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TELEMANN, Ensemble L'Apotheose, Enrico de Felice

6 Nouvelles Sonatines Hamburg 1730/1731

Sonatina I TWV 41:e3 Sonatina III TWV 41:D7 Sonatina IV TWV 41:G7 Sonatina TWV 41:a4 in A minor Sonatina TWV 41:c2 in C minor for recorder or bassoon or cello & b.c. Sonatina VI TWV 41:E1
  • Ensemble L'Apotheose
  • Enrico de Felice - flute
  • TELEMANN
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49.00 PLN

CD:

Nr kat.: STR33901
Label  : Stradivarius

Telemann: 6 Nouvelles Sonatines Hamburg 1730/1731 L’Apothéose: Enrico Di Felice (flute), Daniele Bovo (cello) & Francesco Bianco (harpsichord) “Amongst the wealth of instrumental music written by Telemann, the compositions destined for the flute are of fundamental importance both in their own right and in the context of seventeenth century flute music as a whole. A noted eclectic composer, Telemann published several collections of sonatas dedicated to the flute between 1728 and 1734, each with its own diverse characteristics. [...] Amongst these works, all of which are as greatly appreciated today as when they were first published, the Nouvelles Sonatines came to light, published in Hamburg in 1730/31. This collection, made up of six sonatas with a figured bass accompaniment, has been until recently unexplored due to an incomplete score with the bass part missing. [...] On a purely compositional level, the Nouvelles Sonatines do not follow a single stylistic pattern or methodic path similar to those present in the works by Telemann where attention is drawn to the didactic intention. It is also not completely clear as to why Telemann should call them sonatine. The compositions that make up the collection are what can be defined as standard dimension both in relation to the period and the personal style of the composer. Regarding the difficulty of performance, they are by no means technically simpler, and therefore not written for amateur instrumentalists. The description nouvelles seems much more appropriate as the sonatas in this collection often, although not always, explore more modern territory that will later lead to the Galante style. [...] In brief, the collection lacks homogeneity in one sense, but exhibits the extraordinary ecleticism of Telemann that alternates, in a well-balanced way, tradition and innovation”. (Enrico Di Felice, liner notes)

 

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