In Telemann the prevalence of curiosity over perfectionism suggests the desire to produce works that were straightforward and accessible to all. There is no hint of superficiality in this approach, however: he sensitively assimilated both Italian and
French musical languages as well as certain traditional Polish stylistic elements. These and other ingredients he accepted as simple, pliable mother tongues, without trying to adapt them to his native German idiom.

This is evident in the Suite in A minor TWV 55:a2, which is actually highly instructive as a source of inspiration for Bach’s Suite in B minor BWV 1067. Likewise the short Concerto in D TWV 51:D2 and the Concerto in G TWV 51:G2 offer telling examples of Telemann’s liberal, intelligent use of a generous palette of harmonic, rhetorical, melodic and rhythmical colours. Everything is there to hand, yet there is nothing in excess. Even when the composer indulges in a touch of caricature, as in the Suite ‘La Bizarre’ in G major RWV 55:G2, nothing is excessive, and nothing is wanting. This is synthesis reconciled with reverie: a touch of melodic harshness, immediately tempered by elegance, even in the concertato dialogues, where much is surprising and everything harmonious.

In the Baroque it was by no means uncommon for composers to freely transcribe and arrange their own works or works by others for a different instruments. Therefore, any present day attempt of alternative instrumentation should be viewed with respect and curiosity: the result counts. And what result we encounter on this new recording of Flute Concertos by Telemann transcribed for the Pan Flute! By turns dramatic and furious, sweet and beguiling: the pan flute has infinite colouristic qualities to do full justice to these master works.
The pan flute in its present form originates from 17th century Rumania, mostly used as a folk music instrument. However the use of the pan flute in “classical” Baroque music is by no means an abomination. The improvisatory character, the organic way of tone production which is regulated by the intensity of the breath of the player suit the Baroque music particularly well!
Exhilarating performances by Master Pan flutist Hanspeter Oggier and his Ensemble Fratres. They already recorded successfully flute concertos by Vivaldi for Brilliant Classics (BC95078).
Extensive liner notes on the music and the instrument included.

Entrusting the soloist’s part to the pan flutes may seem, at first glance, a bold and unusual approach. However, there are both historical and aesthetic justifications. The panpipes originated from 17th century Europe, notably the Romanian nai, hardly far in place or time from Vivaldi’s Venice. And far from distorting his music, the panpipes lend a bright and warm matching colour to it.

It may also be remembered that recorder virtuosos such as Frans Brȗggen and Michaela Petri have long claimed this music for themselves and with sparkling results: what matters is the musicianship, and in Hanspeter Oggier the panpipes have a worthy champion. This Swiss-born student of the legendary ‘Syrinx’ (to be heard on DG albums of the 1980s) graduated from the conservatoire in Lucern in 2010, and has built a performing career for himself with particular emphasis on successful collaborations with Baroque bands such as Ensemble Fratres, which here is a one-per-part string group, though they expand to include works on the grandest scale including Haydn’s Creation.

Vivaldi flute concertos, played on…pan flute!

the pan flute in its present form originates from 17th century Rumania, mostly used as a folk music instrument. However the use of the pan flute in “classical” Baroque music is by no means an abomination. The improvisatory character, the organic way of tone production which is regulated by the intensity of the breath of the player suit Vivaldi’s music perfectly, his scores invite for passionate, declamatory and improvising music making!

This recording by pan flute player Hanspeter Oggier and his ensemble Fratres present a spectacular performance of some of the best loved flute concertos by Vivaldi, notably La Notte and Il Gardellino. Theatrical, dramatic, brimming with vitality, suspense and fun they shed a completely new light on these masterpieces!