Telemann: Concerto TWV 53:A2 in A major for flute, violin, cello, strings & b.c. (Tafelmusik I No. 3)

“You'll rarely hear such personality in a Baroqueconcerto soloist as the extraordinary Emmanuel Pahud exhibits here. Berlin Baroque Soloists acclimatise effortlessly to an 18th-century palette, and distinguished colleagues they make for Pahud. The flautist sets out his stall from the Andante of the succinct G major concerto (completed from a damaged source and therefore making its recording début) whose startling resemblance to the slow movement of Bach's F minor Concerto, BWV1056, seems to inspire Pahud to a lyricism of understated elegance which one often hears in the best performances of the Bach work. Indeed, it's his sensitivity to Telemann's gestural implications and ability to colour the music at every turn which makes Pahud's playing so enchanting in all five concertos.
Telemann performance on a modern flute will inevitably lead to some recoiling, but one never feels deprived of the gentle and beguiling articulation of a 'period' instrument or its capacity for soft dynamic and purity of sound. One only has to hear the lithe performance of the A major Triple Concerto, from Part 1 of Telemann's famous banquet publication of 1733, Tafelmusik, where character abounds through Pahud's concern with first principles. Joyous exchange and textural delights abound in the Triple Concerto in E major, where Wolfram Christ's viola d'amore and Albrecht Mayer's oboe d'amore combine with the flautist in a ravishingly blended montage. The Flute Concerto in D confirms everything about Pahud's exquisite taste and mesmerising sound. A real winner.” Gramophone Classical Music Guide, 2010

“Lucy Crowe… conveys the intimate chart of her two recitative and arias with clarity of diction and graceful articulation. The Telemann… [Concerto] is given a beguiling, playfully alluring account which can be warmly recommended.” BBC Music Magazine, January 2009 ****

“The relationship between Florilegium and Telemann has been described in these pages as a marriage made in heaven and there is further evidence of such a close affinity in their delectable performance of the Concerto in A major… As in their performance of Bach's Triple Concerto in A minor (BWV1044), Florilegium's players possess an admirable sense of proportion and balance, not least with Ashley Solomon's flute sparkling with clarity while often gently within the overall balance rather than swamping it. Curious Bachians will find things to enjoy in the Sinfonia and two arias, with Solomon's assured and light playing complemented by Lucy Crowe's sincere and stylish singing.” Gramophone Magazine, March 2009

“Few can match Florilegium's interpretative flair and technical accomplishment in this repertoire.” Sunday Times

“this auspicious introduction to the Golden Age's ambitious project... Lively and sensitive music making at every turn makes for rewarding listening” Gramophone Magazine

“Telemann's 1733 compendium exhibits impeccable 'table manners' thanks to Concentus Musicus Wien's innate vivacity and Harnoncourt's charm offensive.” BBC Music Magazine, January 2010 ****