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Telemann - Sinfonia Spirituosa [String Concertos]
 
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Telemann - Sinfonia Spirituosa [String Concertos]

~ Georg Philipp Telemann (Composer, Orchestra), Reinhard Goebel (Conductor, Violin), Musica Antiqua Köln (Ensemble), Mary Utiger (Violin), Stephan Schardt (Violin)
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Product details

  • Orchestra: Georg Philipp Telemann
  • Conductor: Reinhard Goebel
  • Composer: Georg Philipp Telemann
  • Audio CD (6 May 2002)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Archiv
  • ASIN: B0000630QA
  • Other Editions: MP3 Download
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon.co.uk Sales Rank: 65,351 in Music (See Bestsellers in Music)

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1. "Sinfonia spirituosa" in D major TWV 44:1, for 2 violins, viola and basso continuo
2. Overture (Suite) in D major TWV 55:D6, for viola da gamba concertata, strings and basso continuo
3. Concerto in C major TWV 40:203, for 4 solo violins
4. Concerto in A major TWV 54:A1, for 4 violins, strings and basso continuo
5. Concerto in G major TWV 40:201, for 4 solo violins
6. Concerto in A major ("Die Relinge") TWV 51:A4, for violino principale, 3 violins, viola and basso continuo
7. Concerto in D major, TWV 40:202 for 4 solo violins
8. Symphonie in D major, TWV Anh. 50:1 for the centenary of the Hamburg trade deputation
On this CD:
  1. Sinfonia Spirituosa in D
    Composed by Georg Philipp Telemann
    Performed by Cologne Musica Antiqua
    with Reinhard Goebel

  2. Overture-Suite in D
    Composed by Georg Philipp Telemann
    Performed by Cologne Musica Antiqua
    with Jaap ter Linden, Reinhard Goebel

  3. Concerto for 4 Violins without Continuo in C
    Composed by Georg Philipp Telemann
    Performed by Cologne Musica Antiqua
    with Reinhard Goebel

  4. Concerto for 4 Violins and Strings in A
    Composed by Georg Philipp Telemann
    Performed by Cologne Musica Antiqua
    with Reinhard Goebel

  5. Concerto for 4 Violins without Continuo in G
    Composed by Georg Philipp Telemann
    Performed by Cologne Musica Antiqua
    with Reinhard Goebel

  6. Concerto for Violin, Strings and Basso Continuo, 'Die Relinge' in A
    Composed by Georg Philipp Telemann
    Performed by Cologne Musica Antiqua
    with Reinhard Goebel

  7. Concerto for 4 Violins without Continuo in D
    Composed by Georg Philipp Telemann
    Performed by Cologne Musica Antiqua
    with Reinhard Goebel

  8. Symphony in D
    Composed by Georg Philipp Telemann
    Performed by Cologne Musica Antiqua
    with Reinhard Goebel

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Customer Reviews

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Average Customer Review
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4.0 out of 5 stars Polygraph innovation, 24 Jan 2008
By Jon Chambers (Birmingham, England) - See all my reviews
(REAL NAME)      
Whilst this CD's companion volume (String Concertos) was badly let down by what seemed like an almost obsessive quest for novelty, here in volume two it is the music itself that does the innovating. The concerti for four unaccompanied violins, for instance, is ingenious and, as far as I know, utterly unique. There are three such works - in essence, solo violin quartets - all exploring the tonal possibilities of combining four instruments of the same colour! Strange concept, interesting results. Telemann varies the effects, contrasting harmony and unison in one work, open string playing alongside fingered strings of the same note in another, and so on. Two of the other works on offer, meanwhile, also feature four solo violins - this time with orchestra. (One of them, 'The Toad', is for principal violin plus three others, which amounts to much the same thing.)

Where the music occasionally fails to inspire, the intriguing colours of the Musica Antica Koln come to the rescue. The Overture (Suite) in D is a case in point. Compositionally rather mundane, the solo viola da gamba and the vibrant pizzicato of the theorbo more than compensate.

Telemann's enormous output (dwarfing even that of Bach) probably did his posthumous reputation a disservice. It has been estimated that he wrote something like 3,000 works and, in the dismissive words of an eighteenth century Hamburg professor who may have had him in mind, 'Polymaths seldom write masterpieces.' There aren't too many people who would claim masterpiece status for these concerti, but they are played with great distinction here nonetheless.
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4.0 out of 5 stars zum teufel, 7 Feb 2006
Zum Teufel!
This is the second volume of an anthology of Telemann’s string Konzerte by MAK (to a lesser extent, my remarks go for the earlier release too). Many years ago ‘they’ (i.e. Goebel and whomever he’d plucked from the German string schools of the time) recorded a fantastic record of the master on the same label (now budget on White Label) with some of the same material – that is the three works for four solo violin a cappella as it were (Telemann had no fear of alienating his demographic with these)… Now my expletive is explained by the fact that, in spite of MAK having been perhaps the greatest baroque band of all time (well since Zelenka, Leclair and Pisendel retired anyhow!), with the some of the best repertory, best accompaniment to vocals and … best sleeve notes – scandalously enough, I find the earlier versions better than these… The other music is harder to judge, but other performances of the gamba concerto seem as least as good as this one (Jaap der L., no spring chicken I should think, is more than competent as always).
The music is fantastic throughout; just in case there are any lingering suspicions out there that T is an embarrassed man’s Bach – an irrelevant definition but that’s the warped commonplace, – try track 16 or 23, something Bach I feel wouldn’t quite have thought of. But enough egregious comparison; the material’s fine, as inventive as T so often is (try out the Passion on Brilliant Classics for about 10 p. for some extraordinary male voice parts).
No, it’s the performances which seem to have lost their way… over the last few years (since Kraemer went) the ensemble has been getting a little ragged and the violin style seems to have been retreating to a wavering ‘expressiveness’ which is often inappropriate and doesn’t sound particularly assured or reassuring.
How is this possible? RG seemed eventually to have got over his injury (he suffered for RSI for many years and swapped his playing arm, can you imagine); but the aesthetic seems to have become ‘tender’ almost sentimental – but not ironically so, à la Biber… It pains me to say it (is he not responsible for the best baroque violin recording ever made – the German Chamber Music on emi reflexe [deleted!] ; only ‘equalled’ in quite another manner by London Baroque and recently by Garmignola), but has the time come to hang up the bow completely? Weinen, tränen, usw., usw…
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