Word: telemann
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Dates: during 1960-1969
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ADOLF SCHERBAUM (Deutsche Grammophon) is the world's foremost master of the baroque trumpet, an instrument without valves (which were not added until the 19th century). On this record he presents music by Vivaldi, Torelli, Telemann, Graupner and Fasch. Clearly conversant with the horn's volatile upper register, Scherbaum sends silver runs and trills echoing through imagined medieval castles or floating above mirrored lakes at dawn...
...TELEMANN: THE PASSION OF JESUS ACCORDING TO MARK (Philips; 2 LPs). Telemann was the most prolific member of the 18th century avantgarde, showing in his thousand-odd works a radical tendency to abandon Bach-type counterpoint in favor of melody and accompanying harmony. His Passion is given its first recording by the Lausanne Youth Choir and the Munich Pro Arte Orchestra, led by Kurt Redel, who has made a distinguished specialty of baroque music...
...Nonesuch). In bringing back the solo flute, the baroque revival has also headlined a brilliant French flutist, Jean-Pierre Rampal, who seems to have enough breath to tackle the entire 18th century output for his instrument. Turning from J. S. Bach and Mozart, Rampal has recently recorded music by Telemann, Pergolesi and others, as well as these melodic and graceful entertainments by Bach fils, accompanist for that royal flutist, Frederick the Great...
Allan Vogel '65, co-winner of the Orchestra's annual Concerto Contest, played Telemann's E-minor Oboe Concerto. Vogel has an enormous, full sound. Although you can never cover oboes up entirely. I used to think of them as being the delicate members of the wind section. I had no idea that Sanders could ring from the sound of a single oboist. His tone was pleasant, and his technique nearly flawless. I wasn't bowled over, but his phrasing and musicianship were equally good. [I was surprised that he hadn't memorized his part.] Music of this period...
...piano, with the barest of oom-pahs for orchestral accompaniment, he was calling for every ounce of expression the pianist could muster, and exposing it to the audience. Levin rose to the challenge, with an admirable blend of feeling and control. Mozart is not as sure fire as Telemann, and it kept the orchestra on its toes. The celli were lithe and interesting on a part that can't have been intrinsically fascinating...