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Telemann: Complete Violin Concertos, Vol. 2

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Telemann: Complete Violin Concertos, Vol. 2

~ Georg Philipp Telemann (Composer), Orfeo Baroque Orchestra (Orchestra), Elizabeth Wallfisch (Violin)

5.0 out of 5 stars See all reviews (2 customer reviews)

Price:	�10.79 & this item Delivered FREE in the UK with Super Saver Delivery. See details and conditions
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Product details

Orchestra: Orfeo Baroque Orchestra
Composer: Georg Philipp Telemann
Audio CD (26 Feb 2007)
SPARS Code: DDD
Number of Discs: 1
Label: Cpo
ASIN: B000M2EBVA

Average Customer Review: 5.0 out of 5 stars See all reviews (2 customer reviews)

Amazon.co.uk Sales Rank: 170,587 in Music (See Bestsellers in Music)

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5.0 out of 5 stars (2 customer reviews)

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3 of 3 people found the following review helpful:

5.0 out of 5 stars Superb!, 10 Sep 2007

By	Peter Ekelin (Stockholm, Sweden) - See all my reviews (REAL NAME)

Telemann wrote a lots of music and all is'nt good. But he's violin concertos are some small gems. Tuneful and variated with full of engaged energy. Some of them are coloured with ethnic dance form. Wallfisch play as the concertos demands; virtuostic with much feeling. The ensemble is also good, as is the recording quality. It's hard to sit still! Recommended.

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2 of 2 people found the following review helpful:

5.0 out of 5 stars First rate, 28 Jan 2008

By	Jon Chambers (Birmingham, England) - See all my reviews (REAL NAME)

Unsurprisingly, because Telemann's output was so enormous, the quality of his writing has been called into question. He is thought to have written around 3,000 works and words like 'workmanlike' have been used to describe a number of them. Abandoning all prejudices and listening to these pieces on their merits, however, terms like melodic and inventive would seem more apt.

There are seven concerti on this disc (TT: 64'21). This fact alone suggests that an Italian influence was at work. Like Vivaldi's concerti, they are succinct, combining attractive melodies, striking rhythms and virtuosic writing for the soloist. They are certainly not exhaustively Teutonic (some of Telemann's other concerto writing is almost symphonic in length). The Italian pattern of quick-slow-quick is found in four of these concerti, the other three having the slow introduction and four movement design of the French model.

Technically, Elizabeth Wallfisch handles everything with ease, varying her style to suit the cosmopolitan range of idioms. Where Telemann is skittish, as in the finale of the Concerto in b, she slides with great accuracy and surefootedness. Elsewhere, her tone is impressively Baroque - warm and subtle, yet always animated, and with the minimum of vibrato.

The recording, meanwhile, is the final piece of the highly accomplished jigsaw. It is full-blooded, showing a detailed, rich bass of the kind that shows these Baroque works at their best. All in all, an engaging and hugely enjoyable account that is probably destined to remain definitive for some while.

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