Today Telemann is particularly known for his sonatas, and he himself stated in his autobio graphies that he considered his trios to be his finest works and yet the works that make up his Essercizii musici are often viewed in negative terms, presumably because of their lack of originality. The collection was published sometime after the publication of his autobiography of 1739 and before an advertisement in the Hamburger Correspondent in 1740, but it is commonly believed that these sonatas were probably composed up to ten years prior to their date of publication, and are representative of the state of the sonata in Germany at that time. This music was aimed at the lucrative market of bourgeois, amateur musicians, who passed their evenings playing music in their homes. The Essercizii musici were long considered Telemann’s swan song as an engraver and publisher of his own music, a remarkable business he gave up in 1740 with the sale of his engraved copper and pewter plates.
Tracklist
Please note that the below previews are loaded as 44.1 kHz / 16 bit.Total time: 02:02:39
Additional information
| Label | |
|---|---|
| SKU | 40118 |
| Qualities | DSD 256 fs, DSD 128 fs, DSD 64 fs, DXD 24 Bit, FLAC 192 kHz, FLAC 96 kHz |
| Channels | 2ch Stereo, 5 Channel Surround Sound, 2ch Stereo & 5ch Surround |
| Artists | |
| Composers | |
| Genres | |
| Cables | van der Hul |
| Digital Converters | Grimm 64fs A/D |
| Editing Software | Pyramix |
| Mastering Engineer | Jared Sacks |
| Mastering Room | Grimm LS1 |
| Microphones | Bruel & Kyaer, Schoeps |
| Mixing Board | Rens Heijnis custom made |
| Notes | The recording was originally digitized using the Grimm AD1, which operates at DSD64. The original session tracks were edited and rebalanced (which meant going through the mixer) in the only available format for that purpose; the Pyramix 352.8KHz/24bit PCM (DXD). Prior to the advent of direct digital delivery, the next step in the production process from 352.8KHz/24bit PCM would be the DSD64 edited master for SACD production. What we have done now is also make a direct conversion to DSD128 and DSD256 from that original DXD edited master, without going through any interim processing steps. Those DXD to DSD conversions are not up-samplings, as they would be going from one PCM sampling rate to another, for they are different encoding systems. PCM is a digital value sample based system, and DSD is a digital bit density modulated system. Conversion from any PCM sample rate to any DSD bit rate system is a remodulation, not an up-sampling. We feel there is an audio advantage to this process in using the original files so we give you the choice and you can decide.
Jared Sacks |
| Instruments | Archlute, Baroque cello, Baroque flute, Baroque oboe, Baroque orchestra, Baroque violin, Harpsicord, Recorder, Viola da gamba |
| Original Recording Format | |
| Producer | Jared Sacks, Ashley Solomon |
| Recording Engineer | Jared Sacks |
| Recording location | Waalse Church, Amsterdam, The Nederlands |
| Recording Software | Merging |
| Recording Type & Bit Rate | DSD64 |
| Release Date | March 23, 2018 |
Press reviews
BBC Music Magazine
Chamber Choice 2018
5 stars
– Nicholas Anderson
(…) an eloquent testimony to the expressive capabilities of both composer and performers. (…)
BBC Music Magazine [5+5 Stars – Chamber Choice Aug 2018]
Eloquent testimony: Florilegium reveals Telemann’s greatness
Pizzicato LU
(…) Ensemble Florilegium revitalises a collection of11 pieces in subtle charming and therefore attractive performances. (…)
Luister [8]
(…) Een collectie aangename vierdelige sonates met steeds wisselende bezettingen (…)
Audiophile Audition
(…) On this recording Florilegium features solo sonatas for flute, violin, oboe, and viola da gamba. In each, the soloist shines with good musical taste and technical accuracy. (…) Florilegium presents each piece, however inspired I found them, with equal reverence and sensitivity. [4.5 / 5 STARS]
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