Performers
- Les Musiciens de Saint-Julien
- François Lazarevitch flute, flute traverso, frula (Serbian flute), fluier (Romanian flute), bagpipes, artistic direction, arrangements
- Hélène Richaud voice, cello
- Petr Ruzicka violin
- Amaryllis Billet violin
- Iurie Morar cimbalom
- Pierre Rigopoulos zarb (Persian drum), davul, saggats, percussions
Programme
Dyž sem šla z kostela (When I was leaving the church), traditional Moravian song
Georg Philipp Telemann Largo and Vivace (mov. III and IV) from Concerto in D major for flute, strings and basso continuo, TWV 51:D2
Suite of Dances from the Uhrovec Collection (Slovakia, 1730): [without title] – Hungaricus • Hajdukujymy, traditional song from Żywiec region (Poland – Hungary)
Georg Philipp Telemann Vitement from the Rostock manuscript, TWV 45 • Braul Oltenesc, traditional Romanian dance (arr. Iurie Morar)
Nisko słonko, traditional song from Kurpie region (Poland)
Georg Philipp Telemann Allegro (mov. VII) from Trio No. 3 in B minor, TWV 42:H2 • Hora din caval, traditional Romanian melody (arr. Iurie Morar) • Georg Philipp Telemann Adagio (mov. III) from Concerto polonoise in D major, TWV 51:D3 • Georg Philipp Telemann Presto (mov. V) from Trio No. 3 in B minor, TWV 42:H2 (oprac. Iurie Morar)
Vešelo še dzivče, traditional Slovakian melody (arr. Josef Žák)
Suite of Dances from the Uhrovec Collection (Slovakia, 1730): [without title] – Hungaricus – Hungaricus – [without title] – Olas
Concert description
“In 1704 I was appointed Chapelmaster in Sorau (Zary) by His Excellence Count Erdmann von Promnitz. (…) When the Court resided for six months in Plesse (Pszczyna) and Kraków, I became acquainted with both Polish music and the music of the Hanaks. This in all its barbaric beauty,” wrote Georg Philipp Telemann in his 1740 autobiography. His admiration for the folk music of these regions knew no bounds. Many of his works allude directly to it: his sonatas, concertos and suites resound with the lively rhythms of national dances, and the melodies he composed bring to mind the hard-to-fake color of ethnic chants.
Folk music is constantly changing, evolving. Each village band will play a traditional preposition in its own way, and each successive generation will hum the old song a little differently. The composers’ work inspired by them is therefore particularly valuable. As Bohdan Pociej writes, Telemann’s compositions “preserved what is by its nature most ephemeral, elusive, fragile, and perishable.” Reflections and memories of that music survive in his works to this day.
– Karolina Dąbek (pisanezesluchu.pl)