Pariser Quartette-Nouveaux Quatuors en Six Suites I for Flute Violin Viola da ...(+)
Pariser Quartette-Nouveaux Quatuors en Six Suites I for Flute Violin Viola da Gamba or Violoncello and Basso Continuo 'Paris Quartets'.Volume 1:Quartets 1-3 (D major A minor G major) TWV 43: D3 a2 G4.Telemann’s chamber music is historically unique in its range of instrumental settings. From his huge output these new editions present the six quartets for Flute Violin Viola da Gamba or Violoncello and Basso Continuo that he wrote in Paris in the 1730s.Published with the title Nouveaux Quatuors en Six Suites by Le Clerc in Paris in 1738 these six pieces are suites with various sequences of movements each introduced by aprelude.Here Telemann shows himself committed to the French style. The works are of special interest not only for their high quality but also because of the variable scoring of the third part for Viola da Gamba or Violoncello.Our edition consists of a full score with preface (German/English) and separate instrumental parts including a Keyboard with figured bass.
Pariser Quartette-Nouveaux Quatuors en Six Suites II for Flute Violin Viola da...(+)
Pariser Quartette-Nouveaux Quatuors en Six Suites II for Flute Violin Viola da Gamba or Violoncello and Basso Continuo 'Paris Quartets'.Volume 2:Quartets 4-6 (B minor A major E minor) TWV 43: h2 A3 e4.Telemann’s chamber music is historically unique in its range of instrumental settings. From his huge output these new editions present the six quartets for Flute Violin Viola da Gamba or Violoncello and Basso Continuo that he wrote in Paris in the 1730s.Published with the title Nouveaux Quatuors en Six Suites by Le Clerc in Paris in 1738 these six pieces are suites with various sequences of movements each introduced by aprelude.Here Telemann shows himself committed to the French style. The works are of special interest not only for their high quality but also because of the variable scoring of the third part for Viola da Gamba or Violoncello.Our edition consists of a full score with preface (German/English) and separate instrumental parts including a Keyboard with figured bass.
'Verse 1' marks the beginning of a more ambitious and intense style of compositi...(+)
'Verse 1' marks the beginning of a more ambitious and intense style of composition. The ideas are relatively simple and develop gradually in a cyclic fashion within a one movement sectional design. Progressively faster tempi leadto the main climax of the work near the end of the piece. Then a short coda leads to a very quiet ending and a return to the original tonal centre of C.Quoting composer:'In April 1975 I occupied a flat in Aldeburgh Suffolk near the seafront. As a member of the English Chamber Orchestra I had come to work for a week on a recording of Britten’s opera ‘Death in Venice’ so the real and suggested sound of the sea was in my ears so to speak for dayson end. A few weeks later when I started work on 'Verse 1' it became clear in the first few bars that I was recalling and suggesting the sea and the beach at Aldeburgh. I am not aware of any direct influence from Britten’smusic but I do however quote a small fragment from a theme to be found in a piano quartet by Mahler played early in the piece by the flute (bars 6 & 7).This work was awarded the First Prize in the Viotti InternationalCompetition for composers in Italy in 1975.