Telemann's Violin Concertos, Vol. 6
The sixth volume of our complete recording of Georg Philipp Telemann's violin concertos opens with a work originally known as the »Sonata in B flat major« for two violins, viola, and violone. Its date of composition may be assigned to the period prior to 1715. The erroneous assumption that this composition did not reckon with a basso continuo accompaniment led to its registration as »Chamber Music Without Thoroughbass« in the catalogue of Telemann's works (therefore, its designation as »TWV 40: 200«). Today, however, we know that this sonata belongs to an extensive group of works consisting of ensemble music for strings that is modeled on concertante structures but does not prescribe individual parts for the solo instruments. These concerti ripieni or »ripieno concertos« were variously designated; an individual work might be termed a »Concerto, « a »Sinfonia, « or, as here, a »Sonata.« The next two works number among the composer's early concertos. They were performed with a violin as the solo instrument already during the eighteenth century, and Elizabeth Wallfisch, joining forces with her ensemble, employs rich ornamentation and swift tempos to transform them into compelling violin concertos. The Wallfisch Band concludes the complete recording of Telemann's seven extant Concertouverturen for solo violin, strings, and basso continuo with two overture suites. This group of hybrid compositions situated between the French overture and the Italian Concerto represents a unique case in the music history of the eighteenth century; no other composer from this period set this type of concertante violin music with the rich designs and wealth of ideas found in Telemann.