TELEMANN Music For Flute, Brilliant Classics 2016

Hanspeter Oggier & Ensemble Fratres

95147 Telemann Music for Flute kleine Auflösung

Hanspeter Oggier, pan flute
Flavio Losco, violin
Nicolas Penel, violin
Laurent Galliano, viola
Mathieu Rouquié, cello
Benoît Bératto, double bass
Margret Köll, Baroque harp
Pierre-Louis Rétat, harpsichord

Georg Philipp TELEMANN (1681-1767)

Suite in A minor, TWV 55:a2, for flute, strings and basso continuo

1. I. Ouverture
2
. II. Les plaisirs
3
. III. Air à l’Italien
4
. IV. Menuett I-II
5
. V. Rejouissance
6
. VI.Passepied I-II
7
. VII. Polonaise

Concerto in D, TWV 51:D2, for flute strings and basso continuo

8. I. Moderato
9
. II. Allegro
10
. III. Largo
11
. IV. Vivace

Suite „La Bizarre“ in G, TWV 55:G2, for strings and basso continuo

12. I. Ouverture
13
. II. Courante
14
. III. Gavotte en Rondeau
15
. IV. Branle
16
. V. Sarabande
17
. VI. Fantaisie
18
. VII. Menuet I-II
19
. VIII. Rossignol

Concerto in G, TWV 51:G2, for flute (or oboe), strings and basso continuo, reconstructed by Arn Aske

20. I. Andante
21
. II.Vivace
22
. III. Adagio
23
. IV. Allegro

Telemann wrote so much and so well for the flute with the understanding of one who knew the instrument from the inside. ‘How my heart beats,’ he wrote, ‘when I see the walls and corners of the room covered with musical instruments… Excellent instrumentalists have made me want to improve my performance on my instruments. I would have done so if an inner fire had spurred me beyond the keyboard, the violin and the flute, to learn the oboe, the chalumeau, the viola da gamba, or indeed the double bass and the bass trombone.’

In line with their earlier work on Vivaldi for Brilliant Classics (BC95078), Hanspeter Oggier and the Ensemble Fratres have now chosen to address the delectable feast of Telemann’s wonderfully joyous music....

Meticulous in his work, alert and inventive, Telemann was a great colourist whose coherence and open mindedness enabled him to address the widest audience. The particular appeal of this collection is that the flute parts are taken by the pan-flute, which lend a rustic, sometimes insouciant colour to pairs of suites and concertos.

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.

 

 


 

VIVALDI Pan Flute Concertos, Brilliant Classics 2015

Hanspeter Oggier & Ensemble Fratres

Vivaldi pan flute concertos cover

Flavio Losco, violin
Nicolas Penel, violin
Laurent Galliano, viola
Mathieu Rouquié, cello
Benoît Bératto, double bass
Margret Köll, Baroque harp
Luca Pianca, theorbo and archlute
Pierre-Louis Rétat, harpsichord

Antonio VIVALDI (1678-1741)

Concerto La Notte pour flûte, cordes et basse continue, en sol mineur, op. 10/2, RV 439

1. I. Largo
2. II. Presto (Fantasmi)
3. III. Largo
4. IV. Presto
5. V.  Largo (Il sonno)
6. VI. Allegro

Concerto pour deux violons, cordes et basse continue, en la mineur, op. 3/8, RV 522, extrait de L’Estro Armonico  

7. I. Allegro
 
8. II. Larghetto e spiritoso
9. III. Allegro

Concerto pour flûte, cordes et basse continue, en sol majeur, op. 10/4, RV 435

10. I. Allegro
11. II. Largo
 
12. III. Allegro

Concerto pour deux violons, violoncelle, cordes et basse continue, en ré mineur, op. 3/11, RV 565, extrait de L’Estro Armonico

13. I. Allegro – Adagio spiccato – Allegro
14. II. Largo e spiccato
 
15. III. Allegro

Concerto Il Cardellino pour flûte, cordes et basse continue, en ré majeur, op. 10/3, RV 428

16. I. Allegro
17. II. Cantabile
 
18. III. Allegro

Concerto pour flûte, cordes et basse continue, en la mineur, RV 108

19. I. Allegro
20. II. Largo
 
21. III. Allegro

Sinfonia al Santo Sepolcro per archi, RV 169

22. I. Adagio molto
 
23. II. Allegro ma poco

Extrait du Nisi Dominus, RV 608

 24. Cum dederit (Andante) pour flûte, cordes et basse continue

This recording gathers together some of Vivaldi’s finest and most famous virtuoso flute concertos. Prominent among them are two masterpieces of figurative music: La notte, which evokes the agony of a restless night, populated by ghosts, and then the soothing effect of deep sleep; and Il gardellino, in which the swirling flute mimics the cheerful song of the goldfinch. ...

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!

 


 

ARPEGGIONE, musica nobilis 2008

image-cover-CD-Arpeggione

Sonate „Arpeggione“ D 821

Franz Schubert (1797-1828) | la mineur / A minor / a-moll
Transcription: Konrad Hünteler

Allegro moderato

Danses Populaires Roumaines

Béla Bartók (1881-1945) | Transcription: Zoltán Székely

Pe loc
Mărunţel

Suite Paysanne Hongroise

Béla Bartók (1881-1945) | Transcription: Paul Arma

Vieille danse 7

Andante et Rondo op. 25

Franz Albert Doppler (1821-1883)

Rondo

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