It’s often said that in the Baroque era composers weren’t too concerned about the tone colour of various instruments. Title pages of publications often state that a work could be played on a flute, or violin, or oboe, but this may have just been a way of increasing the sales by appealing to a wider audience.
However, this program, with several pieces written specifically for recorder, oboe, violin, and basso continuo, shows that this is not always the case. In particular, in Telemann’s beautiful Concerto à 4 in A minor TWV 43:a4, each melody instrument has a substantial solo section which makes full use of the unique timbre, and idiomatic techniques of that instrument. Several of the other works contain fugal or imitative writing, and again the contrasting timbres highlight the different musical lines to great effect. Overall, this is a wonderfully exuberant program, showcasing the best features of music of the high Baroque era.
Other works on the program are:
Telemann Concerto à 4 in G major TWV 43:G6, J F Fasch Quadro/Sonata in Bb major, Quantz Trio sonata in C, Telemann Trio Sonata in G minor TWV 42:g5 for violin and oboe, and a recorder sonata by GF Handel.
I’ll be performing this exciting program with Austral Harmony, directed by UK based baroque oboeist Jane Downer, in Paddington Hall on March 3rd, and the Uniting Church, Armidale on March 16. Click here for ticket information for the Armidale concert.