Listen & tracks
4 of 24 tracks have a preview · 6 works · 74:07
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Concerto I in D major, TWV 42Georg Philipp Telemann 4 movements14:10
- 1 Piacevole 2:21
- 2 Allegro 2:40
- 3 Largo 3:42
- 4 Vivace 5:27
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Concerto II in G minor, TWV 42Georg Philipp Telemann 4 movements12:19
- 5 Largo 3:10
- 6 Vivace 1 2:58
- 7 Soave 2:38
- 8 Vivace 2 3:33
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Concerto III in A major, TWV 42Georg Philipp Telemann 4 movements12:07
- 9 Tempo giusto 2:55
- 10 Vivace 2:59
- 11 Adagio 3:20
- 12 Presto 2:53
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Concerto IV in E minor, TWV 42Georg Philipp Telemann 4 movements13:23
- 13 Largo 2:53
- 14 Vivace 1 4:52
- 15 Dolce 3:15
- 16 Vivace 2 2:23
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Concerto V in B minor, TWV 42Georg Philipp Telemann 4 movements10:38
- 17 Adagio 2:42
- 18 Vivace 3:15
- 19 Gratioso 1:59
- 20 Presto 2:42
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Concerto VI in A minor, TWV 42Georg Philipp Telemann 4 movements11:30
- 21 Andante 3:37
- 22 Allegro 2:05
- 23 Largo 2:53
- 24 Allegro assai 2:55
Telemann published the set with several possible scorings, treating the keyboard and melody parts as partners in a concerted chamber dialogue rather than soloist and accompaniment.
Each concerto follows a four-movement path of its own, moving freely among German, Italian and French manners, dance rhythms and empfindsam lyricism.
Michatz plays voice flute and tenor recorder so that the original keys remain intact; Kornel meets the often virtuosic harpsichord writing as an equal. The result is polished advocacy for music that still sits outside the usual Telemann shortlist.
In the artist’s words
The plan to further engage with these six concerti goes back several decades. Unfortunately, it had to be postponed, as the diagnosis of focal dystonia in the midst of a flourishing career on transverse flute made it impossible to follow up on flute-related projects. The necessary shift in musical goals brought the recorder back into my artistic focus.
It should be noted that the motivation for this project was exclusively a musical one, and that it does not aim to engage or take sides in the debate relating to alleged ‘(mis-)appropriations’ of recorder players in regards to the repertoire for different instruments. It remains an undisputable fact that Telemann explicitly calls for the transverse flute in the title. Making use of the voice-flute in D, and the tenor recorder in C, the original keys and sonorities could be preserved, and the specific focus on variations in articulation that are specific to the recorder offered a congenial tool to speak Telemann’s musical language with affinity.
Reviews
This new recording is a most welcome addition to the growing body of works restoring (Telemann’s) fame and prestige to modern listeners. Hans-Dieter Michatz and Monica Kornel have … a natural affinity for Telemann’s music (and each other). Concerto no 2 is especially beguiling, played as it is on a tenor recorder … in the beautiful and searching opening largo … there is ample opportunity for tasteful ornamentation that enhances rather than obscures the tune. ★★★★
Hans-Dieter and Monika have worked together for a long time and one might say that they have got it right – the harpsichord accompaniment is almost background, affectionately melded to the recorder. It is a very pleasant-listening CD, delightful concerti, and polished in both performance and recording.
Michatz’s recorder playing, with his tasteful conception of ornamentation, varied palette of articulations, careful control of dynamics, choice of instruments, and careful attention to ensemble interaction, is a real joy … Michatz and Kornel provide solid advocacy for Telemann in fair weather and foul, and the programme as a whole casts important new light for me on the varied output of a varied composer.
Michatz succeeds in transferring the subtle timbres and liveliness of his traverso playing to the lower recorder types. Harpsichordist Monika Kornel, his longstanding colleague from the ‘Sydney Consort’, complements him in an equal and subtle partnership. Remarkably refined Agogics and Articulation make for true listening pleasure. In the constant search for substantial pieces that can be represented on recorder, this is a convincing discovery, and the listener can fully appreciate the interesting, and emotionally charged music.
Artists
Georg Philipp Telemann
composer
Georg Philipp Telemann (1681–1767) was a German Baroque composer and multi-instrumentalist. Almost completely self-taught, he became a composer against his family's wishes and ranked among the leading German musicians of his age.
Hans-Dieter Michatz
voice flute and tenor recorder
Playing modern and baroque flute as well as recorder, Hans-Dieter Michatz has performed and recorded with The Australian Opera and Ballet Orchestra, The Sydney Chamber Orchestra, Sydney Philharmonia Choirs, the ABC, the Australian Brandenburg Orchestra, as well as in Musica Viva Education Project.
Monika Kornel
harpsichord
Monika Kornel studied piano at the Torun State Conservatorium of Music (Poland), where she received her Diploma in Music Performance.
Digital booklet
Digital booklet Notes, texts and credits — read online or download the PDF Download the PDFPerformers
- Hans-Dieter Michatz · voice flute and tenor recorder
- Monika Kornel · harpsichord
Technical credits
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Contributor
Antonia Gauci
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Producer
Sally Melhuish
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Recording Engineer
Bob Scott
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Editing Engineer
Jason Blackwell
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Venue
EMI Studios 301
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Thanks to
Martin Wright
Details
- List price
- $25.00 AUD
- Total playing time
- 74 minutes 7 seconds
- Release date
- 1 Mar 2018
- Category
- Baroque
- Genre
- Baroque
- Musical work copyright
- © 2018 Hans-Dieter Michatz
- Sound recording copyright
- ℗ 2018 Move Records
- Catalogue
- MCD 576
- EAN
- 9314574057621
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