Ludger Remy - Coronet Cantatas - COMPACT DISCS [CD]

Telemann remains a paradox The deeper one delves into his oeuvre, the more boundless his legacy seems - like entering a mysterious treasure trove where the eyes gradually adjust to the wealth amassed within, yet never fully grasp it's true extent. The sheer abundance of his orchestral works and concertos seems to grow exponentially with each new publication. When previously lost compositions unexpectedly resurface - such as these six overtures from 1736, of which only a single printed copy had survived - we are left speechless. Suddenly, an exquisite assortment unfolds before us, featuring InchclassicalInch Baroque dance forms interspersed with exotic elements such as the Polonaise and Murky, imaginative character sketches, and various fashionable pieces, all presented in a kaleidoscope of colors. How effortlessly time flies by! Album Tracks 1. Ouverture No. 1 in F major TWV 55 F1~Ouverture 2. Ouverture No. 1 in F major TWV 55 F1~Pastourelle 3. Ouverture No. 1 in F major TWV 55 F1~Rondeau 4. Ouverture No. 1 in F major TWV 55 F1~Gigue 5. Ouverture No. 1 in F major TWV 55 F1~Loure 6. Ouverture No. 1 in F major TWV 55 F1~Menuet 7. Ouverture No. 1 in F major TWV 55 F1~Chaconne 8. Ouverture No. 2 in A major TWV 55 A1~Ouverture 9. Ouverture No. 2 in A major TWV 55 A1~Branle 10. Ouverture No. 2 in A major TWV 55 A1~Gaillarde 11. Ouverture No. 2 in A major TWV 55 A1~Sarabande 12. Ouverture No. 2 in A major TWV 55 A1~Réjouissance 13. Ouverture No. 2 in A major TWV 55 A1~Passepied 14. Ouverture No. 2 in A major TWV 55 A1~Canarie 15. Ouverture No. 3 in E flat major TWV 55 Es1~Ouverture 16. Ouverture No. 3 in E flat major TWV 55 Es1~La douceur 17. Ouverture No. 3 in E flat major TWV 55 Es1~Menuet 18. Ouverture No. 3 in E flat major TWV 55 Es1~Les coureurs 19. Ouverture No. 3 in E flat major TWV 55 Es1~Air 20. Ouverture No. 3 in E flat

Georg Philipp Telemann's chamber oeuvre has always had a significant place in the repertoire of the Camerata Köln. The ensemble's contributions to this field have included complete recordings of magnificent cyclical work groups such as his Essercizii musici, Trios of 1718, Six Concerts et Suites, Die kleine Kammermusik, and Der getreue Music-Meister. The present rounds off the complete recording of Telemann's concertos with wind instruments on a total of 16 albums on cpo. The Baroque orchestra La Stagione Frankfurt led by Michael Schneider performed the orchestral compositions, and the Camerata Köln was responsible for the chamber works - and the wind soloists of the two ensembles are identical. The second of the Concerti da Camera once again contains chamber masterpieces by Telemann featuring a complex texture of parts in a concerto style in which each of the concertizing instruments is allowed to come forward with thematic material as well as with figurations. Album Tracks 1. Quartet TWV 43 F6 in F Major for Violin, Horn, Bassoon & B.C.-Concerto 2. Quartet TWV 43 F6 in F Major for Violin, Horn, Bassoon & B.C.-Rigadon 3. Quartet TWV 43 F6 in F Major for Violin, Horn, Bassoon & B.C.-Passepied 4. Quartet TWV 43 F6 in F Major for Violin, Horn, Bassoon & B.C.-Giga 5. Concerto TWV 51 D6 in D Major for Oboe, Violin, Viola & B.C.-Molto Allegro 6. Concerto TWV 51 D6 in D Major for Oboe, Violin, Viola & B.C.-Adagio 7. Concerto TWV 51 D6 in D Major for Oboe, Violin, Viola & B.C.-Vivace 8. Quartet TWV 43 C2 in C Major for Flute, Bassoon, Viola Da Gamba & B.C.-Grave 9. Quartet TWV 43 C2 in C Major for Flute, Bassoon, Viola Da Gamba & B.C.-Allegro 10. Quartet TWV 43 C2 in C Major for Flute, Bassoon, Viola Da Gamba & B.C.-Largo 11. Quartet TWV 43 C2 in C Major for Flute, Bassoon, Viola Da Gamba & B.C.-Vivace

There are indeed many recordings of Monteverdi's Vespers of the Blessed Virgin, but the special thing about this particular recording is that it was produced following the performances of a scenic interpretation with the Spanish stage director Calixto Bieito. What now follows is a musical exploration forming a sequel to scenic occupation with the Vespers. Since 2017 Il Gusto Barocco has been the guest ensemble for the four-part Monteverdi cycle initiated by opera director Albrecht Puhlmann at the Mannheim National Theater. From the musician's perspective, the scenic exploration of music rooted in the liturgy does in fact clearly differ from a performance during a religious service or a non-scenic concert performance. During the time-intensive process prior to the staging of an opera, scenes, images, and figures gradually take shape. In each stage figure the quest is for an emotional truth from which her or his artistic nature, aesthetic character, and credibility result - and ultimately word and tone, in order to produce empathy and engage the public. Another important aspect of this recording is the great number of diminutions in all the instrumental and vocal parts, all of which were improvised at the particular moment. During the shared scenic preparation for the opera stage, the individual movements of the Marian Vespers obtained a definite emotional space in the dramaturgical sequence. Accordingly, sections and their basic characters were defined and invented at the particular moment for each performance and for this recording. Album Tracks 1. Domine Ad Adiuvandum 2. Dixit Dominus (Psalm 109) 3. Nigra Sum (Motette) 4. Laudate Pueri (Psalm 112) 5. Pulchra Es 6. Laetatus Sum (Psalm 121) 7. Duo Seraphim (Concerto) 8. Nisi Dominus (Psalm 126) 9. Audi Coelum 10. Lauda Jerusalem (Psalm 147) 11. Sonate Über Sancta Maria, Ora Pro Nobis 12. Ave