Here comes the first video of a series we recorded in the "Ratskeller Bremen". Thanks for your likes, shares and subscriptions! 🙂 A special thanks to our VIP Patreon supporters: I. Baumgratz, B. & R. Frühstück, P. Grandin, R. Kornberger, M. B. Lange, U. Mahrt and H. Spjelkavik. Support us on Patreon: www.patreon.com/bremerbarockorchester
Telemann's flute "quatuors" from the 1730s are very fine pieces indeed with haunting and memorable melodies; worthy of comparison with Bach and Handel. Many were composed for Paris, and have a decidedly French feel. Lovely, brisk interpretation here by one of my favourite baroque ensembles.
Impeccable phrasing here! Adorable works... which have such a French Flavour+ A la Blavet etc... glorious accoutics to pick out these warm & seductive tones! Great performance here!
Where to begin? I have known and loved this work since 1974 -- well before Telemann regained the esteem so richly due him. Here, the performance is as world-class as the music is subtly profound -- yes, profound. Now, I must hasten to second Reyes-Lacalle's praise, below, of traverso-master Egaña: Señor, your command of timbre, dynamics, and the most-difficult problem of just intonation is magnificent: Quantz would have loved you! Your ornamentation and rubato are also praiseworthy: you add enough to spontaneously polish Telemann's endlessly-beautiful melodic invention, without cluttering and needlessly tarting it up, so to speak. Finally, Señor, your performance of the opening movement -- for me, a brilliant synthesis of Italianized Polish folk melody, elegantly-transparent counterpoint, Galant "hammerstrokes," and yet, passion -- literally brought tears to an old man's eyes.
SoberbioTelemann y siempre magníficos , los músicos de Bremer Barockorchester. Felicitaciones !! Un saludo especial al flautista Felipe Egaña , desde Chile . Es un orgullo que sea nuestro compatriota . Bendiciones !!
Very enjoyable piece, beautifully played as usual. The ratskeller is a beautiful room, adding more to the visual effect and less to the sound quality, IMHO.
@@rattywoof5259 Okay, God says that by the end of this year, Donald Trump will be President. Something really crazy is going to happen on the 4th of November.
When I play continuo I want to be within visual range of the soloists. If that is not possible then the cohesion is lost. I have not the slightest idea how a bass viol had crept onto the scene. Telemann specified two gambas, one to play solo, the other to accompany the harpsichord. I found this very incongruous and extracting liberties. So why do it?
I enjoyed this performance... extracting liberties have not lessened my Telemann experience. Thank you, though, for the info on Telemann's instrumental arrangement for this piece.
I opened Wikipedia and found this : "Telemann had composed a second set of six quartets. These, too, were printed by Le Clerc, in 1738 during Telemann’s stay in Paris, under the title Nouveaux quatuors en six suites: à une flûte traversiere, un violon, une basse de viole, où violoncel, et basse continuë" which justifies the double bass or violone and the theorbo.
This was recorded on January 8th, 2021, in the middle of the pandemic. It looks to me like the ensemble is practicing the mandated "social distancing."
Here comes the first video of a series we recorded in the "Ratskeller Bremen". Thanks for your likes, shares and subscriptions! 🙂
A special thanks to our VIP Patreon supporters: I. Baumgratz, B. & R. Frühstück, P. Grandin, R. Kornberger, M. B. Lange, U. Mahrt and H. Spjelkavik. Support us on Patreon: www.patreon.com/bremerbarockorchester
I’m completely addicted to this recording and I listen to it almost twice daily.
Telemann's flute "quatuors" from the 1730s are very fine pieces indeed with haunting and memorable melodies; worthy of comparison with Bach and Handel. Many were composed for Paris, and have a decidedly French feel. Lovely, brisk interpretation here by one of my favourite baroque ensembles.
Impeccable phrasing here! Adorable works... which have such a French Flavour+ A la Blavet etc... glorious accoutics to pick out these warm & seductive tones! Great performance here!
Where to begin? I have known and loved this work since 1974 -- well before Telemann regained the esteem so richly due him. Here, the performance is as world-class as the music is subtly profound -- yes, profound. Now, I must hasten to second Reyes-Lacalle's praise, below, of traverso-master Egaña: Señor, your command of timbre, dynamics, and the most-difficult problem of just intonation is magnificent: Quantz would have loved you! Your ornamentation and rubato are also praiseworthy: you add enough to spontaneously polish Telemann's endlessly-beautiful melodic invention, without cluttering and needlessly tarting it up, so to speak. Finally, Señor, your performance of the opening movement -- for me, a brilliant synthesis of Italianized Polish folk melody, elegantly-transparent counterpoint, Galant "hammerstrokes," and yet, passion -- literally brought tears to an old man's eyes.
Thank you so much F. Sarastre! I am very happy to read your beautiful words, they go directly my heart!
Ate Ate
SoberbioTelemann y siempre magníficos , los músicos de Bremer Barockorchester. Felicitaciones !! Un saludo especial al flautista Felipe Egaña , desde Chile . Es un orgullo que sea nuestro compatriota . Bendiciones !!
Muchas gracias María Eugenia :-)
belle interprétation et bel enregistrement , bravi à tous !
Telemann fue un compositor de gran y original inspiración . Muy buena obra.
THE ACOUSTICS ARE FANTABULOUS, UNSURPASSABLE. GORGEOUS INTERPRETATION .
thank you, thank you, bravo..!!!
Gracias por esta música, sigan haciendola,por favor!
Splendid.
Que alucinante interpretación! Bravo 💜🎶
Muchas gracias Javi!
Hervorragend! 👏🏻👏🏻👏🏻Danke! 🎼🎶🎶🍷🍷
Superb !
Thank You. 🧡
Beautiful!
Beautiful🍃
the center of the body... existed for a long time. One thing is not clear. Why did you post everything so late?
Maravilloso. Suscrito, voy a revisar el canal a ver qué más teneis.
Una interpretación excelente y mención especial a la reverb natural del lugar.
1st movement
0:06 begins
2nd movement
Es un verdadero sueño escucharlos, muchas felicidades ‼️❤️
Es un sueño escucharlos ‼️ excelente interpretación, muchas felicidades ❤️
ein quartett gespielt mit stilistische vielseitigkeit.
Bravissimi!
Bella interpretación...Bravo!!! . Gracias maestros
Very enjoyable piece, beautifully played as usual.
The ratskeller is a beautiful room, adding more to the visual effect and less to the sound quality, IMHO.
Danke
Thank you guys, Jesus loves you so much!
What does a minor middle eastern preacher who came to a bad end have to do with music?
@@rattywoof5259He invented it
@@leonpiorek3211 Really? Your evidence please.
@@adamnoman4658 I don't know - who is he?
@@rattywoof5259 Okay, God says that by the end of this year, Donald Trump will be President. Something really crazy is going to happen on the 4th of November.
this is wonderful but... where is bach's orchestral suite no.2? I'm still waiting 🥺😭
Whaooo:)
Господня сентиментальность!!!
Could the violinist be Anna Stankiewicz? Both Annie Gard and Anna Stankiewicz play for Bremer.
🌹🌹🌹🎶💥💥
Dommage que la prise de son soit affreuse, parce que l'ensemble a l'air de qualité ! (et la justesse, aïe.......)
When I play continuo I want to be within visual range of the soloists. If that is not possible then the cohesion is lost.
I have not the slightest idea how a bass viol had crept onto the scene. Telemann specified two gambas, one to play solo, the other to accompany the harpsichord. I found this very incongruous and extracting liberties. So why do it?
I enjoyed this performance... extracting liberties have not lessened my Telemann experience. Thank you, though, for the info on Telemann's instrumental arrangement for this piece.
I opened Wikipedia and found this : "Telemann had composed a second set of six quartets. These, too, were printed by Le Clerc, in 1738 during Telemann’s stay in Paris, under the title Nouveaux quatuors en six suites: à une flûte traversiere, un violon, une basse de viole, où violoncel, et basse continuë" which justifies the double bass or violone and the theorbo.
This was recorded on January 8th, 2021, in the middle of the pandemic. It looks to me like the ensemble is practicing the mandated "social distancing."