Musica Antiqua Köln, Reinhard Goebel - Telemann: Wind Concertos (1987)

I'm delighted that Reinhard Goebel and Cologne Musica Antiqua are adding to their Telemann discography with six well-chosen concertos which present the composer in an engagingly experimental light. There are some old favourites here, such as the Trumpet Concerto in D major, the Concerto in E minor for treble recorder and flute and the Concerto in B flat for three oboes and continuo; but they are challenged by works much less frequently if indeed, until now, at all encountered in the present day. Of these, the most striking from a purely instrumental point of view must be a Concerto in D minor for two chalumeaux, a single-reed instrument and precursor of the clarinet. From a musical standpoint, too, this is one of the most interesting works in the programme and I must single out the rather darkly coloured Largo with which the piece begins; the solo writing in this unusually extended opening movement is varied and striking for its occasional chromaticisms. The following movement, too, has an adventurous flavour to it with writing for the two solo instruments which far outstrips Vivaldi's more cautious gestures for what must have been similar instruments. Telemann's evident taste for unusual sonorities is further stressed in the Adagio third movement, where pizzicato strings alternate with passages of coll'arco.

The Concerto for flute in D major and the Concerto for flute and recorder in E minor are vigorously and imaginatively performed. Here, as throughout the recording, I am impressed by the strength, precision and vitality of the tutti playing; this ensemble, more than any, perhaps succeeds in capturing the extrovert character of the Polish folk rhythms by which Telemann was, of his own admission, so fascinated and which, to a greater or lesser extent, play a part in almost all the works assembled here. The improvisatory spirit of the soloists, too, I find refreshing and especially, perhaps, in the E minor Concerto whose two Largos call for a degree of embellishment. Goebel sets a dashing pace in both its fast movements, but though undoubtedly exciting, I felt it a little too brisk for comfort in the Allegro. The lyrical third movement, by contrast, is unusually slow with strong dynamic contrasts which I found a little startling at first.

Both of the concertos with trumpet come off well; in the second of them, much less frequently performed than the other, the trumpet is partnered by a concertante violin in the outer movements. The slow movement, however, excludes the trumpet and the melody becomes the sole property of the violin. Further contrast between this movement and the outer ones is achieved by Goebel, himself, who plays in them with an almost demonic intensity, which I heartily enjoyed.

Colourfully imaginative and stylistically authoritative performances such as we have here, are unlikely to disappoint anyone at all attracted to Telemann's music. The nuances of texture and colour, the rhythmic vitality and the expressive qualities of these concertos are robustly, even at times earthily realized by this talented ensemble. A fine achievement.