Featuring Adelaide Baroque Ensemble and guest Kate Morgan (cello).
Music da Camera
(Music For the Chamber)
Music for the Chamber - Music da Camera - has existed from the earliest ages of Western Musical traditions, however no period has enriched our modern musical repertory in this area more than the period of the Baroque.
Recorded at historic Urrbrae House, South Australia in 1999 Adelaide Baroque's first recording contains host of works from early composers.
The CD features 28 tracks with a total playing time of 68:11.
Click on the button to hear sound clips from selected tracks on the CD.
Six Duo Sonatas
Georg Philippe Telemann (1681-1767)
featuring Lesley Lewis & Jo Dudley
Click on the button to hear soundclips from each track on the CD.
Excerpts from the accompanying literature
The undated publication of the second book of Duos by Telemann is a more mature set of works than his first and more commonly known volume of Duos published in 1727. The style of these sonatas is overtly "galant" in the best sense. They are witty, lighthearted and entertaining chamber music to challenge both performer and listener. Telemann can be considered as one the "high achievers" of the 18th century. His musical output was enormous. covering the areas of opera, oratorio, concerted works and chamber music.
The medium of the Duo without Bass was not unknown before Telemann's time. Indeed in the 16th century, it was used in the form of the 'bicinium' for the purpose of training young choristers in the art of contrapuntal singing and playing. Telemann's Duos may have been conceived with this didactic purpose partly in mind, but the content of this particular volume indicates that many players would have been the target. The Duos all comprised of three movements and loosely encapsulate elements of baroque sonata, sometir using binary form with repeated sec or alternatively using a through composed form which encapsulated later classical sonata movement
The habit of publishing music for performance in a variety of medium is often regarded as a curiosity of the Baroque era and its performance practice. One is tempted to say that idiomatic writing for particular instruments e.g. the violin, flute or oboe had not been discovered by composers of the time, or that instrumental virtuosity had not advanced to the point where composers found this necessary. Neither is exactly true, particularly when considering the unaccompanied works of Bach and indeed Telemann. An alternative reason for publishing works for "multi-media" can be found on the purely pragmatic grounds that both composers and publishers were seeking the broadest market for their work - the beginnings of "consumerism" in music. Indeed it was recommended by certain composers to transpose works, making them accessible to the instrument on which they wished to play. In this performance for two recorders the Duos have all been transposed up a minor 3rd from the original key, to fit the compass of the instruments.