Animated Baroque music, played engagingly with natural charm and beautifully warm sound on historical instruments (baroque oboe, recorder, baroque violin, bassoon, viola da gamba, violone, harpsichord)

36 MP3 Songs
CLASSICAL: Baroque, CLASSICAL: Chamber Music

Details:
TOUTES SUITES ensemble for early music,
founded by Marianne R. Pfau, specializes in
18th-century music on historical instruments.
www.toutes-suites.com
Marianne Richert Pfau, director, is Professor of Music
at the University of San Diego where she teaches music history and literature, produces international Early Music Festivals,and directs the âAngelusâ Sacred Early Music Concert Series. She holds diplomas in historical winds and in music therapy from Musikhochschule Hamburg and Guildhall
School of Music and Drama London, and earned her Ph.D. in musicology at SUNY-Stony Brook in New York. She has published an edition of Hildegard von Bingenâs Symphonia, and has assisted the Kronos Quartet, Chanticleer, and
Dawn Upshaw in their Hildegard recordings. Her monograph,
with Stefan Morent, entitled Hildegard von Bingen: Der Klang des Himmels (Boehlau 2005), has garnered enthusiastic reviews on both sides of the Atlantic. A 3-CD
set of the Isoryhthmic Motets of Machaut and Dufay (Hamburg 1993) with Helga Weber, for which she served as musicological adviser, received international acclaim.
Ms. Pfau performs with American Bach Soloists, Jubilate Baroque Orchestra, and California Bach Society in San Francisco, with LA Baroque Orchestra, Musica Angelica, and Corona del Mar Baroque Festival in Los Angeles, with Trinity Consort in Portland, Oregon, Ensemble Rebel in New York, and San Diego Bach Collegium. She also appears with European Baroque ensembles Musica Alta Ripa Hannover,
Corona Musica Kassel, and Cythara Ensemble Hamburg. Reviewers have liked her âgreat tonal beautyâ and âbrilliant solo workâ (San Francisco Classical
Voice), ânimble solo passages and expressive sighsâ (LA Times-Orange County).


This recording offers a restoration of sorts, presenting Telemannâs music in the way a subscriber to his monthly journal would have encountered it in early 18th-century
Hamburg, that is to say, as a delectable musical medley of various genres and timbres. It serves up a colorful, up-to-date compendium of galante popular music. Each Lection
teases the subscriberâs musical appetite, with a delicately ornamented tune here, a brightly jolly dance there, mingling charming pieces meant to delight with expressive, enthralling miniatures that more deeply âmove the affectionsâ, and some acutely dramatic moments between. An elegant mélange of styles and genres, the journal is attractive not so much for its depth, rofundity or even artistic coherence, but as a kaleidoscopic array of
the latest fashions of musical taste apt to entice the smart Hamburg audience of the day.

Owing in part to the emphasis of the "galante," Telemann was the most popular 18th-century German composer whose fame significantly exceeded that of J. S. Bach. Owing to his serious commitment to music as an ever-evolving art, and with a legacy of over 2000 works, Telemann stands as the link between the late Baroque aesthetic and the emerging Classical style.

In foregoing a customary historiographical approach of the 19th- century to the musical medley of Der Getreue Music-Meister which assembles the music from the different issues
into âcomplete worksâ, Toutes Suites recreates Telemannâs original offering of very fine and well-crafted music, accessible to a broad public and presented in small portions of ever-changing configurations. Thus, this galante music may again edify through its fluent
melodies, delight by its clarity of textures, and please for its wit and expressive nuance.
M. R. Pfau

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