Very little of Georg Philipp Telemann’s massive extant oeuvre for solo harpsichord has been recorded on CD (or existed on LP for that matter). Petér Ella’s ambitious three-CD Hungaroton (HCD 31536-38) traversal of Telemann’s mature fantasias provided a grand introduction for listeners fortunate enough to get the set before it was deleted two years after its release in 1994. Last year Harmonia Mundi issued an outstanding selection of those same fantasias magnificently performed by John Butt (HMU 907176), and all are advised to seek this one out before the fateful hand of deletion strikes. Telemann’s six overtures for solo harpsichord TWV 32:5-10 receive their premiere recordings on this new, very generously filled (75-plus-minute), specially priced CPO CD. If you’ve ever been even remotely curious about the solo harpsichord efforts of this composer (who after all was more highly esteemed than J.S. Bach in his day), never has there been a better, more affordable, and expertly performed offering than this one.
Harpsichordist Harald Hoeren clearly understands and exploits Telemann’s wide knowledge of international styles that inform these overtures. Although all six typically begin in the so-called French style, they soon depart from that course in the service of Telemann’s inventive imagination. Perhaps the most stunning example here is in Overture IV. The opening Lento Allegro sounds like music François Couperin could have composed while in a particularly dark mood, though it evolves into a series of joyous contrapuntal elaborations. The following Moderato e scherzando is an expertly crafted example of two-part keyboard style in which innumerable pairs of light fugues run across the keyboard with sublime grace and transparency. The concluding three-part movement, Allegro-Piacevole-Allegro, is an exercise in sharply contrasting bravura. Those with a special fondness for J.S. Bach’s Inventions and Sinfonias will find much to enjoy here.
Also included is Telemann’s Concerto in B minor App. TWV 33:1. This work originally was scored for violin and orchestra (now lost) and today exists only in the composer’s own harpsichord arrangement. Unlike the Overtures, this concerto is a simpler, more straightforward piece, the perfect finale to a program of ceaseless musical adventure. CPO’s sound is stunning: Hoeren’s harpsichord is afforded ample intimacy without sacrificing timbral weight (too many recent harpsichord recordings are too closely miked, making the instrument sound monstrously mechanical). The notes by Martin Ruhnke are informative and erudite. This handsome, quality presentation is of the standard we’ve come to expect from CPO. Especially recommended to those already aware of Telemann’s unique genius–though all harpsichord recording enthusiasts would do well to consider this offering.
