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The Chameleon by G.F. Telemann
Georg Philipp Telemann

Bergen Barokk

The Chameleon by G.F. Telemann

Price: € 19.95
Format: CD
Label: Lawo Classics
UPC: 7090020181806
Catnr: LWC 1158
Release date: 02 November 2018
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Label
Lawo Classics
UPC
7090020181806
Catalogue number
LWC 1158
Release date
02 November 2018
Album
Artist(s)
Composer(s)
EN

About the album

A TELEMANN RECITAL
Telemann’s many sonatas for recorder and basso continuo, including those in conjunction with other instruments, can be found on many recordings and are probably known to many listeners with an interest in the Telemann oeuvre. This is why in this “recital” recording, we have gone a little off the beaten track and taken some liberties.

In “Carillion” (1) and in “Sonata B major” (34-37) the bass recorder is used, though it is not usually an instrument associated with solo work. It is, however, a variety of woodwind that Telemann was not unfamiliar with, as he used it in “Trauer Actus” (1724) and hints at it in the title “Bassoun ô Flaut. 4”, loosely translated as “bassoon flute”, playing an octave over the bassoon. Such “bassoon recorders” were also called “basset, “Flaut-doux-Basson”, or “flauto fagotto”. A considerable number of bass recorders from the best instrument makers are well-preserved, which is somewhat unusual as we very rarely find the instrument specified in musical notation (though with some exceptions in the form of Telemann, Pepusch, CPE Bach, and in an English version of Corelli-sonatas arranged for alto recorder and “fluto basso”). There is some indication that the instrument was used, for example, in opera and theatre music, though without being specified in the scores.

We have also chosen a less conventional solution for one of Telemann’s trio sonatas (13-16). The sonata was originally composed for recorder, treble viola da gamba and basso continuo. A basso continuo group consisted of two (e.g., harpsichord and cello) or more instruments. Based on a practice that became increasingly more common in Telemann’s time, we have realised the three voices in a compressed form, with myself playing the top voice while Hans Knut plays the bass with his left hand and second voice with his right. Notice here also that the first voice features a canon of the second voice!

We have also opted for a French Ouverture, originally for oboe and basso continuo (published in “Der Getreue Music-Meister”, 1728), preceding the Partita in G-minor (3-10) from “Kleine Cammer-Music” (1716). Telemann later released these partitas for orchestra and this is one of the rare examples of him recycling his own material. When he created the orchestral versions, he added a French overture. So we got the idea from the master himself.

“Kleine Cammer-Music” consists of six partitas, printed in score form. Telemann opens up the possibility for the solo parts to be played on the oboe, violin or flute, though the score can also easily be played solely on the harpsichord. This collection belongs to Telemann’s earliest published works and was very well-received.

Although Telemann’s works are often perceived to be highly idiomatic, we musicians experience that in many cases this idiomaticness also works on several instruments. For example, you can hear how 2 pieces from a fantasy for violin sound on the bassoon (11-12).

We have also allowed Johann Friedrich Fasch, who had a deep admiration for Telemann, to join the party. With a reverent nod to his role model, he has provided us with a bassoon sonata (29-32). Finally, I have taken the liberty to incorporate 2 pieces by Frenchman Jean Daniel Braun into one of Telemann’s flute fantasies, the result being an approximation of a classic suite in five movement (24-28).

– FRODE THORSEN

Artist(s)

Bergen Barokk

Bergen Barokk was established in 1994 and is now considered one of Norway’s leading early music ensembles. Bergen Barokk has performed concerts in the Nordic countries, Poland, the Czech Republic, Russia and the United States as well as having many of their concerts broadcast. CDs are released on Simax Classics, BIS, Bergen Digital, Toccata Classics and LAWO Classics, with repertoires from German, English, French and Italian Baroque.   Since 2006, the ensemble has worked on the complete recording of Telemann’s cantata year-cycle “Harmonischer Gottes-Dienst”, a collection of 72 cantatas for all Sundays, Passiontide as well as feast days of the liturgical year. The project is supported by the University of Bergen and is published by Toccata Classics in London. Bergen Barokk has...
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Bergen Barokk was established in 1994 and is now considered one of Norway’s leading early music ensembles. Bergen Barokk has performed concerts in the Nordic countries, Poland, the Czech Republic, Russia and the United States as well as having many of their concerts broadcast. CDs are released on Simax Classics, BIS, Bergen Digital, Toccata Classics and LAWO Classics, with repertoires from German, English, French and Italian Baroque.
Since 2006, the ensemble has worked on the complete recording of Telemann’s cantata year-cycle “Harmonischer Gottes-Dienst”, a collection of 72 cantatas for all Sundays, Passiontide as well as feast days of the liturgical year. The project is supported by the University of Bergen and is published by Toccata Classics in London. Bergen Barokk has collaborated with ensembles such as Pratum Integrum (Moscow), The Norwegian Soloists’ Choir and Barokksolistene and has performed at festivals such as the Philadelphia Bach Festival, the Moscow Early Music Festival, the Bergen International Festival and the Janácek International Music Festival (Czech Republic). Bergen Barokk is supported by the municipality of Bergen and Arts Council Norway.

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Frode Thorsen

Frode Thorsen studied the recorder and composition at the Bergen Conservatory of Music and The Royal Academy of Music, Stockholm. Since his debut in 1984 he has been internationally active as a soloist and chamber musician, including with Bergen Barokk, which he founded with Hans Knut Sveen in 1994. Frode Thorsen has also worked as a composer, especially with music for theatre and dance. His discography includes several CD recordings with repertoires spanning the Middle Ages, Baroque and Contemporary music which can be found on a number of labels including BIS, Simax Classics, Toccata Classics and LAWO Classics. Frode Thorsen is professor of recorder and early music at the Grieg Academy (University of Bergen).
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Frode Thorsen studied the recorder and composition at the Bergen Conservatory of Music and The Royal Academy of Music, Stockholm. Since his debut in 1984 he has been internationally active as a soloist and chamber musician, including with Bergen Barokk, which he founded with Hans Knut Sveen in 1994. Frode Thorsen has also worked as a composer, especially with music for theatre and dance. His discography includes several CD recordings with repertoires spanning the Middle Ages, Baroque and Contemporary music which can be found on a number of labels including BIS, Simax Classics, Toccata Classics and LAWO Classics. Frode Thorsen is professor of recorder and early music at the Grieg Academy (University of Bergen).

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Hans Knut Sveen

Hans Knut Sveen is associate professor of harpsichord and early music at the Grieg Academy, University of Bergen. Together with Frode Thorsen he is in charge of Bergen Barokk and features in most of the productions by Barokksolistene. As a performer, Hans Knut Sveen is particularly fascinated by historical keyboard instruments and their copies, and he often experiments with the combination of acoustic, synthetic and sampled sounds.
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Hans Knut Sveen is associate professor of harpsichord and early music at the Grieg Academy, University of Bergen. Together with Frode Thorsen he is in charge of Bergen Barokk and features in most of the productions by Barokksolistene. As a performer, Hans Knut Sveen is particularly fascinated by historical keyboard instruments and their copies, and he often experiments with the combination of acoustic, synthetic and sampled sounds.

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Adrian Rovatkay

With his sensitive and passionate play, Adrian Rovatkay is a wellknown ensemble player and soloist. As a member of the ensembles Musica Fiata, Cantus C.lln, Das Kleine Konzert as well as with his own ensembles Dulcimer & Dulcian (with Margit .bellacker and Jürgen Banholzer), Chelycus (with Veronika Skuplik) and Satyros (with Christian Walter), Adrian Rovatkay is a frequent guest at international music festivals. As a soloist and ensemble player Adrian Rovatkay has made over 80 recordings (e.g. Deutsche Grammophon, EMI Classics, Zig Zag, Accent, harmonia mundi France, Sony, Ram.e, PAN, Chrismon). As a painter and musician, Adrian Rovatkay seeks to combine different art forms, leading to cross-border projects, that reflect his artistic identity.
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With his sensitive and passionate play, Adrian Rovatkay is a wellknown ensemble player and soloist. As a member of the ensembles Musica Fiata, Cantus C.lln, Das Kleine Konzert as well as with his own ensembles Dulcimer & Dulcian (with Margit .bellacker and Jürgen Banholzer), Chelycus (with Veronika Skuplik) and Satyros (with Christian Walter), Adrian Rovatkay is a frequent guest at international music festivals. As a soloist and ensemble player Adrian Rovatkay has made over 80 recordings (e.g. Deutsche Grammophon, EMI Classics, Zig Zag, Accent, harmonia mundi France, Sony, Ram.e, PAN, Chrismon). As a painter and musician, Adrian Rovatkay seeks to combine different art forms, leading to cross-border projects, that reflect his artistic identity.

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Composer(s)

Georg Philipp Telemann

Georg Philipp Telemann (14 March 1681 – 25 June 1767) was a German Baroque composer and multi-instrumentalist. Almost completely self-taught in music, he became a composer against his family's wishes. After studying in Magdeburg, Zellerfeld, and Hildesheim, Telemann entered the University of Leipzig to study law, but eventually settled on a career in music. He held important positions in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg in 1721, where he became musical director of the city's five main churches. While Telemann's career prospered, his personal life was always troubled: his first wife died only a few months after their marriage, and his second wife had extramarital affairs and accumulated a large gambling debt before leaving Telemann. Telemann was one of the most prolific composers in history (at least in terms of surviving oeuvre) and was considered by his contemporaries to be...
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Georg Philipp Telemann (14 March 1681 – 25 June 1767) was a German Baroque composer and multi-instrumentalist. Almost completely self-taught in music, he became a composer against his family's wishes. After studying in Magdeburg, Zellerfeld, and Hildesheim, Telemann entered the University of Leipzig to study law, but eventually settled on a career in music. He held important positions in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg in 1721, where he became musical director of the city's five main churches. While Telemann's career prospered, his personal life was always troubled: his first wife died only a few months after their marriage, and his second wife had extramarital affairs and accumulated a large gambling debt before leaving Telemann.
Telemann was one of the most prolific composers in history (at least in terms of surviving oeuvre) and was considered by his contemporaries to be one of the leading German composers of the time—he was compared favorably both to his friend Johann Sebastian Bach, who made Telemann the godfather and namesake of his son Carl Philipp Emanuel, and to George Frideric Handel, whom Telemann also knew personally. Telemann's music incorporates several national styles (French, Italian) and is even at times influenced by Polish popular music. He remained at the forefront of all new musical tendencies and his music is an important link between the late Baroque and early Classical styles.

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Press

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01.
Der getreue Music-Meister: Carillion in F-major (TWV 40:109)
01:58
(Georg Philipp Telemann) Bergen Barokk
02.
Der getreue Music-Meister: Gigue in F-major (TWV 41:F2)
01:44
(Georg Philipp Telemann) Bergen Barokk
03.
Der getreue Music-Meister: Ouverture - Très vîte (TWV 41:g4)
02:35
(Georg Philipp Telemann) Bergen Barokk
04.
Kleine Cammer-Musik, Partita 4 in g-minor (TWV 41:g2): Grave
01:37
(Georg Philipp Telemann) Bergen Barokk
05.
Kleine Cammer-Musik, Partita 4 in g-minor (TWV 41:g2): Aria 1, Allegro
01:05
(Georg Philipp Telemann) Bergen Barokk
06.
Kleine Cammer-Musik, Partita 4 in g-minor (TWV 41:g2): Aria 2, Allegro
02:07
(Georg Philipp Telemann) Bergen Barokk
07.
Kleine Cammer-Musik, Partita 4 in g-minor (TWV 41:g2): Aria 3, Tempo di Minuet
00:41
(Georg Philipp Telemann) Bergen Barokk
08.
Kleine Cammer-Musik, Partita 4 in g-minor (TWV 41:g2): Aria 4, Allegro
01:50
(Georg Philipp Telemann) Bergen Barokk
09.
Kleine Cammer-Musik, Partita 4 in g-minor (TWV 41:g2): Aria 5, A tempo giusto
01:45
(Georg Philipp Telemann) Bergen Barokk
10.
Kleine Cammer-Musik, Partita 4 in g-minor (TWV 41:g2): Aria 6, Allegro assai
02:03
(Georg Philipp Telemann) Bergen Barokk
11.
Fantasia VII in B-flat major (TWV 40.20): Dolce
01:31
(Georg Philipp Telemann) Bergen Barokk
12.
Fantasia VII in B-flat major (TWV 40.20): Allegro
02:50
(Georg Philipp Telemann) Bergen Barokk
13.
Sonata in C-major (TWV 42:C2): Dolce
01:20
(Georg Philipp Telemann) Bergen Barokk
14.
Sonata in C-major (TWV 42:C2): Allegro
01:47
(Georg Philipp Telemann) Bergen Barokk
15.
Sonata in C-major (TWV 42:C2): Grave
02:06
(Georg Philipp Telemann) Bergen Barokk
16.
Sonata in C-major (TWV 42:C2): Vivace
02:20
(Georg Philipp Telemann) Bergen Barokk
17.
Sonatina quinta (TWV 41:a4): Andante
02:11
(Georg Philipp Telemann) Bergen Barokk
18.
Sonatina quinta (TWV 41:a4): Allegro
01:55
(Georg Philipp Telemann) Bergen Barokk
19.
Sonatina quinta (TWV 41:a4): Andante
02:04
(Georg Philipp Telemann) Bergen Barokk
20.
Sonatina quinta (TWV 41:a4): Presto
01:57
(Georg Philipp Telemann) Bergen Barokk
21.
Trio sonata in g-minor (TWV 42:g9): Largo
02:10
(Georg Philipp Telemann) Bergen Barokk
22.
La Poste (TWV 35:2)
01:38
(Georg Philipp Telemann) Bergen Barokk
23.
Kleine Cammer-Musik, Partita 1 (TWV 41:B1): Aria 5
01:11
(Georg Philipp Telemann) Bergen Barokk
24.
Fantasia VIII in e-minor (TWV 40:9): Largo
02:01
(Georg Philipp Telemann) Bergen Barokk
25.
Corrente (Pieces sans Basse)
02:35
(Jean Daniel Braun) Bergen Barokk
26.
Lamenterole (Pieces sans Basse)
02:45
(Jean Daniel Braun) Bergen Barokk
27.
Fantasia VIII in e-minor (TWV 40:9): Allegro
01:19
(Georg Philipp Telemann) Bergen Barokk
28.
Fantasia VIII in e-minor (TWV 40:9): Spirituoso
01:19
(Georg Philipp Telemann) Bergen Barokk
29.
Sonata in C-major (FaWV N:C1): Largo
02:39
(Johann Friedrich Fasch) Bergen Barokk
30.
Sonata in C-major (FaWV N:C1): Allegro
02:43
(Johann Friedrich Fasch) Bergen Barokk
31.
Sonata in C-major (FaWV N:C1): Andante
02:49
(Johann Friedrich Fasch) Bergen Barokk
32.
Sonata in C-major (FaWV N:C1): Allegro assai
03:17
(Johann Friedrich Fasch) Bergen Barokk
33.
Fuga Sesta in F-major (TWV 30:26)
05:05
(Georg Philipp Telemann) Bergen Barokk
34.
Der getreue Music-Meister, Sonata in B-flat major (TWV 41:B3): Largo
01:18
(Georg Philipp Telemann) Bergen Barokk
35.
Der getreue Music-Meister, Sonata in B-flat major (TWV 41:B3): Allegro
02:59
(Georg Philipp Telemann) Bergen Barokk
36.
Der getreue Music-Meister, Sonata in B-flat major (TWV 41:B3): Largo
01:17
(Georg Philipp Telemann) Bergen Barokk
37.
Der getreue Music-Meister, Sonata in B-flat major (TWV 41:B3): Vivace
02:06
(Georg Philipp Telemann) Bergen Barokk
show all tracks

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