Composer: Georg Philipp Telemann, Charles Avison
Performer: Marie-Sophie Pollak, Dominik Köninge
Orchestra: Akademie Für Alte Musik Berlin
Conductor: Georg Kallweit
Format: FLAC (tracks)
Label: CPO
Catalogue: 555394-2
Release: 2022
Size: 456 MB
Recovery: +3%
Scan: yes
Telemann: Pimpinone, TWV 21:15, Pt. 1
01. Chi mi vuol, son cameriera
02. Ich suche zwar ein Glück
03. Höflich reden, lieblich singen
04. Doch was kann dieses wohl für Lust erwecken?
05. Ella mi vuol conlondere
06. Was aber denkt ihr nun zu tun?
07. Nel petto il cor mi giubila
Avison: Concerto grosso No. 6 in D Major
08. II. Con furia (After D. Scarlatti’s Kk. 29) [1]
Telemann: Pimpinone, TWV 21:15, Pt. 2
09. Vespetta, willst Du von mir gehen?
10. Nei brevi momenti
11. Schweig, schweig!
12. Guarda, guarda un poco
13. Er schweige nur!
14. Io non sono una di quelle
15. So geht es gut, lass uns den Handel schließen!
16. Stendi, stendi!
Avison: Concerto grosso No. 6 in D Major
17. II. Con furia (After D. Scarlatti’s Kk. 29) [2]
Telemann: Pimpinone, TWV 21:15, Pt. 3
18. Ich will dahin, wohin es mir beliebet, gehen
19. So quel che si dice
20. Für dieses Mal sei ihr der Ausgang unbenommen
21. Voglio for, come fan l’altre
22. Wie aber, wenn ich’s auch so machen wollte?
23. Wilde Hummel! Böser Engel!
24. Du eigensinn’ger Esel, schau!
25. Schweig hinkünftig, alb’rer Tropf!
Georg Philipp Telemann’s intermezzo Pimpinone celebrated its premiere at the Gänsemarkt Opera in Hamburg on 27 September 1725 as an insert in George Frideric Handel’s opera seria Tamerlano and turned out to be a major public draw that continued to find its place in the Hamburg performance program until 1740. Telemann too valued this work and published it on his own in 1728.
Apart from Telemann’s music, one reason for the success of this three-part intermezzo involved his pointed realistic look at the contemporary professional and private spheres. And each intermezzo offers us music fans today insights into existential worlds that only seemingly have disappeared over time: they tell of the hard life of single women, the significance of wealth and social standing for eligibility for marriage, the injustices of patriarchal marriage law, and the ridicule directed at romantically inclined senior citizens.
In 1708 Tommaso Albinoni became the first composer to set the libretto Pimpinone e Vespetta by Pietro Pariati; in 1725 Telemann and his librettist Johann Philipp Praetorius lent the work a Hamburg touch. Italian arias were retained, but some arias, duets, and the recitatives were given new texts. Telemann proves to be – also in these scenes from a marriage – a master of musical depictions of moods, situations, and persons.
Without exaggeration it may be said that this new production with the Akademie für Alte Musik represents a benchmark recording.