Final movement and conclusion of the set of six quartets for flute, violin, viol or cello and continuo, Nouveaux Quatuors. Recorded live on our series in the 2012–2013 season.

Notes: Characteristic features of Telemann's chamber most apparent here is the seemingly conversational relationship that the three melody instruments—flute, violin and the fretted viola da gamba—have with each other. This work arose during a visit to Paris at the invitation of four of France's leading composers, all admirers of Telemann who'd asked him him join their company and share in some colleagial creativity. He has written in the late French high baroque style favored by Jean-Philippe Rameau's generation.

Relevance: Chamber work by the project composer, from Bach's personal music collection. We will perform another work from this same collection.

Telemann: Quartet VI, TWV 43:e4, vi. Passacaille, Modéré

First movement from Telemann's Concerto in F for violin, 2 horns, timpani, 2 flutes, 2 oboes, bassoon, strings and continuo. Concertmaster Emlyn Ngai, solo violin. Recorded live on our concert series in the 2008–2009 season.

Notes: An example of Telemann's experiments in the newly-emerging classical style, a markedly different musical aesthetic from the baroque style for which he is most associated today, for instance as heard in the other Concerto-Suite example in this playlist. Its brilliantly-hued orchestration is characteristic of the imaginative lengths of coloration he could go to when he had large forces at his disposal. This piece was sent to J.G. Pisendel, concertmaster of the famous Dresden Hofkapelle orchestra, one of the best ensembles in Europe during the baroque era.

Relevance: Orchestral work to be included in the performance and recording portions of the proposed project, from the music collection of Dresden concertmaster J.G. Pisendel. 

Telemann: Concerto-Suite in F, TWV 51:F4, i. Presto.

1st movement from Telemann's Concerto in F for 2 horns, recorder, 2 oboes, bassoon, violin, 2 cellos, strings and continuo. Recorded live on our series in the 2009–2010 season. 

Notes: An example of Telemann's high baroque style, for which he was best known, which demonstrates his creative, coloristic approach to orchestration and characteristic rhythmic drive. Alongside the early-classical movement of another work from this same concerto-suite genre (previous sample), this demonstrates in part his broad stylistic range and penetrating depth. The writing for the valveless natural horns is particularly noteworthy in its technical demands. 

Relevance: Orchestral work to be included in the project, both concert and recording, from the music collection of Dresden concertmaster J.G. Pisendel.  

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