Telemann DIE KLEINE KAMMERMUSIK Manuel Staropoli recorders & Baroque flute Gioele Gusberti cello Manuel Tomadin harpsichord & organ Georg Philipp Telemann 1681-1767 Die Kleine Kammermusik 6 Partitas Partita No.1 TWV 41:B1 in B-flat Partita No.6 TWV 41:Es1 in E-flat Sonata TWV 41:D6 in D 1. Con Affetto 1’57 19. Aria 4. Allegro 0’47 36. Affettuoso 1’52 for cello and b.c. 2. Aria 1. Presto 1’24 20. Aria 5. Vivace 1’15 37. Aria 1. Presto 0’52 43. I. Lento 2’27 3. Aria 2. Dolce 1’42 21. Aria 6. Presto 1’18 38. Aria 2. Vivace 1’22 44. II. Allegro 2’51 4. Aria 3. Vivace 1’05 39. Aria 3. Tempo di Ciaccona 1’11 45. III. Largo 1’42 5. Aria 4. Largo 2’04 Partita No.4 TWV 41:g2 in G minor 40. Aria 4. Allegro 0’53 46. IV. Allegro 2’10 6. Aria 5. (…) 0’48 22. Grave 2’13 41. Aria 5. Allegro 2’01 7. Aria 6. Allegro 1’06 23. Aria 1. Allegro 1’02 42. Aria 6. Tempo di Minue 2’27 24. Aria 2. Allegro 1’57 Partita No.2 TWV 41:G2 in G 25. Aria 3. Tempo di Minue 0’55 8. Siciliano 1’32 26. Aria 4. Allegro 1’51 9. Aria 1. Allegro 1’12 27. Aria 5. A tempo giusto 1’11 10. Aria 2. Allegro 1’40 28. Aria 6. Allegro Assai 1’57 11. Aria 3. Vivace 1’12 12. Aria 4. Affettuoso 2’19 Partita No.5 TWV 41:e1 in E minor Manuel Staropoli recorders & baroque flute Soprano Recorder by Thomas Prescott after T. Boekhout 13. Aria 5. Presto 1’17 29. Andante 1’28 Fourth Flute by Pietro Sopranzi after P. Bressan 14. Aria 6. Tempo di Minue 2’41 30. Aria 1. Vivace 1’42 Tenor Recorder by Pietro Sopranzi after P. Bressan 31. Aria 2. Presto 1’07 Baroque Flute by Ph A. Duprè after Denner Partita No.3 TWV 41:c1 in C minor 32. Aria 3. Vivace 1’14 Gioele Gusberti cello 15. Adagio 1’31 33. Aria 4. Siciliana 2’19 Baroque Violoncello by Christian Guidetti 2009 16. Aria 1. Presto 0’42 34. Aria 5. Vivace 1’28 Manuel Tomadin harpsichord & organ 17. Aria 2. Vivace 1’06 35. Aria 6. Presto 0’58 Harpsichord from M. Mietke 2 manuals copied by William Horn harpsichord maker 18. Aria 3. Vivace 1’21 Positive organ by Francesco Zanin (gedackt 8’, flute 4’, Octave 2’) Recording: 12-14 January 2018, Private big room, Silvelle di Trebaseleghe (TV), Italy Tuning: Francesco Zanotto Recording and Mastering: Federico Savio Editing: Manuel Tomadin and Manuel Staropoli Pitch: A = 415 Hz Cover: View of the New Market Square in Dresden (1750), by Bernardo Bellotto (1721-1780) p & © 2020 Brilliant Classics Telemann published the “Kleine Kammer-Music” in 1716 in Frankfurt. This is his I have tried to present something that could meet everyone’s taste”. second edited instrumental collection: the previous year he had already published The collection includes six Partitas, indicated with the term “Partia”, according to the “Six Sonates à Violon seul, accompagné par le Clavessin”, written expressly for the following tonal pattern: the violin. Instead, the new collection has a non-unique destination, as stated in the heading: “Kleine | Cammer-MUSIC, | bestehend | aus | VI. Partien, | Welche vor die B flat major (TWV 41:B1) - G major (TWV 41:G2) - C minor (TWV 41:c1) - G minor Violine, Flûte traverse, | wie auch vors Clavier, | besonders aber | vor die | HAUTBOIS”. (TWV 41:g2) - mi minor (TWV 41:e1) - E-flat major (TWV 41:Es1). The abbreviation TWV refers to the catalogue of Telemann’s compositions (Telemann Werke If the reference to the violin or flute was common, the executive option with a Verzeichnis) published by Martin Ruhnke in three volumes (1984, 1992 and 1999). keyboard instrument is more interesting. The preference, however, was granted to The “Kleine Cammer-Music” is part of the group No.41, included in the first volume the oboe and the collection, which is utterly unique, is dedicated to four of the most and dedicated to compositions for an instrument and basso continuo. The rest of the famous oboists active in Germany at that time: François Le Riche, Johann Christian acronym refers to the key and the chronological order of the piece: for instance, B1 Richter, Peter Glösch and Johann Michael Böhme, the last two right in Frankfurt. indicates the first piece in B flat major, while G2 the second in G minor, with reference Although the reference to the flute is normal, we must point out that it is the first to the letters of the alphabet that identify the notes in Germany and England. score printed in Germany that explicitly indicates the transverse flute. This is curious, If we look at the keys used and the overall texture of the collection (D3-B4 and if we consider that, in 1716, the instrument had already been in use for a long time: with numerous movements that do not go below F3, the lowest note on the recorder), Telemann himself had learned to play it in his youth, after having practiced on the we see that the most suitable instrument is precisely the oboe. The violin would not recorder. use the first string and the flute would not reach most of its most acute and sonorous In the second part of the header, Telemann specifies that the collection has a light range. and cantabile style primarily thought for beginners, even though virtuosos could perform them adding the appropriate ornamentations. The composer is even more For this recording, Manuel Staropoli has chosen the transverse flute, the soprano explicit in the introduction. Here he declares, with implicit reference to the oboe: recorder in C, the fourth flute (recorder) in B flat and the Tenor recorder in C. The “For this purpose I have kept the range as narrow as possible and avoided both too first is used in the Partitas No.2 (G major) and No.5 (E minor), which are both very wide jumps and sounds that are covered and uncomfortable, on the other hand, I suitable for that instrument. On the other hand, the soprano Recorder features in the have often tried to include the brilliant notes that nature has placed in various places Partitas No.1 (B flat major) and No.3 (C minor), whose keys have a beautiful effect, of this delicate instrument. I also cultivated the brevity of the Arias, partly to preserve in particular for the type of passages and the acute texture of the instrument. The the energy of the performer and partly to avoid boring the listener’s ears due to the fourth flute, practically a recorder cut one tone below compared to the soprano, is to length. Concerning the harmony, I must admit that there is little or no chromaticism, be found in No.6 (E flat major). Finally, the use of the tenor recorder for the Partita only natural and ordinary progressions, but this was meant only to please those, who No.4 in G minor, with its particularly captivating sound performance, is particularly represent the majority, who did not go too far in the study of musical science. Finally, well chosen. Another interesting choice is not to always have the harpsichord in combination 55:B2 (Mus. ms. 1034/19b), TWV 55:G11 (Mus. ms. 1034/83), TWV 55:c3 (Mus. with the cello for the realization of the basso continuo. In fact, in the Partitas Nos. 1 ms. 1034/60), TWV 55:g3 (Music ms. 1034/21), TWV 55:e6 (Music ms 1034/62) and 5 the choice falls on the organ, which makes them sound quite like the “Sonate and TWV 55:Es5 (Music ms. 1034/59). Notice that group 55 features the orchestral da Chiesa” by Corelli. pieces from Telemann’s catalogue. The various parts of the Suites in G major and G The score was printed in movable type and separate parts, as it was common in minor were written by Johann Christoph Graupner (1683-1760) and all the others by Germany at that time. In 1728, a new edition in score was prepared by Telemann his student Johann Samuel Endler (1694-1762), both active in Darmstadt. Endler also in Hamburg, where he had moved in 1721. The composer personally engraved the wrote a Suite TWV 55:B2 (Mus. Ms. 1034/19a). According to Steven Zohn, author of sheets and, for the occasion, modified the heading, which became simply: “La | the most important monograph on Telemann, Music for a Mixed Taste. Style, Genre, PETITE MUSIQUE | de | CHAMBRE | Die kleine | Cammer-Music; | von | Telemann and Meaning in Telemann’s Instrumental Works (Oxford University Press, New “. On the second page of the header Telemann points out its instrumental destination, York 2008, 686 pp), the arrangement should be by the composer himself, who then placing the oboe in the first place, as additional confirmation to what previously personally added the initial Overture to each Suite. However, this hypothesis still has stated: “Hautbois, ou Violon, ou Flute traverse, | ou Clavessin, | with the | Basse to be confirmed. chiffrée.” Notice the use of the French language, shared with other scores published by Telemann in Germany in those years, which clearly demonstrates how the The album is completed by the Sonata in D TWV 41:D6 for cello and bass, included composer aimed at the Parisian market. in the collection “Der Getreue Music Meister”, a curious periodical printed by The first modern edition dates back to 1949 and was edited by Waldemar Woehl Telemann in Hamburg between 1728 and 1729, which includes some of his most for the Bärenreiter Verlag in Kassel.