Unique to the current catalogue, a keyboard-only version of six attractive suites by the perennially under-rated Telemann, and played with tremendous verve by an experienced specialist in Baroque keyboard masterpieces.
In 1716 Telemann published a new collection of chamber music, designed for violin or flute or oboe with basso continuo accompaniment. He aimed his dedication not towards a noble patron, but at several important musicians of the time, demonstrating a new, proud self-image of the artists among themselves. The composer himself authorised performance of them on the keyboard alone, and so Andrea Coen has taken Telemann at his word and made his own lively arrangements. Each partita consists of a prelude and six brief dances or arias.
Despite such seemingly formal uniformity, the cycle of Kleine Kammermusik contains a wealth of ideas, and it is not without reason that Telemann later recycled much of its melodic material: thus we may find here his musical world in miniature. In a short space we find French rondos and chaconnes, reminiscent of the affettuoso style of the Italian trio sonata, chromatic songs of lamentation and dances such as the Minuet, the Jig, the Gavotte and the Passepied.
Andrea Coen is an organist, harpsichordist, and fortepianist, who has studied with such distinguished artists as Ton Koopman and Alan Curtis, and has collaborated with such figures as Christopher Hogwood and Monica Huggett. His recordings of Baroque and early-Classical keyboard repertoire for Brilliant Classics have attracted glowing reviews. Coen made the first complete recording of Telemann’s Fantasias (94228). According to MusicWeb International: ‘Coen, an experienced, insightful instrumentalist with a profound knowledge of historical performance practice and a sackful of important recordings under his belt, could make Telemann sound special even on a typewriter.’
Of the sonatas by Giustini (94021), Fanfare noted that Coen ‘brings good taste and the elegance required for this music, while also maintaining a fine sense of the quirky rhythms and dramatic side.’
Kleine KammerMusik, consisting of VI Partias, intended for the violin / transverse flute as well as for the keyboard but in particular for the oboe, which for [their] simplicity and being singable can be used for beginners’ exercise, but they can also be approached by the Virtuoso. They have been completed by Georg Philipp Telemann Capellmeister in Frankfurt am Main.”. Thus wrote Telemann on the title page of his Kleine Kammer Musik. Andrea Coen gratefully accepted Telemann’s suggestion to play them on the harpsichord, in accordance with the performance practice of the time. It was common to realize unwritten harmonies, even more so if in the presence of a very detailed figured bass line, like in this case.
Played on a harpsichord by Giulio Fratini, 2015, after the original double manual instrument by Michael Mietke, Castle of Charlottenburg, by Andrea Coen, one of the foremost keyboard players of Italy, who already successfully recorded for Brilliant Classics works by Giustini, Telemann, C.P.E. Bach, Scarlatti and others.
