Florilegium - Telemann: Paris Quartets, Vol. 1-3 (1998-2005) [Hi-Res]

Tracklist

01. Sonata à 4 in G Minor, TWV 43:g1: I. Andante
02. Sonata à 4 in G Minor, TWV 43:g1: II. Allegro
03. Sonata à 4 in G Minor, TWV 43:g1: III. Largo
04. Sonata à 4 in G Minor, TWV 43:g1: IV. Allegro
05. Sonata à 4 in G Minor, TWV 43:g1: 12 Fantasias for Violin without Bass, TWV 40:14-25: Fantasia No. 5 in A Major, TWV 40:18. I. Allegro - Presto - II. Andante - III. Allegro
06. Sonata à 4 in A Major, TWV 43:A1: I. Soave
07. Sonata à 4 in A Major, TWV 43:A1: II. Allegro
08. Sonata à 4 in A Major, TWV 43:A1: III. Andante
09. Sonata à 4 in A Major, TWV 43:A1: IV. Vivace
10. 12 Fantasias for Flute Without Bass, TWV 40:2-13: 12 Fantasias for Flute without Bass, TWV 40:2-13: Fantasia No. 7 in D Major, TWV 40:8. I. Alla francese. Largo - II. Presto
11. Concerto à 4 in D Major, TWV 43:D1: I. Allegro
12. Concerto à 4 in D Major, TWV 43:D1: II. Affetuoso
13. Concerto à 4 in D Major, TWV 43:D1: III. Vivace
14. Concerto à 4 in D Major, TWV 43:D1: 36 Fantaisies pour le clavessin, TWV 33:1-36: Fantaisie No. 8 in G Minor, TWV33:8 (I. Presto - II. Cantabile
15. Suite à 4 in E Minor, TWV 43:e1: I. Prélude. Vivement
16. Suite à 4 in E Minor, TWV 43:e1: II. Rigaudon
17. Suite à 4 in E Minor, TWV 43:e1: III. Air
18. Suite à 4 in E Minor, TWV 43:e1: IV. Replique
19. Suite à 4 in E Minor, TWV 43:e1: V. Menuet I & II
20. Suite à 4 in E Minor, TWV 43:e1: VI. Gigue

01. Suite à 4 in D Major, TWV 43:D3: I. Prélude. Vivement
02. Suite à 4 in D Major, TWV 43:D3: II. Tendrement
03. Suite à 4 in D Major, TWV 43:D3: III. Vite
04. Suite à 4 in D Major, TWV 43:D3: IV. Gaiement
05. Suite à 4 in D Major, TWV 43:D3: V. Modérément
06. Suite à 4 in D Major, TWV 43:D3: VI. Vite
07. Suite à 4 in A Minor, TWV 43:a2: I. Allègrement
08. Suite à 4 in A Minor, TWV 43:a2: II. Flatteusement
09. Suite à 4 in A Minor, TWV 43:a2: III. Légèrement
10. Suite à 4 in A Minor, TWV 43:a2: IV. Un peu vivement
11. Suite à 4 in A Minor, TWV 43:a2: V. Vite
12. Suite à 4 in A Minor, TWV 43:a2: VI. Coulant
13. Suite à 4 in G Major, TWV 43:G4: I. Prélude. Un peu vivement
14. Suite à 4 in G Major, TWV 43:G4: II. Légèrement
15. Suite à 4 in G Major, TWV 43:G4: III. Gracieusement
16. Suite à 4 in G Major, TWV 43:G4: IV. Vite
17. Suite à 4 in G Major, TWV 43:G4: V. Modéré
18. Suite à 4 in G Major, TWV 43:G4: VI. Gai
19. Suite à 4 in G Major, TWV 43:G4: VII. Lentement
20. Concerto à 4 in G Major, TWV 43:G1: I. Grave - Allegro - II. Largo
21. Concerto à 4 in G Major, TWV 43:G1: III. Presto - IV. Largo
22. Concerto à 4 in G Major, TWV 43:G1: V. Allegro

01. Suite à 4 in B Minor, TWV 43:h2: I. Prélude. Vivement - Flatteusement
02. Suite à 4 in B Minor, TWV 43:h2: II. Coulant
03. Suite à 4 in B Minor, TWV 43:h2: III. Gai
04. Suite à 4 in B Minor, TWV 43:h2: IV. Vite
05. Suite à 4 in B Minor, TWV 43:h2: V. Triste
06. Suite à 4 in B Minor, TWV 43:h2: VI. Menuet. Modéré
07. Suite à 4 in A Major, TWV 43:A3: I. Prélude. Vivement
08. Suite à 4 in A Major, TWV 43:A3: II. Gai
09. Suite à 4 in A Major, TWV 43:A3: III. Modéré
10. Suite à 4 in A Major, TWV 43:A3: IV. Modéré
11. Suite à 4 in A Major, TWV 43:A3: V. Pas vite
12. Suite à 4 in A Major, TWV 43:A3: VI. Un peu gai
13. Suite à 4 in E Minor, TWV 43:e4: I. Prélude. A discretion - tres Vîte - A discretion
14. Suite à 4 in E Minor, TWV 43:e4: II. Gay
15. Suite à 4 in E Minor, TWV 43:e4: III. Vite
16. Suite à 4 in E Minor, TWV 43:e4: IV. Gracieusement
17. Suite à 4 in E Minor, TWV 43:e4: V. Distrait
18. Suite à 4 in E Minor, TWV 43:e4: VI. Modéré
19. Suite à 4 in B Minor, TWV 43:h1: I. Prélude. Gaiement
20. Suite à 4 in B Minor, TWV 43:h1: II. Air. Modérement
21. Suite à 4 in B Minor, TWV 43:h1: III. Réjouissance
22. Suite à 4 in B Minor, TWV 43:h1: IV. Courante
23. Suite à 4 in B Minor, TWV 43:h1: V. Passepied

Florilegium, the English early music ensemble founded by flutist Ashley Solomon in 1991, has been picking up the pace since the turn of the century occasioned some changes in personnel. Although the fortunes of the early music movement have been kind of up and down in the meantime, Florilegium has remained a constant, releasing at least one disc per year on the Channel Classics label and touring round the world. The 2005 release Bolivian Baroque was a gamble that has paid off handsomely in good reviews and renewed interest in the group. Subsequently, Florilegium has resumed, and with this volume presumably completes, its series of Georg Philipp Telemann's Paris Quartets, begun in 1999 when Florilegium was an almost completely different group.
Those who love Telemann will be pleased that Florilegium waited, as these performances are about as ideal as possible for the Paris Quartets. Leader Kati Debretzeni's violin seamlessly intertwines with Solomon's Baroque flute in ensemble passages, and the pacing provided by the continuo is just right. While the group never strays far, if at all, from expected Baroque performance practice, there is nothing cold or mathematical about Florilegium's rendering of the Telemann - it is conceived with the maximum emotional response in mind. Just listen to the "Modéré" movement within the Quatour No. 6 in E minor and you'll be hooked -- it is a moving interpretation, sort of like experiencing a cool, light rainstorm from the front porch at night. Florilegium's responsiveness to the pastoral and naturalistic tendencies in Telemann's music helps it speak with an eloquence that it clearly has, yet remains invisible on the printed page. That is what made the Paris Quartets so enormously popular in their day; playable by amateurs, and most of the people able to shell out for such a publication were aristocratic amateurs at that, but still containing a spark of inspiration that raised the nature of the music above the combined abilities of the players.
Florilegium has captured that very quality, and the DSD Super Audio CD has radiant sound that will place the group right in the living room. If you are someone who loves Baroque music but "hates" Telemann, this disc is good enough to turn you around. Nonetheless, Florilegium's Telemann: Paris Quartets, Vol. 3, should be sought out by anyone who has an interest in high-quality chamber music playing at its finest - one wonders if it is humanly possible for it to be better than this.

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