A contemporary of Bach, Telemann was a German composer of the middle Baroque. Where is friend Bach wrote almost exclusivly for the church and died a pauper, Telemann wrote secular music and became quite wealthy. In history's fickle way, however, Bach will be remembered long after Telemann's work disappears. This is not to say that Telemann was a second-rate composer, though. Many of his overtures are very delightful to listen to and challenging to play plus the vast number of sonatas and other chamber works he wrote provide a seemingly endless source of music to both amateur and professional groups.
His viola concerto has become one of the foundation studies for all violists. While not as technically difficult as other works in the sylabus, this concerto is very exposed and shows the preformer's tallents for what they are.
The concerto starts with a quite, whistful, and peaceful Largo. The viola's firm but flowing melody hovers above the orchestra and ends in subdued yet brilliant cadenza before the tutti orchestra restates the theme. The movment ends as quietly as it began.
Following the fairly standard slow-fast-slow-fast concerto structure, the second movement is an upbeat, stirring Allegro. The solo viola grabs the centre stage from the first line an runs with the dramatic theme throught the rest of the movement. Telemann's gift for interplay between different independant lines and his mastery of counterpoint show with what could be described as witty interplay between the solo viola and the rest of the orchestra.
The fourth movement is as melencholy and sad as the second was cheerful and happy. In this Andante the viola seems to lament a great loss. The orchestra tenderly comforts the inconsolable pain of the solo instrument as it drifts alone through what many consider the most beautiful section of the concerto.
Never wanting to linger on a sad note, Telemann finishes this concerto off with a dazzeling Presto. This magnificent fanale fully displays the soloist's virtuosity with demanding scale passages, a fast tempo and, of course, the centre of the stage. The final dramatic cadence serves as a perfect ending to a very personal, and personalble concerto by the composer who clain he had no tallent writing concertos.
Click Here for the Sound Byte The audio clip is the first viola enterance from the Largo. Listen for the deep alto tone of the viola as it starts off near the bottom of its register and climbs gracefully towards the middle. Also the sublty of the virbrado, one indication of a gifted and well-trained performer, adds dramatic effect.
The soloist in this recording is Stephen Shingles with the Academy of St. Martain-in-the-Fields, conducted by Sir Neville Marriner. The disc is a full-priced London recording from the Jubilie Series (ADD). The disc also contains the Don Quichotte Suite, the Overture "Hamburger Ebb and Flut", and the Overture in D - all by Telemann. The over all quatlity of the recording is what one would expect from a London production and the Academy. Sir Neville certainly does not disappoint in his interpertations of the other works and Mr Shingles does the concerto justice. While less expensive discs are out there, one would be hard-pressed to find a recording of this quality and bredth for less.