Hidden treasures - Georg Philip Telemann - Ouverture burlesque (1717-22)

History (based on the Grove Dictionary of Music): The history of classical music, like any other art form, is hinged upon a myriad of over-amplified legends and ironic twists of fate. Georg Philip Telemann (1681-1767) is a striking example of the latter: virtually forgotten in the 19th century and rediscovered only in recent times, the composer's contemporaries were virtually unanimous in counting Telemann among the best composers of his time, comparing him favorably to composers of his own generation, namely Bach and Handel, and even writing, after his death, that "his name is his eulogy". Though showing signs of a great talent at an early age, Telemann was pushed by his family toward studying law, but even in his university career at Leipzig he gravitated toward music. After his efforts to conceal his musical gifts from the other students were confounded by a room-mate discovering a setting of Psalm VI that had somehow found its way into his luggage, Telemann's musical career went on almost without obstacle to the highest degree of excellence... Let us consider, however, the genesis of the presented work. Little is actually known about the time, place or occasion in which the "Ouverture burlesque" was written, as the work was not published in Telemann's time. However, its patina of Francophone grace is undoubtedly the result of the composer's first extended project. Telemann left Leipzig by early June 1705 to become Kapellmeister to Count Erdmann II of Promnitz at Sorau, Lower Lusatia. The Count had recently returned from travels through Italy and France, where he had developed a taste for French instrumental music. Telemann, having extensively studied the works of Lully and Campra, later reckoned that he wrote more than two hundred "overtures" over the two years he spent at Sorau. The overture in question, however, can be traced to Telemann's maturity, thus, it could be seen as a synthesis of these early experiences and the knowledge that Telemann attained in the following years.

Music: From a romantic point of view, Telemann's work could as well be called a symphony, as its multi-layered structure, concrete narrative and sheer length clearly designate a piece of greater ambition than a typical overture of the epoch. Similar to the more well-known "Burlesque de Don Quixotte", the whole work is built around allusions to contemporary popular culture; in this case, several sketches of commedia dell'arte characters form the second half of the work, almost suggesting an "instrumental opera", as it were, with a formal overture, as well as extended solos for select characters. The work is scored for a chamber-sized ensemble of strings and harpsichord, lending a wonderful intimacy to the proceedings. The opening prelude, paying homage to the formal, stately overtures of Rameau and Lully, serves as a perfect depiction of what is to come. The proposed seriousness of the andante march, steadily stated in the harpsichord, is charmingly dissipated by the sudden flights and trills of the strings. The following B section offers a delightful contrast to this juxtaposition of the jovial and the stern by treating the listener to a fugal ensemble with an especially appealing running motive in the strings. An interruption of the following da capo by a complete restatement of the B section serves as a perfectly charming musical idea. The following dances are unpretentious, warmly natural and, thus, extremely enjoyable fair, each presenting the listener with a portrait of a popular archetype. First comes Scaramouche, a Southern variant of the more renowned Captain, whose entrance is signaled by a boastful march, highlighted by witty string pizzicatos and staggering figures, suggesting the boastfulness of the soldier. Next is Harlequin whose sunny disposition is displayed in a variety of drops, jumps and ornamental lines in the violins. Columbine's dreamy movement is an exquisite gavotte, almost begging to be set as a wind number. Strikingly, Pierrot is described from a much lighter point of view than one might be accustomed to, as his movement is set as a hurried viste, suggesting a fit of jealousy on the part of the lover. The next section is dedicated to proper dances, two graceful minuets based upon similar thematic material, though with an especially handsome violin obbligato in the second. The final presto returns us to the comedic characters, as Mezzetin, a variant of Brighella, trumps around, dressed as a Turk (a nod to Moliere, perhaps?), in a richly comic gallop. All in all, a perfect introduction to Telemann who I am more than enthusiastic to discover for myself =D.

Recording: In the present 2005 Accent recording, the Bach Concentus under veteran historical-instrument conductor Ewald Demeyere accomplishes crisp, engaging readings that are fully attuned to Telemann's humor in the overture.

Hope you'll enjoy =).