In the 17th century Europe was under the spell of the Italian
style. Composers went to Italy to learn the newest trends in
music, and Italian musicians were received with enthusiasm in
particular in Austria and Germany and given important jobs. That
influence lasted well into the first quarter of the 18th century.
But especially in the second half of the 17th century there were
also German composers who felt more attracted to the French style.
They were called 'Lullistes', because it was mainly Jean-Baptiste
Lully whom they admired. Some even went to Paris to study with
him. In the first half of the 18th century this influence still
held, and many composers were inspired by the French style. Among
them was Georg Philipp Telemann who had a strong liking for everything
French. From this perspective the title of this disc is stating
the obvious: Telemann's music was imbued with French musical
At the same time the title is bit misleading. As strong as the
French influence in Telemann's music was, he mostly mixed the
French taste with the Italian style. This 'goût réuni'
was aimed at by most German composers, not only Telemann, but
Bach, Fasch, Graupner and many others as well. In all compositions
on this disc we find a mixture of French and Italian elements
which is acknowledged in the programme notes.
The Overture belongs to the genre of the overture-suite. Its
roots are in French opera, which usually started with an overture
in three sections: a slow section in dotted rhythm, followed
by a contrapuntal fast section after which the first section
is repeated. This, and the instrumental dances from the opera,
were often performed independently, and this was the model for
the overture-suite which was hugely popular in Germany. Telemann
wrote many of them, and this Overture is just one of the three
which open every 'Production' of the collection which was published
under the title 'Musique de table'. This Overture is from the
first 'Production', and it has solo parts for two transverse
flutes and two violins. This fact is a clear indication of the
Italian influence, as well as how they develop their dialogues.
In 1737-38 Telemann stayed eight months in Paris, and here he
published his six Nouveaux quatuors. Even these are not entirely
French. This can be explained by the fact that the French had
embraced the Italian style at last. They liked Vivaldi very much;
Michel Corrette even used one of the concertos from his 'Four
Seasons' for a motet on the text of Psalm 148. And most French
composers were writing in the same 'goût réuni'
that Telemann and other German composers preferred. So it doesn't
surprise that Telemann's music went down well in France. He pays
tribute to the French by concluding the quartet with a chaconne
- entitled 'modéré' -, a musical form which no
French opera could do without.
These two pieces belong to the better-known works of Telemann.
This disc also contains two trios which are far less familiar.
They belong to a set of trios which Johann Joachim Quantz, teacher
of King Frederick the Great, referred to as written "alla
Francese" (in the French style). He used the Trio in e minor
as teaching material. They were advertised by the publisher Breitkopf
as late as 1763, which is remarkable considering that they were
probably composed before 1712. Both trios are in four movements:
slow - fast - slow - fast. As much as they were written in the
French style, according to Quantz, they also contain Italian
elements, like imitation between the parts and a considerable
sense of drama.
I think it is fair to say that there is a bit too much familiar
repertoire here. The Overture and the Quartet which have been
frequently recorded before and are regularly played at concert
platforms, take about three-quarter of this disc. I didn't know
the two trios, and I don't think they are easily available on
disc. This production had been more worthwhile if the programming
had been more adventurous.
And - I have to add - if the performances had been more adventurous
as well. To put it bluntly: they are pretty dull. I have heard
the Overture numerous times in much more lively and vibrant performances
than here. The fast section of the overture (vite) is too slow
and as a result there is too little contrast with the slow sections.
The rhythms of the dance movements, for instance the rondeau,
are not very marked. Especially in the passepied I noted how
few impulses the players receive from the basso continuo. And
the last movement, a gigue, is rather bland and not very dance-like.
I also noted a lack of differentiation. The repeated motifs in
the last movement of the Trio in b minor are always pretty much
the same. In the slow introduction of the Quartet in e minor
there is very little differentiation in the figurations in the
violin part. That part is also the weakness of the performance
as the violinist doesn't produce a very nice sound: it is often
shrill and scratchy. The next movement is called 'gai' (cheerful),
but that is not how it sounds here. The Trio in e minor begins
with a movement, called 'tendrement', but very tender it is not;
it rather lacks subtlety. The next movement, 'viste gai' (fast
and cheerful), is too slow, and the last movement (allegrement)
lacks depth and expression.
All in all this disc fails to communicate the beauty and expression
of Telemann's music. There are still people who think that his
music is mostly uninteresting, easy-listening stuff which goes
in one ear and goes out the other. They will probably find their
prejudices being confirmed by this disc. And I am sure that was
not the intention.
Johan van Veen