The Suite, for harpsichord in A Major (from the
Clavierbüchlein of W.F. Bach BWV 824) was was formerly
attributed to Johann Sebastian Bach as BWV 824. It is
now considered to be the work of Georg Philipp Telemann
and categorized as (TWV 32:14).
The young musicians emerging from the vigorous
historical-performance education programs of
northwestern Europe have increasingly often turned to
the vast body of chamber music by Georg Philipp
Telemann, intent on raising his reputation from tha...(+)
The Suite, for harpsichord in A Major (from the
Clavierbüchlein of W.F. Bach BWV 824) was was formerly
attributed to Johann Sebastian Bach as BWV 824. It is
now considered to be the work of Georg Philipp Telemann
and categorized as (TWV 32:14).
The young musicians emerging from the vigorous
historical-performance education programs of
northwestern Europe have increasingly often turned to
the vast body of chamber music by Georg Philipp
Telemann, intent on raising his reputation from that of
prolific scribbler to something resembling the esteem
in which he was held in his own time. This delightful
disc will help in the enterprise, for the Dutch-based
group La Primavera brings to Telemann's music a clarity
that illuminates the kaleidoscopic textures and the
sheer imaginative fun of his music. These chamber
pieces are long on charm and never really weighty. But
they break through the generic boundaries of the day --
consider the first and third works on the album, where
the harpsichord is emancipated from its role as
accompanimental instrument. And they are full of moves
that break up the texture for no other reason than to
offer sensuous delight -- in this music, one hears the
style that would be called galant as it takes shape.
The players of La Primavera bring all this out
admirably. The harpsichord's changing roles are
sensitively elucidated by Menno van Delft, and the
recorder of Clémence Comte, here as elsewhere, is a
marvel of intonational accuracy, both in itself and in
its incorporation into complex ensemble textures. The
balance among the instruments is remarkably precise
throughout, and the overall impression is one of ease
attained through sustained effort. Highly recommended,
for anything from a garden party to a serious
collection focusing on late Baroque style, and extra
points for the fanciful flora and fauna (watch out for
the roach) that decorate the booklet.
Although originally written for Harpsichord. I created
this Arrangement of the Allemande from Suite in A Major
(BWV 825/TWV 32:14 No. 1) for Violin & Cello.
PARTITION