(1681–1767) No. 1 in G major, TWV 40:118 Fantasia No. 6 in D minor, TWV 40:7 1. Vivace [1:44] for Melodious Canons (Paris, 1738) 2. Adagio [1:55] 19. Dolce [4:56] Fantasia for violin (, 1735) 3. Allegro [1:55] 20. Allegro [1:32] Fantasias for flute (Hamburg, 1727–28) 21. Spirituoso [1:04] Sonata No. 2 in G minor, TWV 40:119 4. Presto [1:31] Sonata No. 5 in A major, TWV 40:122 5. Largo [1:25] 22. Vivace [2:18] 6. Vivace [1:24] 23. Cantabile [1:38] Elysium Ensemble 24. Schentando [3:22] Fantasia No. 12 in G minor, TWV 40:13 Greg Dikmans flute for No. 6 in A minor, TWV 40:123 Lucinda Moon violin 7. Grave—Allegro—Grave—Allegro— 25. Vivace [2:03] Dolce—Allegro [3:32] 26. Soave [1:56] 8. Presto [3:38] 27. Allegro assai [2:17] Fantasia No. 7 in E-flat major, TWV 40:20 for violin Total playing time [59:13] 9. Dolce [2:00] 10. Allegro [3:41] 11. Largo [2:11] 12. Presto [1:13]

About the Elysium Ensemble: Sonata No. 3 in D major, TWV 40:120 13. Spirituoso [2:15] ‘The music connoisseur looking for refined and expertly 14. Larghetto [1:14] crafted performances of neglected musical gems will find 15. Allegro assai [2:18] this recording an unalloyed delight.’ International Record Review Sonata No. 4 in D minor, TWV 40:121 on Quantz: Sei Duetti, Op. 2 (RES10136) 16. Vivace ma moderato [1:46] 17. Piacevole non Largo [2:38] ‘Their easy rapport guarantees 70 minutes of delight.’ 18. Presto [1:31] The Sunday Times on Boismortier: Six Sonates, Op. 51 (RES10171) Georg Philipp Telemann (1681–1767): While a student in Hildesheim (1697–1701), Melodious Canons & Fantasias Telemann frequently visited the nearby courts at Hanover and Brunswick-Wolfenbüttel. He This recording of canons and fantasias by tells us in the first of his three published Telemann is the third in a series to be autobiographies (1718): produced as part of a historical performance research project initiated in 2010 by the I thus became acquainted with the French style Elysium Ensemble’s principals, Greg from the former [Hanover], with the Italian and theatrical styles from the latter [Brunswick- Dikmans and Lucinda Moon. Wolfenbüttel], and from both I learned the diverse natures of various instruments, The aim of the project is to identify neglected which I spared no effort to master myself. or newly discovered chamber music from the Baroque and early-Classical periods In addition to violin, keyboard and recorder, (1600–1800) with a view to bringing it to a he now took up the flute, , chalumeau, wider audience through historically informed da gamba, and bass trombone. performances and recordings. After moving to Leipzig in 1701 (aged twenty) to An important aspect of the project is to study law, Telemann had further opportunities dedicate time to experiment with, explore to become familiar with the French style and reflect on the music in a way that is not through visits to the royal court at Berlin, often possible in the hectic life of where the Belgian dancing master Jean- professional music making. Baptiste Volumier had introduced the French manner of performance. Magdeburg, Hildesheim and Leipzig Telemann was born in Magdeburg on 14 Sorau (Poland) March 1681. He was a precocious child. At By early June 1705 (aged twenty-four) age ten he had singing lessons, organ Telemann had taken up the position of lessons and taught himself the recorder, Kapellmeister to Count Erdmann II of Promnitz violin and zither. By transcribing scores of at Sorau, Lower Lusatia (now Żary, in Poland). other composers he learnt the principles The Count had developed a taste for French of composition and by age twelve he had instrumental music after recent travels written , motets, instrumental pieces through France and Italy. Telemann immersed and an . himself in the French style, later estimating that in two years he wrote 200 French suites. Telemann moved to Frankfurt in 1712 (aged In a fifteen year period he published forty- Retirement and the Berlin Circle At Sorau Telemann was also exposed to thirty-one) to take up the post of city director three collections of music and established From 1740 Telemann seems to have gone Polish and Moravian folk music: of music and Kapellmeister at the a distribution network of agents and into semi-retirement, wishing to devote his Barfüsserkirche. His duties included writing booksellers from Berlin to London. remaining years to writing theoretical treatises, I became acquainted […] with Polish and and directing the music for various civic although he continued with his official duties Hanakian music in its true barbaric beauty. occasions and two churches, for which he The Triumphant Visit to Paris in Hamburg. He remained interested in In the common taverns it consisted of a fiddle strapped to the body and tuned a wrote several annual cycles of church Telemann spent eight months in Paris in developments and innovations in music, and third higher than usual so that it could drown . 1737–38 at the invitation of some of the during the 1740s and 1750s exchanged out a half dozen others, a Polish Bock [a type leading musicians of the time. He was at letters and compositions with the younger of bagpipe], a bass trombone, and a regal. Hamburg the height of his fame in and was generation of composers working in Berlin, In 1721 (aged forty) Telemann was invited received with great acclaim. He regarded including C.P.E. Bach, Johann Joachim Quantz, One can hardly believe what wonderful to take over the prestigious positions of this visit as the highlight of his career. , Carl Heinrich Graun and Johann ideas such Bock players or fiddlers have when they improvise while the dancers rest. Kantor of the Johanneum Lateinschule and While there he obtained a twenty-year Friederich Agricola. From the small amount […] In eight days an observant person could musical director of the five main churches royal publishing Privilège and used it to of correspondence that has survived it is snap up enough ideas from them to last a in Hamburg. The posts demanded a issue two of his finest collections of clear that Telemann strongly influenced the lifetime. Suffice it to say that there is very productivity unheard of today. For each instrumental chamber music: the work of this school of composers. much in this music that is good, if it is Sunday he was expected to write two church Nouveaux quatuors (also known as the handled properly. cantatas and for each year a new Passion ‘Paris’ Quartets) and the XIIX Canons Telemann died in Hamburg on 25 June 1767. for . Special cantatas were required mélodieux (18 Melodious Canons) Eisenach and Frankfurt for induction ceremonies, and recorded here. The Mixed Style In 1708 Telemann was appointed for the consecration of churches. Still more Italian and French were the two dominant Konzertmeister, and later Kapellmeister, of cantatas had to be written and performed It is clear from his autobiography that styles of music and performance in the the newly formed court musical to mark civic celebrations, of which there Telemann had composed these works for seventeenth century. By the 1720s a new establishment of Duke Johann Wilhelm of were many; and, once a year, to entertain the connoisseurs of Paris. Wolfgang ‘mixed’ style (or taste) emerged which was Saxe-Eisenach. The Kapelle was organised the guests of the commandant of the Caspar Printz, an older Sorau colleague of highly regarded in the German courts and in the French manner and Telemann later city’s militia, Telemann had to provide the Telemann’s, suggested that connoisseurs elsewhere. wrote he considered that it surpassed in ‘Kapitänsmusik’, consisting of an are people who possess not just ‘the quality the orchestra of the Paris Opéra, and a serenata. And this just represents “cultivated” ear […] with a taste for the Peter Czornyj, in his 1988 PhD thesis, which he had heard in 1737–8. It is his sacred output! “delicate”’, but also ‘the “musical” or 7 describes Telemann’s standing as a composer, presumed that Telemann met Johann “noble” ear that makes judgments on the his influence on Quantz and his influential Sebastian Bach during his time at Eisenach. In 1725 Telemann began publishing his own basis of theoretical knowledge and music treatise, the Versuch (1752): Later, in 1714, he was invited to be the music, at first using moveable type and later reason.’ godfather of Carl Philipp Emanuel Bach. by engraving on copper and pewter plates. Telemann’s influence on Quantz’s musical personality and consequently on the ideas

expounded in his treatise, is exceptionally Steven Zohn’s Music for a Mixed Taste: Style, In a dedicatory poem in Telemann’s of , the canon. In Boismortier’s strong. Telemann had long been regarded Genre, and Meaning in Telemann’s published collection of , he Six Sonates (Op. 51) we hear a dialogue – by his younger contemporaries as the Instrumental Works (2008) is a fascinating compliments the mixed taste of Count an elegant conversation – between the agent of the modern style in music. In his music, Telemann was the first and and detailed exploration of Telemann’s Friedrich Carl von Erbach, an amateur instruments through the use of the probably most influential representative development as a composer. Zohn tells us musician with whom he had long been contrapuntal technique of imitation. This is of the mixed style in eighteenth century of Telemann’s interest in poetry and that acquainted. Telemann could be describing also a notable feature of Telemann’s ‘Paris’ music, a style that combined elements on occasion he wrote his own librettos. In his own brand of mixed style: Quartets. During the 1720s and 1730s of Italian and French music, and in a to a performed at the Telemann seems to have been interested in Telemann’s case also Polish music, with opening of his winter collegium musicum You effortlessly combine the French liveliness, the combination of strict canonic writing native German music. series in 1721 and 1722, Telemann describes melody, and harmony; the Italian flattery, with the galant style. He published a number invention, and strange passages; and the In the final chapter of the Versuch, Quantz the nature of German music: British and Polish jesting in a mixture filled of canons in two, three and four parts, explains how to judge a musician and a with sweetness. culminating in the 18 Melodious Canons. The flattery of Italy’s pieces, composition. He describes most of the The unrestrained liveliness All the characteristics mentioned by principal types of composition of the period. That flows from French songs; In response to questions about the use of He also makes a comparison and evaluation of Britain’s leaping, obliging nature; Telemann can be heard in the canons and canon Telemann wrote: the Italian and French styles of performance Yes, Sarmatia’s exquisite pleasure, fantasias recorded here. To which the notes’ jesting is devoted: [...] even simple canons at the unison with and composition. He enumerates a large two, three, or four voices produce an effect number of specific criteria by which an German diligence combines all this Melodious Canons To the honour of its country, that is agreeable to the ear and delights the instrumentalist should be judged, concluding The XIIX Canons mélodieux ou VI Sonates en faculty of the intellect. […] Canons deserve All the more to please the listener here duo (Paris, 1738) were published in a with some more general criteria, including: Through pen, mouth, and hand. praise; but they are to be compared to ‘you may examine whether an instrumentalist beautifully engraved edition at the time of individual trees in a great forest or, plays in a mixed style or only in a single Flattery was one of the principal or Telemann’s visit to Paris. This was just four alternatively, to a room in a spacious palace. national style’. Later in the chapter he sentiments discussed by Quantz. The others years after the Six Sonates (Op. 51) for flute describes the mixed style in composition: are gaiety, melancholy, boldness and majesty. and violin by Joseph Bodin de Boismortier, Each of the 18 Melodious Canons is an Flattery, as used by Telemann and Quantz, which the Elysium Ensemble has also exquisitely crafted miniature, like a sonnet If one has the necessary discernment to refers to that which caresses or gratifies the recorded on the Resonus Classics label or haiku, or, as Telemann has it, an individual choose the best from the styles of different senses, or to a sensation that is charming or (RES10171). tree in a great forest. Simple thoughts and countries, a mixed style results that, without overstepping the bounds of modesty, could beguiling. ‘Sarmatia’s exquisite pleasure’ is ideas lead to a complex interplay between well be called the German style, not only a reference to the Polish style of music. ‘Being galant, in general’, wrote Voltaire, the two voices. because the Germans came upon it first, Sarmatia was an ancient name for the ‘means seeking to please’. One might wonder but because it has already been established region today covering the eastern part of why galant composers were also interested Telemann groups the canons into six at different places in Germany for many Poland and southern part of Russia. in elements borrowed from counterpoint of three movements each, with the structure years, flourishes still, and displeases in and, in Telemann’s case the strictest form fast–slow–fast. In each sonata the two outer neither Italy nor France, nor in other lands.

movements are in the same key and the ‘Largo’; Sonata III: ‘Larghetto’; Sonata VI: slow movements are in a closely related ‘Soave’. key, or, in the case of Sonatas 5 and 6, a more distant contrasting (expressive) key. The canons were reprinted in London in For example, the ‘Soave’ (literally ‘soft’ 1746 and six manuscript copies from the or ‘gentle’) slow movement in Sonata 6 is middle of the eighteenth century have notable, not only for the bird calls that been uncovered in Berlin, reflecting the Telemann manages to incorporate into already mentioned connection between a strict canon, but also for being in the Telemann and the members of the Berlin unusual key of B-flat major between two Circle. One of these manuscripts also canons in A minor. In harmonic theory this contains canons by Kirnberger and is called a Neapolitan relationship and might Quantz. be explained by the fact that this movement has many characteristics of a siciliana, a Telemann’s Melodious Canons remained pastoral and often melancholic dance with popular in Paris for decades after they were which the Neapolitan chord is traditionally published. Two of the canons were even associated. included in the 1770 French edition of Leopold Mozart’s treatise Essay of a Most of the canons use the form of the Thoroughgoing Violin School. French rondeau, which begins with a refrain that then alternates with contrasting Fantasias for Flute and Violin sections (couplets) of varying length to Telemann uses the term Fantasia in the sense create structures such as ABA, ABAC and described by J.G. Walther in his Musical ABACA. Such loose structures are well Lexicon (1732): in a Fantasia ‘one plays what suited for the writing of canons and give one wills, or composes to please oneself’. the composer freedom to develop the There was a rich tradition of keyboard, musical ideas without the constraints of, and guitar fantasias, improvised or for example, binary form (AABB). The improvisatory music, going back to the returns of the refrain help give a sense of sixteenth century. The flute and violin unity. Some movements, mainly shorter fantasias continue the tradition of free slow movements, are even less structured, flights of fancy combined with strict with no refrains (i.e. through-composed) – contrapuntal writing. Title page of Telemann’s XIIX Canons Mélodieux (Paris, 1738) Sonata I: ‘Adagio’; Sonata II: ‘Presto’ and

Each of the twelve flute and twelve violin presence of the two parts by what can be compound-line technique to imply the bass begins by describing four categories of fantasias is in a different key and has a described as a compound-line technique, lines and counterpoint, with only a few movement in instrumental music: two fast different format. However they all do have whereby the two parts are suggested by double stops. The following ‘Allegro’, ‘Largo’ categories (the Allegro assai and the the following overall loose structure: one leaps between the lower and higher and ‘Presto’ are all in binary form, with the Allegretto) and two slow categories (the or more opening movements followed by a registers. Telemann uses the same technique ‘Presto’ being a playful gavotta. Adagio cantabile and the Adagio assai). dance movement. The opening movement(s) in other movements, such as the opening The Allegro assai is the fastest and each one tend to be more serious and the concluding ‘Dolce’ of this fantasia, to provide a bass line Telemann and Quantz following is twice as slow. In other words, dance movements are lighter in character. for the melody. The final movement is a In the only surviving letter between them, the pulse (75–85) of the minims in the rustic dance in French rondeau form Quantz expresses his satisfaction that Allegro assai is the same as the semi-quavers The self-published XII Fantasias for the Flute (ABACA), but with a definite Polish folk Telemann approved of his recently in the Adagio assai. He then assigns the without bass (Hamburg, 1727–28) were influence. published treatise: ‘I am pleased […] that tempo/affect words used at the starts of among Telemann’s first attempts at I have differed from your principles only movements – such as Allegro non troppo, engraving and as such the technical quality The Fantasia No. 12 in G minor for flute in trifles’. Telemann’s approval indicates Allegro moderato, Arioso, Affettuoso, Largo, of the engraving is not high. This supports begins with a series of alternating fast and that Quantz’s writings embody an approach Grave etc. – to the appropriate category. the publication date suggested here rather slow sections, which could be called a to composition and performance that than the later date of 1732–33 that is often capriccio (in the early-seventeenth century emerged in the first half of the eighteenth Quantz goes on to describe various exceptions used. Along with the solo flute works of this word denoted a sudden change of mind). century and are not just limited to a and refinements to the basic system just J.S. and C.P.E. Bach, the Telemann Fantasias The concluding dance is a pair of rustic ‘Berlin’ style from the middle of the century. described. For example: are rightfully considered the most bourrées, each in binary form, with bourrée Quantz was an advocate of Telemann’s There is […] a kind of moderate Allegro, significant works for unaccompanied flute II in G major. The marking ‘Presto’ here is music, with which he was well acquainted. which is approximately the mean between from before the twentieth century. more an indication of the fleeting and While an oboist and flautist at the the Allegro assai and the Allegretto. It playful character of the music (as described court (1718–41), Quantz had the opportunity occurs frequently in vocal pieces, and is The Fantasia No. 6 in D minor for flute begins by Quantz) rather than of a very fast to study and perform many instrumental also used in compositions for instruments with a lyrical movement in binary form (AABB). movement. works by Telemann. In the Versuch, Quantz unsuited for great speed in passage-work [for example, the flute]. It is marked ‘Dolce’, which has a variety of praises Telemann’s trios, quartets, orchestral related meanings including sweet, tender, The Fantasia No. 7 in E-flat major for suites and church compositions as exemplary. In another refinement Quantz explains that: charming, gentle and melodious. The second violin has a traditional Italian sonata of the opening movements is a strict two-part structure with four contrasting movements Quantz on Tempo [...] in former times an Allegro assai or Presto […] was then written, and would , quite extraordinary in a piece for solo in the pattern slow–fast–slow-dance. It One of the most practical topics in the have been played, only a little faster than flute, which demonstrates Telemann’s begins with a galant slow movement Versuch is Quantz’s discussion of tempo. He an Allegretto is written and performed understanding of the capabilities of the marked ‘Dolce’ that has a cantabile melody considers the most useful guide to be the today. […] Contemporary French musicians instrument. As the flute cannot play two with a descending bass line. All the pulse beat of a healthy person: 80 beats have retained this style of moderate speed notes at once, Telemann suggests the movements of this fantasia use the per minute (plus or minus five beats). He in lively pieces to a large extent.

An important precept, one that was You must pay attention to […] whether Quantz’s Unegal and Articulation must be played a little unequally, so that sometimes ignored in the eighteenth the piece is an Allegretto, Allegro, or Quantz uses the terms unegal and the stressed notes of each figure, namely the century and also today, can be summarised Presto, the first of which must be played ungleich as indications of inequality, the first, third, fifth, and seventh, are held slightly seriously in pieces for instruments, the longer than the passing, namely the second, as: don’t play the allegro too fast. One of unequal performance of notes notated second in a lively manner, and the third fourth, sixth, and eighth, although this the reasons Quantz gives for attempting to fleetingly and playfully. as equal. He is not specifically describing lengthening must not be as much as if the put into writing a way of determining the the related French practice of notes notes were dotted. approximate tempo required for individual Telemann on Tempo inégales, but rather what he considered pieces is: ‘If there were definite rules, and Telemann did not write a treatise on playing with good taste in the mixed style. Articulation is very important for the these were properly observed, many pieces performance, but he did write a preface to animation and liveliness of execution and the frequently garbled through incorrect his Harmonische Gottes-Diest (1725/26), a In the works recorded here we sometimes expression of the passions: tempos would be more effective.’ cycle of seventy-two church cantatas, that do use the French practice, which is often The tongue is the means by which we give contains advice for those intending to quite noticeably unequal or ‘dotted’, for animation to the execution of the notes Here is some of Quantz’s advice that we perform these works. He explains the Italian passages that are clearly in the lively French upon the flute. It is indispensable for musical kept in mind as we worked on the canons words that are found at the beginning of style. These passages sometime alternate articulation, and serves the same purpose and fantasias recorded here. many Arias. He calls them ‘hinting’ words with passages in Italian or mixed style to as the bow-stroke upon the violin. The – an apt description as they hint at the create an engaging variety, for example, liveliness of the execution, however, Notwithstanding all the liveliness required depends less upon the fingers than upon in the Allegro, you must never lose your character and appropriate manner of Sonata I: ‘Vivace’. the tongue. It is the latter which must composure. […] Your principal goal must performance – and lists the Italian words animate the expression of the passions always be the expression of the sentiment, and their German equivalents. Here I add In the Versuch there are many references in pieces of every sort, whatever they not quick playing. the literal English equivalents of the German: to unequal playing in both slow and fast may be: sublime or melancholy, gay or movements. The most important passage is: pleasing. Play each piece with its proper fire, but Presto – sehr geschwinde – very rapidly avoid immoderate haste, if the piece is not Allegro – geschwinde – rapidly Here I must make a necessary observation For the flute player Quantz gives many to lose all its agreeableness. Vivace – munter – jauntily concerning the length of time each note musical examples with detailed explanations Adagio – sehr langsam – very slowly (steady) must be held. You must know how to make of how to achieve a great variety of The listener is moved not so much by the a distinction in execution between the Largo – langsam – slowly (steady) articulation. He describes two types of skill of the performer as by the beauty Affettuoso – beweglich – moving (mobile, flexible) principal notes, ordinarily called accented which he knows how to express with or in the Italian manner, good notes, and single tongue-stroke (ti and di); for playing his skill. It is interesting that Telemann equates those that pass, which some foreigners unegal passages he describes two ‘combined’ call bad notes. Where it is possible, the For Quantz, the terms presto, allegro and vivace with the German munter (jaunty), tongue strokes (tiri and diri); and for very principal notes always must be emphasised allegretto are not just indications of tempo, rather than lebhaft (lively, vivacious). It is fast passages he describes a type of more than the passing. In consequence of double-tonguing (did’ll). Using these they were also used to indicate an affect, also clear that vivace is slower than allegro this rule, the quickest notes in every piece sentiment or character: (and not faster, as became the case in of moderate tempo, or even in the Adagio, tongue-strokes in their different orderings the nineteenth century). though they seem to have the same value, and combinations creates the subtle variety of articulation asked for by Quantz. of performance: The low tuning of Quantz is no longer The violinist uses the bow in down- and used; departed with it are Quantz’s , up-strokes. While the down-stroke is naturally Quantz’s , and the true art of stronger or heavier than the up-stroke, to playing them, without which they suffer achieve variety and clarity of articulation indescribably. Quantz advises the violinist to develop a The sound of a ‘Quantz’ flute, because of its supple control of the bow-stroke in both wider bore and lower pitch (A=392/400 directions: rather than A=415), has a rich, dark sonority that has the vocal quality of a The equal strength and dexterity of the contralto singer (rather than a soprano). up-stroke and down-stroke […] is most necessary in the current musical style. The consequent tonal qualities of the low For anyone who intends to perform pitch also relate to the importance Quantz the refined ideas that appear in this placed on vocal ideals and models. He was style will give them an offensive not alone in holding up good singing as a harshness rather than a pleasing and guide for instrumental performance. light execution if he does not have this skill. The bow-strokes do not map directly to the This vocal ideal fits in well with Quantz’s various tongue-strokes, however a skilled admonition to ‘avoid immoderate haste’ violinist can match the effect of a ‘ti’ or ‘diri’ in the allegro. Clarity of diction is very with either bow-stroke. So while the flute important for a singer, just as clarity of player has more ‘strokes’ to work with the articulation is important for instrumentalists. violinist has more freedom and versatility If the tempo is too fast, the text could get with the bow to achieve similar musical garbled and the clarity and variety of effects. articulation would be lost.

Quantz’s Flute and the Vocal Ideal © 2017 Greg Dikmans In 1792 C.F. Nicolai, in his Anecdotes of King www.dikmans.net Frederick of Prussia, laments the passing of Flute with two keys: Johann Joachim Quantz (c. 1740). Copy by Philippe Allain-Dupré, Paris. (Photography: Lilian Dikmans) Quantz and the instruments he made, and describes the relationship between the pitch and characteristics of an instrument, the style of the composition and the manner More titles from Resonus Classics Elysium Ensemble After completing her formal studies, Lucinda was appointed concertmaster of the Australian Johann Joachim Quantz: Sei Duetti, Op. 2 Greg Dikmans (flute) and Lucinda Moon Brandenburg Orchestra (1995–2008). She has Elysium Ensemble (violin) have been working together for over performed and recorded with Baroque RES10136 thirty years. In this time they have developed orchestras and ensembles in Australia, New ‘They are a fine team, admirably ardent advocates a fruitful collaboration built around an Zealand, Mexico, Japan, Europe, Canada for Quantz, and illuminate the surprisingly musical approach to historically informed performance and Scandinavia. charms of these pedagogic pieces.’ based on careful scholarship combined with Classical Ear subtle and tasteful musicianship. They aim www.elysiumensemble.com to craft moving and convincing performances.

Greg and Lucinda have both undertaken About the Instruments Joseph Bodin de Boismortier: Six Sonates, Op. 51 postgraduate studies in Europe, working Flute with two keys: Johann Joachim Quantz Elsyium Ensemble with leading exponents of early music (c. 1740). RES10171 including Barthold Kuijken (flute) and Copy by Philippe Allain-Dupré, Paris. Sigiswald Kuijken (violin). ‘The playing is very accomplished [...] with clear Violin: presumed Italian (c. 1700). articulation, neat ornaments and sense of space In recent years they have focused on the rich Bow: Eighteenth century 'Sonata' bow to the phrasing.’ and varied genre of the eighteenth-century (Michelle Speller, Vancouver). Early Music Review instrumental duet, as well as the quartets and trios of Haydn and Mozart. Pitch: A = c. 400 Hz. Known as ton de chambre, Greg founded the Elysium Ensemble in 1985 this was the normal pitch for chamber music © 2018 Resonus Limited with the aim of bringing together musicians in France and elsewhere, and was used è 2018 Resonus Limited with an affinity for the music of the Baroque from about 1680 to 1750 (and to the The recording was made in the crystal clear and resonant acoustic of The Salon at the and Classical periods and an interest in 1770s in Berlin). Melbourne Recital Centre, Australia on 16–17 May, 1–2 June and 21 October 2016. The original recording was made in ultra-high resolution DXD (352.8kHz) using Sonodore historically informed performance. His microphones and preamplifiers and monitored on B&W 802 loudspeakers. masters thesis (1991) was on the Recording and post-production by Thomas Grubb (www.manomusica.com). performance of eighteenth-century French Acknowledgements Executive producer: Adam Binks flute music and he continues to research Elysium Ensemble gratefully acknowledges Cover image: Georg Philipp Telemann by Valentin Daniel Preisler (1717–1765) Cover design: David Hughes (www.davidhughesdesign.co.uk) and write about historical performance the financial support of the Cameron practices. Foundation (www.cameronfoundation.org). RESONUS LIMITED – UK

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