Wigmore Mondays: Florilegium visit Paris and Germany

Florilegium (Ashley Solomon (flute, director), Bojan Čičić (violin), Reiko Ichise (viola da gamba), Stephen Devine (harpsichord)

Telemann Paris Quartet No.4 in B minor, TWV43:h2 (1738)
J.S. Bach Trio Sonata in G major, BWV1038 (1732-35)
Rameau Pièces de clavecin en concerts – Suite No.5 in D minor (1741)
Rebel Les caractères de la danse (1715)

Wigmore Hall, London; Monday 30 October 2017

Written by Ben Hogwood

The broadcast can be heard on the BBC iPlayer by clicking here

This year marks the 250th anniversary of the death of Georg Philipp Telemann. If that name doesn’t mean anything to you, then perhaps it should – especially if you are a follower of the music of Bach or Handel. Telemann, so the concert note for this recital informed us, wrote more than the two composers combined – an extraordinary feat when you think that he wrote a number of large scale stage and sacred works.

Some of his most admired works are on a smaller scale however, such as the collection of Paris Quartets he published in two parts, in 1730 and 1738. They are intimate works for flute, violin, viola da gamba and continuo (usually harpsichord) that allow a great deal of flexibility for the performers, subtly pushing the boundaries Baroque chamber music was exploring at the time.

Complementing the Telemann in this concert are works by J.S. Bach – a Trio Sonata co-written with son Carl Philipp Emanuel – and works by the Frenchmen Rameau and Rebel, each bringing the spirit of the dance to an intimate grouping of musicians.

Follow the music

Telemann Paris Quartet No.4 in B minor, TWV43:h2 (from 1:41) (19 minutes)

A bright and brisk Prelude gives a good illustration of how Telemann writes so well for strings and wind, but the performers often have difficult lines to play, as in the passage from 5:09 where the tempo quickens. After the Prelude the quartet moves into a series of dances, with an elegant Coulant led by the flute (7:26), then movements entitled Gai, Vite (11:18), Triste (a sombre, melancholy dance from 13:19) and finally a Menuet (15:55) that proves to be much lighter on its feet, especially in its quick middle section.

J.S. Bach Trio Sonata in G major, BWV1038 (from 23:32, 7 minutes)

Bach was always aware of musical developments in his age, and with this particular Trio Sonata it appears he only wrote one part of the three, delegating the other two for son Carl Philippe Emmanuel to complete. Although there are three parts, typically with Baroque instrumental pieces there are actually four instruments taking part – the harpsichord and viola da gamba (an early form of cello without a spike, and in this case with five strings) share the bass / harmony roles.

This piece starts with an attractive, languid line on the flute that the violin shadows. The mood is – perhaps for Bach – surprisingly relaxed. A quick movement, marked Vivace (lively) follows from 26:42, but it’s gone in a flash – and a much slower Adagio movement begins at 27:38, with thoughtful interplay between flute and violin. Then at 29:40 a more substantial quicker movement, marked Presto, features typical Bach figures passed between each of the four instruments.

Rameau Pièces de clavecin en concerts – Suite No.5 in D minor (from 32:31, 13 minutes)

Rameau named the three movements of this suite after his fellow composers, although it doesn’t suggest in the concert note if he was painting a character portrait of each. If he was, then Forqueray, the first subject, would be a genial sort with a memorable hook – in this case introduced by the harpsichord from 32:31. Cupis (from 37:10) would be a thoughtful, deep kind of person, prone to a few bouts of melancholy, while Marais (42:34) would be a bright, energetic figure, again with a catchy tune with frequent and highly enjoyable repeats!

Rebel Les caractères de la danse (from 46:00, 8 minutes)

An early medley, if you like – a collection of short dances all rolled up into one. In the course of a fun-packed eight minutes, Rebel fills the music with eleven different dance forms, both slow and fast, giving his ensemble plenty to do. The harpsichord provides the crisp rhythmic emphasis, along with the viola da gamba, but is also given the tune at times, and invited to show off. The piece ends with a rapid dance with which only the quickest of feet could keep up!

Encore

A Bolivian dance from one of Florilegium’s three albums of Bolivian Baroque music (55:10), with some lively lines for violin and flute – and Reiko Ichise ditching the viola da gamba for shakers!

Thoughts on the concert

This was a very stylish and enjoyable concert. Florilegium have been together since 1991, and their performing style shows them totally at ease with the music of the Baroque period. Here they flourished especially in the Rameau and Rebel dance-based works, where harpsichordist Stephen Devine prompted and probed with tasteful, rhythmic playing.

The Telemann was a charming performance, the seriousness of its home key of B minor given a lift in the dance movements, while the Bach was unusually lyrical for the trio sonata form. A concert played with good humour and considerable panache, topped off by the exoticism of the Bolivian encore.

Further listening and reading

You can hear Florilegium’s recordings of the complete Telemann Paris Quartets in three volumes on Spotify. The third volume includes the quartet heard in this concert:

Meanwhile their explorations of the Bolivian Baroque can also be heard here, a first disc of three:

Telemann’s Water Music is one of his best loved works, and makes an excellent companion piece to the Handel. From experience I can say it is a thrilling work to be part of, as this performance from the Musica Antiqua Köln and Reinhard Goebel illustrates!