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The Father, The Son & The Godfather: 2x Bach & Telemann / Paradiso Musicale

Paradiso Musicale / Laurin / Frendin / Olofsson
Release Date: 10/25/2011 
Label:  Bis   Catalog #: 1895  
Composer:  Georg Philipp TelemannJohann Sebastian BachCarl Philipp Emmanuel Bach
Performer:  Mats OlofssonDan LaurinHenrik FrendinAnna Paradiso
Orchestra/Ensemble:  Paradiso Musicale
Number of Discs: 1 
Recorded in: Stereo 
Length: 1 Hours 10 Mins. 

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Notes and Editorial Reviews



TELEMANN Trio Sonatas: in d, TWV 42:d7; in g, TWV 42:g9. Cello Sonata in D, TWV 41:D6. BACH Recorder Sonata in b, BWV 1030. C. P. E. BACH Trio Sonata in F, Wq 163. Viola da gamba Sonata in g, Wq 88 Paradiso Read more Musicale (period instruments) BIS 1895 (69:39)


It’s hard to resist the humor conjured by this album’s title, The Father, The Son, and The Godfather , but I shall suppress the urge. What we have here is a collection of late German Baroque chamber works in exceptionally well-executed performances that, despite being on period instruments, are not all necessarily consistent with historical practices.


Let’s start with J. S. Bach’s B-Minor Sonata. Questions of source origins and even authenticity continue to engage scholars regarding a number of Bach’s works for flute. Only the harpsichord part exists in autograph for BWV 1030 and it dates from after 1735. So, assuming Bach did write the piece for flute, by this late date it’s virtually a given that he would have written it for the transverse flute, not recorder, the instrument Dan Laurin of Paradiso Musicale has chosen. This is but one example of where the best-intentioned of period-instrument players not infrequently assume that performing on old instruments, by definition, is all it takes to replicate period practices.


With regard to the performances of the two Telemann trio sonatas and the C. P. E. Bach sonata, error runs in the opposite direction. The official Telemann-Werke-Verzeichnis (TWV) catalog lists both the D-Minor and G-Minor works, TWV 42:d7 and TWV 42:g9, as trio sonatas for recorder, viola da gamba (my italics), and continuo. Ditto, viola da gamba in C. P. E. Bach’s catalog of works for the G-Minor Sonata, Wq 88. Where Laurin substitutes the older alto recorder for a transverse flute, here Henrik Frendin substitutes the newer viola for Telemann and Bach’s specified viola da gamba. Again, execution is beyond criticism, but so much for historical authenticity.


Perhaps I’m being too hard on Paradiso Musicale’s players, for at least insofar as the Telemann sonatas are concerned, of the very few recordings that exist, I find none in which a viola da gamba is used, but I do find one or two, including one of TWV 42: g9, in which the eminent early-music specialist Jaap ter Linden plays the part on cello. Gambists, of course, don’t grow on trees, but they do exist, and there have been some wonderful recordings of Baroque music in which actual gambas are used, not least in this very C. P. E. Bach sonata, including one with Friederike Heumann, praised by Brian Robins as far back as Fanfare 30:1. I’m merely suggesting that period-instrument musicians who aspire to re-create historical period practices might want to start by playing the music on the instruments for which it was written. Otherwise, the whole movement is called into question and we end up with Vivaldi’s concerto for mandolin played on a psaltery (see entry under Facco in Fanfare 34:6) being justified as legitimate 18th-century practice. The point isn’t the period of the instrument—the viola existed in Bach’s day alongside the viola da gamba—it’s which instrument the composer intended.


Having gotten that off my chest, I do want to be clear that Paradiso Musicale, which also includes its namesake, harpsichordist Anna Paradiso, and cellist Mats Olofsson, is a splendid quartet of players who together make music of the highest caliber and most splendid beauty. All my carping about instruments is instantly and completely silenced by the gorgeous tone these musicians produce and the irrepressible exuberance of their performances. There comes a point at which quibbles over instrument choices simply recede into irrelevance and one realizes what really matters, which is the pure pleasure and joy experienced in listening to beautiful music beautifully played. Paradiso Musicale delivers that in spades, so in spite of everything I said earlier, I wholeheartedly recommend this release to you for more than an hour’s worth of unalloyed bliss.


FANFARE: Jerry Dubins
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Works on This Recording

1.
Trio Sonata in D minor, TV 42 no d 7 by Georg Philipp Telemann
Performer:  Mats Olofsson (Cello), Dan Laurin (Recorder), Henrik Frendin (Viola),
Anna Paradiso (Harpsichord)
Orchestra/Ensemble:  Paradiso Musicale
Period: Baroque 
Written: Germany 
2.
Getreue Music-Meister: no 16, Sonata for Cello and Basso Continuo in D major, TV 41 no D 6 by Georg Philipp Telemann
Performer:  Mats Olofsson (Cello), Dan Laurin (Recorder), Henrik Frendin (Viola),
Anna Paradiso (Harpsichord)
Orchestra/Ensemble:  Paradiso Musicale
Period: Baroque 
Written: by 1728; Germany 
3.
Sonata for Flute and Harpsichord in B minor, BWV 1030 by Johann Sebastian Bach
Performer:  Anna Paradiso (Harpsichord), Dan Laurin (Recorder)
Orchestra/Ensemble:  Paradiso Musicale
Period: Baroque 
Written: ?1738; Leipzig, Germany 
4.
Trio Sonata in F major, Wq 163/H 588 by Carl Philipp Emmanuel Bach
Performer:  Mats Olofsson (Cello), Dan Laurin (Recorder), Henrik Frendin (Viola),
Anna Paradiso (Harpsichord)
Orchestra/Ensemble:  Paradiso Musicale
Period: Classical 
Written: 1755 
5.
Sonata for Viola da Gamba and Harpsichord in G minor, Wq 88/H 510 by Carl Philipp Emmanuel Bach
Performer:  Anna Paradiso (Harpsichord), Henrik Frendin (Viola), Mats Olofsson (Cello)
Orchestra/Ensemble:  Paradiso Musicale
Period: Classical 
Written: 1759; Berlin, Germany 
6.
Trio Sonata for Recorder, Viola da Gamba and Basso Continuo in G minor, TV 42 no g 9 by Georg Philipp Telemann
Performer:  Mats Olofsson (Cello), Dan Laurin (Recorder), Henrik Frendin (Viola),
Anna Paradiso (Harpsichord)
Orchestra/Ensemble:  Paradiso Musicale
Period: Baroque 
Written: 18th Century; Germany 

Sound Samples

Sonata for Recorder and Viola da Gamba in D minor, TWV 42:d7: I. Andante
Sonata for Recorder and Viola da Gamba in D minor, TWV 42:d7: II. Vivace
Sonata for Recorder and Viola da Gamba in D minor, TWV 42:d7: III. Adagio
Sonata for Recorder and Viola da Gamba in D minor, TWV 42:d7: IV. Allegro
Flute Sonata in B minor, BWV 1030: I. Andante
Flute Sonata in B minor, BWV 1030: II. Largo e dolce
Flute Sonata in B minor, BWV 1030: III. Presto
Trio in F major, Wq. 163/1, H. 588: I. Un poco andante
Trio in F major, Wq. 163/1, H. 588: II. Allegretto
Trio in F major, Wq. 163/1, H. 588: III. Allegro
Der getreue Music-Meister: Cello Sonata in D major, TWV 41:D6: I. Lento
Der getreue Music-Meister: Cello Sonata in D major, TWV 41:D6: II. Allegro
Der getreue Music-Meister: Cello Sonata in D major, TWV 41:D6: III. Largo
Der getreue Music-Meister: Cello Sonata in D major, TWV 41:D6: IV. Allegro
Viola Sonata in G minor, Wq. 88, H. 510: I. Allegro moderato
Viola Sonata in G minor, Wq. 88, H. 510: II. Larghetto
Viola Sonata in G minor, Wq. 88, H. 510: III. Allegro assai
Sonata in G minor, TWV 42:g9: I. Soave ma non adagio
Sonata in G minor, TWV 42:g9: II. Vivace
Sonata in G minor, TWV 42:g9: III. Largo
Sonata in G minor, TWV 42:g9: IV. Allegro

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