The Bremer Barockorchester (Bremen Baroque Orchestra) performs Georg Philipp Telemann‘s Concerto for Recorder and Viola da Gamba in A minor, TWV 52:a1. Soloists: Recorder: Anninka Fohgrub, Viola da Gamba: Lina Manrique. This performance was recorded at the “Unser Lieben Frauen Church”, Bremen on March 20, 2021.
Musicians and technicians:
- Recorder: Anninka Fohgrub
- Viola da Gamba: Lina Manrique
- Violin: Alexander Pilchen, Annie Gard, Kaori Kobayashi, Anna Stankiewicz
- Viola: Luis Miguel Pinzón Acosta, Alice Vaz
- Basso continuo: Nadine Remmert, Néstor Fabián Cortés Garzón, Hugo Miguel de Rodas Sánchez, Juan DíazCamera: Tobias Hentze, Hendrik Röhrs
- Audio: Fabian Frank
- Video: Tobias Hentze
Telemann’s Concerto for Recorder and Viola da Gamba
Georg Philipp Telemann’s Concerto for Recorder and Viola da Gamba in A minor, TWV 52:a1 is a notable work from the Baroque era, showcasing Telemann’s skill in blending different instrumental timbres. Composed in the early 18th century, the concerto is set in A minor and structured in four movements. It highlights the contrasting yet complementary sounds of the recorder and the viola da gamba, two instruments that were popular during Telemann’s time. The piece is celebrated for its expressive melodies, intricate counterpoint, and rhythmic vitality.
Telemann, known for his prolific output and innovative compositions, demonstrates his ability to create an engaging dialogue between the solo instruments and the accompanying ensemble. The concerto opens with a solemn “Grave,” transitions to a lively “Allegro,” offers a sweet and lyrical “Dolce,” and concludes with another spirited “Allegro.”
Each movement brings out different expressive qualities of the recorder and viola da gamba, making the concerto a favorite among Baroque music enthusiasts. This work not only showcases Telemann’s compositional prowess but also reflects the rich musical traditions of the Baroque period, blending French, Italian, and German styles.
Movements
With start times in the video above:
- Grave [00:00]: This opening movement is solemn and introspective, featuring a slow tempo and a richly textured dialogue between the recorder and viola da gamba. The music unfolds with a sense of dignity and gravitas, setting a serious tone that highlights the expressive capabilities of both instruments. The interplay between the soloists creates a tapestry of sound that is both intricate and deeply emotional.
- Allegro [04:00]: The second movement is lively and spirited, characterized by its brisk tempo and energetic rhythms. Here, Telemann employs intricate counterpoint, with the recorder and viola da gamba engaging in a lively musical conversation. The movement is marked by its rhythmic drive and playful exchanges, showcasing the technical prowess of the soloists and their ability to navigate complex musical lines with agility and precision.
- Dolce [08:21]: In this movement, Telemann shifts to a more lyrical and sweet character, as indicated by the term “Dolce.” The music flows gently, with smooth, flowing melodies that emphasize the expressive warmth of the recorder and the viola da gamba. The movement is pastoral in nature, evoking a sense of calm and serenity, and providing a beautiful contrast to the more vigorous outer movements.
- Allegro [12:06]: The final movement returns to a fast and lively tempo, bringing the concerto to a rousing conclusion. The music is marked by its rhythmic vitality and dynamic contrasts, with the soloists engaging in spirited interplay. The recorder and viola da gamba weave intricate lines that showcase their technical abilities while maintaining a sense of joyful exuberance. The concerto ends on a high note, leaving a lasting impression of Telemann’s brilliance as a composer.
Lina Manrique
Lina Manrique graduated in baroque violin from the Schola Cantorum Basiliensis, studying under Chiara Banchini and Amandine Beyer. During her studies, she discovered the viola da gamba and specialized in it under Paolo Pandolfo, also at the SCB, earning her diploma with honors. She also studied chamber music at the Conservatoire de Strasbourg with Martin Gester, receiving a unanimous Mention très bien.
She participated in the Festival Internacional de música Renacentista y Barroca Misiones de Chiquitos in Bolivia and has played with various orchestras, including the Académie Baroque Européenne d’Ambronay and the Orchestre Français des Jeunes.
Currently, she performs with several ensembles such as Gli Incogniti (Amandine Beyer), Ensemble Elyma (Gabriel Garrido), Le Parlement de Musique, Il Divino Sospiro, Capriccio Barockorchester, La Cetra Barockorchester Basel, Bremer Barockorchester, Collegium Musicum Lausanne, and the viola consort La Notte, among others.
Anninka Fohgrub
Anninka Fohgrub is a talented recorder player known for her performances with various renowned ensembles and orchestras. She has also collaborated with many early music and Baroque ensembles such as the Bremer Barockorchester (Bremen Baroque Orchestra), performing works by composers such as Telemann.
Her work with these ensembles has taken her to numerous countries, including Belgium, Denmark, France, Israel, Italy, Japan, Austria, Poland, Russia, Switzerland, Slovenia, and the USA, where she has performed in a variety of concerts and festivals. Anninka Fohgrub’s expertise on the recorder and her contributions to baroque music have earned her recognition in the classical music community.
Sources
- Concerto for Recorder and Viola da Gamba, TWV 52:a1 (Telemann, Georg Philipp) on the International Music Score Library Project website
- Chopin: Scherzo No. 3 [İlyun Bürkev] - September 14, 2024
- César Franck: Violin Sonata [Argerich, Capuçon] - September 8, 2024
- Beethoven: Piano Sonata No. 23 “Appassionata” [Anna Fedorova] - September 7, 2024