Overtures-Fantasias. Antoine Tamestit, viola; Sabine Fehlandt, viola; Bernhard Forck, Akademie fur Alte Musik Berlin. Harmonia Mundi HMM 902342.
By John J. Puccio
If you’re like me, you will immediately recognize the name of German Baroque composer Georg Philipp Telemann (1681-1767) but probably have trouble remembering anything he wrote. Alas, it is sometimes the fate of famous people who are perhaps more famous for their name alone than anything they actually did. The fact is, however, that Telemann was one of the most prolific composers of the Baroque age, maybe in all history, having written hundreds, if not thousands, of works. What’s more, he was a close friend of both J.S. Bach and Handel, and today he has a whole museum in Hamburg dedicated to him.
On the present disc, violist Antoine Tamestit with the Academy for Ancient Music Berlin under the direction of Bernhard Forck (and alongside violist Sabine Fehlandt in a couple of duets) present a survey of Telemann’s music for viola and orchestra, a survey that doesn’t begin to cover all of the composer’s work but gives us a pretty good idea of the man’s creative breadth and style. This effect is greatly heightened by the period instruments played by the Academy and the 1672 Stradivarius viola Temestit uses.
The secret, of course, is making anyone care. I mean, Telemann’s music can kind of run all together, much of it sounding alike, unless the performer is up to the task of making it come to life. It’s here that Mr. Tamestit comes into his own. The French violist (b. 1979) studied at the Paris Constervatory, won a string of international competitions, performed in a number of the world’s most prestigious concert halls, and is heading toward two dozen recordings. Yes, he breathes new life into Telemann.
It helps, too, that the viola itself has such a distinctive sound. It sometimes gets a bit lost between the deeper, mellower, more sonorous sound of its big brothers--the cellos and basses--and the sweeter, brighter sound of its more plentiful little brothers, the violins. Smaller than a cello but bigger than a violin, the viola has taken a number of different sizes and shapes (as well as a number of different names) over the years. Yet it has always made a joyful noise, and Telemann was among the first composers to popularize it and bring it to the attention of the world.
The first selection on the program is one of two Overtures, orchestral dance suites much like those of Bach and Handel. It’s the Overture burlesque for strings and continuo in B-flat major, TWV 55:B8 in seven brief movements. The numbers dance across the stage in various shapes and rhythms, and they provide a good, lively introduction to the set.
This leads us into the Concerto for viola, strings and continuo in G major, TWV 51:G9, which is where Tamestit really gets to strut his stuff. After a rousing finish to the Overture, the Concerto’s opening Largo sounds an especially solemn note. Fortunately, Tamestit brings it to life with some vibrant phrasing, leading cheerfully, and artfully, into the succeeding Allegro. It is an altogether delightful little piece and is well worth the price of the whole disc by itself.
By John J. Puccio
On the present disc, violist Antoine Tamestit with the Academy for Ancient Music Berlin under the direction of Bernhard Forck (and alongside violist Sabine Fehlandt in a couple of duets) present a survey of Telemann’s music for viola and orchestra, a survey that doesn’t begin to cover all of the composer’s work but gives us a pretty good idea of the man’s creative breadth and style. This effect is greatly heightened by the period instruments played by the Academy and the 1672 Stradivarius viola Temestit uses.
The secret, of course, is making anyone care. I mean, Telemann’s music can kind of run all together, much of it sounding alike, unless the performer is up to the task of making it come to life. It’s here that Mr. Tamestit comes into his own. The French violist (b. 1979) studied at the Paris Constervatory, won a string of international competitions, performed in a number of the world’s most prestigious concert halls, and is heading toward two dozen recordings. Yes, he breathes new life into Telemann.
It helps, too, that the viola itself has such a distinctive sound. It sometimes gets a bit lost between the deeper, mellower, more sonorous sound of its big brothers--the cellos and basses--and the sweeter, brighter sound of its more plentiful little brothers, the violins. Smaller than a cello but bigger than a violin, the viola has taken a number of different sizes and shapes (as well as a number of different names) over the years. Yet it has always made a joyful noise, and Telemann was among the first composers to popularize it and bring it to the attention of the world.
The first selection on the program is one of two Overtures, orchestral dance suites much like those of Bach and Handel. It’s the Overture burlesque for strings and continuo in B-flat major, TWV 55:B8 in seven brief movements. The numbers dance across the stage in various shapes and rhythms, and they provide a good, lively introduction to the set.
You get the idea. The ensemble play with authority and precision, and Tamestet performs with a skillful gusto, the players generating some wholly listenable tunes. My only regret was that there wasn’t more of it. Although the disc contains almost seventy minutes of music, it goes by more quickly than you want.
Anyway, the other items on the agenda are another Overture (where the percussionist comes into his own), the Canonic sonata for 2 violas, two Fantasias for solo viola (wonderfully inventive), ending with the enchanting Concerto for 2 violas, strings and continuo. All of them are little gems, prompting one to see clearly why Bach and Handel and most of the classical world of the Baroque period so admired Telemann’s music.
Producer Martin Sauer and engineers Tobias Lehman and Rene Moller recorded the music at Teldex Studio Berlin in July 2020. Harmonia Mundi has been recording period instruments for quite some time, and their practice pays off. The sound is smooth and natural, while providing plenty of detail. It’s perhaps a tad closer than I’d like, compressing a lot of the instruments into the center of the stage, but it’s a minor quibble that one quickly forgets. Besides, the solo viola parts benefit from the miking, giving full rein to the beauty and richness of the instrument’s sound. It’s quite a pleasant and lifelike presentation.
JJP
Anyway, the other items on the agenda are another Overture (where the percussionist comes into his own), the Canonic sonata for 2 violas, two Fantasias for solo viola (wonderfully inventive), ending with the enchanting Concerto for 2 violas, strings and continuo. All of them are little gems, prompting one to see clearly why Bach and Handel and most of the classical world of the Baroque period so admired Telemann’s music.
Producer Martin Sauer and engineers Tobias Lehman and Rene Moller recorded the music at Teldex Studio Berlin in July 2020. Harmonia Mundi has been recording period instruments for quite some time, and their practice pays off. The sound is smooth and natural, while providing plenty of detail. It’s perhaps a tad closer than I’d like, compressing a lot of the instruments into the center of the stage, but it’s a minor quibble that one quickly forgets. Besides, the solo viola parts benefit from the miking, giving full rein to the beauty and richness of the instrument’s sound. It’s quite a pleasant and lifelike presentation.
JJP
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