weep!
The music of Befreite Israel is cut from the same musical cloth as Telemann's Lutheran cantatas, but "Der Mai" is something entirely fresh and distinctive, a delicious pastoral idyll that sounds more than halfway to Mozart and even Schubert. It's scored for soprano and bass (Phillis and Daphnis), with flutes, recorders, oboes, bassoons in pairs; trumpet, horn, chalumeau, and strings. There are eight arias, six of them duets. This is music for dancing on the greensward to, all charm and flirtation, a genre of delight that neither Bach nor Zelenka could possibly have composed. Soprano Ingrid Schmithüsen and bass Klaus Mertens convey all the affect of springtime in their voices. The text, a paean to the arrival of Spring, was written by Karl Wilhem Ramler (1725-98), Telemann's favorite librettist and also a member of the Klopstock circle of humanists. The chalumeau (a clarinet prototype) lendsan especially piquant timbre to the duets it accompanies.
Between the two very different vocal works, Hermann Max and the Kleine Konzert perform Telemann's instrumental Overture in F minor, actually a suite of nine instrumental dances in the French manner, scored for strings and continuo with two recorders, two oboes, and a very tasty bassoon part. This is one of the 122 extant overture-suites from Telemann's pen, but it is thought that he wrote as many as 1000 such entertainments. This is the sort of elegant Telemannische music that suits its ensemble so well that it almost plays itself. But don't be misled! The facility is skin deep; beneath it you'll hear absolute mastery of harmony, counterpoint, rhythm, and structure.』
price：$39.98
Philips
Usually ships in 24 hours Core2Duoノートレビュー 's review (Elly Ameling now more available) 『I had a 33 rpm album of Elly Ameling singing Schubert lieder accompanied by piano and clarinet at times. It was one of my all time favorite albums so I have been disappointed that I have not been able to find it anywhere on CD.
Now I can just buy this excellent collection. So much music in one place! Since I confess that I am far from an expert on the rest of her records, I look forward to hearing her sing many other styles and composers.
I think it is silly to criticize her for not singing Wagner, for example, since her version of many songs, especially lieder, are nothing short of sublime. I would like to hear how many Wagnerians sing Schubert or Mozart.
I doubt if they could approach the skill and soul with which Elly Ameling sings lieder.』
(Delight in every note) 『To speak as briefly as possible about this superb collection from an equally superb singer, what can I say but that Ms Ameling possessed a voice that shone with radiant warmth and star-like shimmer? And unlike many another light lyric soprano, Elly Ameling was possessed of a very high standard of musicianship, considerable intelligence, and a sort of immediate charm that captivates the listener.
So many of her recordings have still to be released on CD, but this 5CD-set goes some way towards remedying the situation. The repertoire spans a wide variety - French mèlodies, Lieder, light-hearted "sentimental" songs, Bach, etc. - and in each piece, Ms Ameling shows that quality of pearl-like beauty. It is a beauty which is also extremely pretty - a beauty of voice that is never overbearing and over-ripe, but perfectly blossoming upon the tree of inspiration.
I recommend this set unequivocally. It truly is sheer delight.』
(While they last...) 『Elly Ameling held the quiet stage for recitals of great artistry and dignity for several decades and sadly most of the enormously successful CDs of her long career output are now unavailable. For those who have little access to the documentation of this very special artist, this box set is a must. It is a compilation of many of her recordings with differing accompanists, conductors, orchestras and composers. And while not all of the choices for inclusion here would be considered her greatest moments, there are enough works that sustain the warm memories of the little Dutch hausfrau who quietly and simply paid homage to composers with her clear and intelligent musicianship and radiant voice.
Ameling was known to schedule recitals of Schubert cycles and songs and in the afterglow of her performance answer the demand for curtain calls with additional Schubert melodies: she gifted her audience with the dignity of honoring a composer's works by maintaining the focus on that composer rather than milk the audience with the usual encore applause-getting favorites. And special moments such as quietly and pensively strolling through the orchestra during the Mahler 4th symphony to arrive at front stage, unapplauded, just in time for the opening line of her singing - those simple homage to composers and collaborators made her selfless manner endearing to audiences.
Despite the fact that Ameling's voice was on the small side she was always able to muster the projection to carry her message solidly in context with an orchestra. Yes, other more famous singers have recorded Ravel's quintessentially French SHEHERAZADE, but few have the perfection of diction and aura of mystery that Ameling maintained. Whether singing with piano or orchestra, or interpreting Bach, Mozart, Handel, and Vivaldi with the same degree of involvement as Brahms and Schumann and Schubert, Elly Ameling spanned a career that engendered passionate commitment from her fans. And this boxed set is a pocket full of memories to be treasured. Buy it before this too becomes unavailable. Grady Harp, May 05』
(Treasures From a Treasure) 『Treasures from a Treasure.
Ameling, one of the world's most beloved recitalists is captured here in a 5 CD collection offering some of her most beautiful recordings of song. While we are used to her perfection in songs of Bach, Mozart, Schubert, Schumann, Faure and Hahn, an added joy is her "pop" side, tackling - without a whiff of pretension, Porter, Kern, Gershwin, Ellington, et al.
What an absolute joy it is listening to this amazing artist sing these songs with an almost uncanny natural ease. There is no resorting to a "pop" voice and yet most of these pop standards songs sound as though they could have been written for her. Clean attacks, sometimes a bit of the pop technique of hanging on to a consonant longer than a classical artist normally would shows an appreciation and understanding of the style. Still, there is never once a compromise of her vocal beauty.
I like the way the songs have been arranged for her voice in that she sort of sings them clean, unaffected in the first half and then lets loose and kinda "swings" with it adding embellishments but never really changing her voice (Price, von Stade and other favorite singers of mine seem to have always added a breathy quality to much of their crossover material.)
Ameling doesn't resort to trying to "let her hair down" or get down and dirty, but rather the honest with which she approaches every one of these songs shows how much she enjoys singing them and her style is as refreshing as stumbling onto a cool spring on a sweltering summer's afternoon. A wonderful surprise. 』
(More than fully earned praise for an exceptional singer.) 『As I had the privilige of hearing this outstanding Lied-singer during her long career in Holland and being the proud possessor of almost all her recordings, I cannot but fully agree with the professional and joyful review of Mr. Robert Holliston from Victoria, B.C. Canada. Yes, it is unbelievable that of about the 150 recordings Mrs. Ameling made during her long career (for the greater part of course on the 'oldfashioned' LP's, as well as the innumerable Dutch live-recorded radio-concerts), so few CD's have been released. Speaking of tradition: it was the page-turner of the Wigmore Hall in London who told Mrs. Ameling after her first recital in this hall, that she reminded him of Elisabeth Schumann. (And he certainly didn't mean her looks only!) For those who are eager to hear her singing Ravel's Shéhérazade (just one example of stirring imagination combined with her Art of Singing) I can tell you that Philips released a 2-box CD of this work in 1999, combined with Debussy's La Damoiselle élue and a compilation of French mélodies, i.e. Debussy, Fauré, Duparc, Satie. One of the gems is Caplet's Le Corbeau et le Renard which even make children, who know the fables of La Fontaine, revel in the singing of the quarrelsome birds.... Her brilliant accompanyist is Rudolf Jansen. Let us cherish great artists in their art!』
price：$8.99
Naxos
Usually ships in 24 hours Core2Duoノートレビュー 's review (A very skilled recorder recording!) 『Dude, I can't agree with the negative reviews for this recording. The recorder suite doesn't sound choppy or pale. Plus, that claim about "relabling movements" was a complete lie. You can tell yourself just by looking at the cover and track list on the website here. I thought that the recorder and orchestra really blend together very well, authentically and harmonically. Consider the fact that I've been in love with Teleman's recorder music for a very long time. For a long time I've wanted to get a good recording in which the recorder was played with the great skill and technique that both Teleman and I the listener expected. This recording had everything that I wanted and I enjoyed every bit of it. I got this recording for the reocrder suite, but I also enjoyed every bit of the viola and horn concertos. The viola and horn concertos also blend the orchestra and solos with clearly defined skill, creating a beautiful harmonic and melodic sound. It sounds like heaven to me. Are there better recordings than this one? Maybe there are, but that doesn't mean that this recording isn't good at all. Take it from a twenty one year old classical music fan who knows how to enjoy music rather than critique every little thing like those old people do. To me this is a very very good recording of some great baroque music that sounds just as great and beautiful as baroque music is and always was.』
(Pleasant enough but with shortcomings) 『Although this is a rather pleasant disc to listen to, it does have some shortcomings, especially if you really want to hear what Telemann wrote. The Viola Concerto in G Major is quite nicely done, it is true, but a comparison with the 1968 recording by Paul Doctor and Concerto Amsterdam directed by Frans Brüggen makes it plain that the viola can be played more movingly and that the use of historical instruments makes Telemann sound so much better, although this could also be a result of Warner's better recorded sound (despite the age of the recording). The A minor Suite for Recorder is, on the Naxosdisc, almost a solo performance, with the Capella Istropolitana rather pale and standing well behind the soloist Jiri Stivin. The repeat of the overture as a 'Lento' at the end of the concerto is a nice idea but does not seem in any way to be authentic. Here, too, I preferred Frans Brüggen's 1962 recording, now re-released on Warner's budget label Apex, especially as Brüggen's recorder sounds much more brilliant. Brüggen's tempi are quite slow, but the recording (with the Südwestdeutsche Kammerorchester directed by Friedrich Tilegant) has a charm of its own that was not even matched by Brüggen's later recording with Nikolaus Harnoncourt's Concentus Musicus.
The two other pieces on the Naxos disc are taken from Telemann's Banquet Music (Tafelmusik) and have been recorded so often and so well on period instruments that I would recommend turning to these versions, e. g. by the Camerata of the 18th Century (Dabringhaus und Grimm) or by Musica Antiqua Cologne (Deutsche Grammophon).』
(One to avoid) 『Ah, well, these Naxos CD's are always hit or miss affairs and this one is an almost certain 'miss'. The Viola Concerto, I must say, is a very good imterpretation, very well executed with Mr Kyselak's viola producing a warm, gentle sound. However, on the Recorder Suite, this recording falls apart. Mr Stivin's playing is rushed and sloppy and to top it off, they replay part of the overture as an 'eighth movement' (the labelling of the movements on the cover is also incorrect). I don't know what this is supposed to prove, although I have a suspicion that the producer was trying to be clever. The Concerto for 3 violins is sloppy as well, with the soloists often not playing together (maybe they recorded in seperate takes!) I had never heard the Concerto for 2 horns. It sounds very nice, up to the standard of the Viola Concerto but as Naxos seem to have a habit of either adding or removing parts of movements with complete disregard for the score (I have noticed this on many other Naxos recordings as well), I will leave it at that.』
(Wonderful music, great interpretation) 『As always, Telemann shows that imaginative, yet simple style that appeals to wide audiences somewhere between the complex and polyphonically orientated Bach, and the grandeur and pomp of Handel. At times he shows both, and this delightful recording conveys effectively that all-round mastery that led to the high esteem he was held in as the foremost composer of Germany in his day.
The performers on the CD have given us a stately interpretation with a down-to-earth quality, true to the composer and the music. There are no complaints on my part with this CD, which has ultimately provided a most enjoyable listening experience.』
(Leaves me cold) 『What is wrong with this recording? I'm not sure. The viola soloist is lovely, the violin soloists are also fine. So are the horns and the recorders. Why don't I love this recording? I think it has to do with a pedestrian approach.
The viola concerto is the best thing on this disc. It is engaging Telemann, and is well-performed for the most part. The orchestra accompaniment is pretty vanilla, however. A lack of clarity in the orchestra also hinders some of the joy of the Concerto for 3 violins.
I guess if I had to sum up my apathy about this disc, I would say that the blame falls on the shoulders of Edlinger and the orchestra. We have come a long way in Baroque playing, but this seems hopelessly average and old-fashioned (not that older styles of Baroque performances don't have their rewards). Such wonderful music deserves better!』
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