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String Quintet in E minor TWV 44:5

Georg Philipp Telemann (b. 1681 - d. 1767)

Concerto Copenhagen (photo credit: Keith Saunders)

Concerto Copenhagen (photo credit: Keith Saunders)

Composer
Georg Philipp Telemann (b. 1681 - d. 1767)
Composition Year
circa 1706-11
Work Movements
1. Adagio
2. Allegro
3. Grave
4. Allegro
Artists
Concerto Copenhagen (Peter Spissky, Fredrik From, Antina Hugosson [violins], Torbjörn Köhl [viola], Kate Hearne [cello], Mattias Frostenson [bass], Fredrik Bock [archlute, Guitar], Lars-Ulrik Mortensen [harpsichord, Director])

Programme Note Writer:
© Norah O' Leary

Such fully scored sonatas as this String Sextet in F minor, TWV 44:32 were quite common during the seventeenth century but became more and more rare during the eighteenth century when composers turned their focus to the solo and trio sonatas. Telemann’s five-part sonatas for strings belong to a collection of five sonatas with this scoring, although four of this collection including TWV 44:32 have obbligato cello parts occasionally earning them the title of ‘sextet,’ however they are fundamentally in five parts throughout. These sextets appear to have been known to the Bach family and manuscript scores (Telemann, Ein Sestett, in Partitur) were included in the 1789 auction catalog of CPE Bach’s estate.

The expanded trio stile antico scoring of the opening slow movement of TWV 44:32 is one of the most interesting in Telemann’s quintets. Here the composer invokes the recitative in his use of unsettled harmonic progressions, stepwise subject movement, close imitation and suspensions evocative of sacred vocal music. Other archaic techniques are also found in the Sarabanda of this sonata such as the tierces de Picardie that ends the movement. The second movement of TWV 44:32 contains one of the more impressive triple fugues in Telemann’s sonatas, comparable only to that of TWV 44:5. Later in the movement the fugue’s progression is curiously interrupted by a sensational progression of dotted rhythms in the violins over a dominant pedal in the bass  - music which later returns as a codetta.

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String Quintet in E minor TWV 44:5

Composer: Georg Philipp Telemann (b. 1681 - d. 1767)
Performance date: Sunday 3rd July 2016
Venue: St. Brendan's Church, Bantry, Co Cork, Ireland

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Composer Georg Philipp Telemann (b. 1681 - d. 1767)
Work Title String Quintet in E minor TWV 44:5
Composition Year circa 1706-11
Work Movements 1. Adagio
2. Allegro
3. Grave
4. Allegro
Artist(s) Concerto Copenhagen (Peter Spissky, Fredrik From, Antina Hugosson [violins], Torbjörn Köhl [viola], Kate Hearne [cello], Mattias Frostenson [bass], Fredrik Bock [archlute, Guitar], Lars-Ulrik Mortensen [harpsichord, Director])
Performance Date Sunday 3rd July 2016
Performance Venue St. Brendan's Church, Bantry, Co Cork, Ireland
Event Coffee Concert
Duration 00:08:04
Recording Engineer Richard McCullough, RTÉ lyric fm
Instrumentation Category Sextet
Instrumentation 2vn, 2va, vc
Programme Note Writer © Norah O' Leary

Such fully scored sonatas as this String Sextet in F minor, TWV 44:32 were quite common during the seventeenth century but became more and more rare during the eighteenth century when composers turned their focus to the solo and trio sonatas. Telemann’s five-part sonatas for strings belong to a collection of five sonatas with this scoring, although four of this collection including TWV 44:32 have obbligato cello parts occasionally earning them the title of ‘sextet,’ however they are fundamentally in five parts throughout. These sextets appear to have been known to the Bach family and manuscript scores (Telemann, Ein Sestett, in Partitur) were included in the 1789 auction catalog of CPE Bach’s estate.

The expanded trio stile antico scoring of the opening slow movement of TWV 44:32 is one of the most interesting in Telemann’s quintets. Here the composer invokes the recitative in his use of unsettled harmonic progressions, stepwise subject movement, close imitation and suspensions evocative of sacred vocal music. Other archaic techniques are also found in the Sarabanda of this sonata such as the tierces de Picardie that ends the movement. The second movement of TWV 44:32 contains one of the more impressive triple fugues in Telemann’s sonatas, comparable only to that of TWV 44:5. Later in the movement the fugue’s progression is curiously interrupted by a sensational progression of dotted rhythms in the violins over a dominant pedal in the bass  - music which later returns as a codetta.