I flauti dolci di Lorenzo Lio sono bellissimi io ne ho diversi e ogniuno suona divinamente....ora con questo video devo seriamente commissionare un Denner! Ha proprio un bel timbro
Fantastic. It is hard to make the piece more creative than what is actually written in the score. Very nicely done and inspiring new ideas of diminuitions. Thank you!
Interesting to hear this piece on G alto - I used to play this piece in performance quite a lot some 40 years ago. I was not a fan of the F#. Nice job!
Thanks Michael! I am happy that you enjoyed this concerto played with g alto. I believe Telemann must have known much the g alto; several chamber cantatas from “Harmonisches Gottesdienst” include some passages that suggest the posibility of g alto playing (like a slur between d’’’ sharp and c’’’ sharp) although written as it sounds, not transposed. It seems there are also many more Telemann’s instrumental pieces that could be played reasonably with g alto than practiced nowadays. I will continue to try out!
@@ReiInoue I certainly agree that he may have intended G alto. There are really quite a few extant G altos so I would guess that they were fairly common for a high-level recorder player.
A really lovely performance, very tasteful, especially the 2 fast movements! I loved the fact that you didn't take the last movement at super-sonic speed...
Incredibly beautifully played! I appreciate especially how patient and you are, letting the music speak for itself. Also loved hearing your unique interpretation of the second movement. Bravo!
Beautiful sound, nice phrasing, almost perfect intonation, but where are the ornaments? This playing reminds me to Camille Saint-Saëns: "When I hear Händel performed nowadays [that was in the end of the 19th c.] I feel like entering an austere romanesque basilica, but I would like to enter an exuberantly ornate baroque church. Apparently not much has changed since then.
Thank you for your comment! This video was a part of my almost first video shooting aimed exclusively at RU-vid three years ago, and my concept was to make the music sing without doing many additions. However I have to admit this performance is too puristic. I didn’t know that Saint-Saëns’s remark, good to know it! Now I would play this piece differently, of course with many ornaments and other rhetorical tools.
Thank you for your compliment! The maker is Yuzuru Fukushima, a fantastic Japanese maker. You can hear his recorder on Pamela Thorby and Patrick Denecker's recordings (both Terton soprano.)
I always loved this composition. Very beautifully played. I wish I could play it this way. It is a very difficult piece and I feel the Sarabande is especially challenging in breathing, aggréments and expression. Great voice flute, very warm tone! Thank you very much!
Bravo! Very well thought-out performance! I particularly appreciated the expressive frasing of the slower movements and the choice of 'reasonable' tempi for faster ones, which allows to better understand the development of the musical discourse and to add more nuances than the breakneck speeds which seem fashionable today! Thanks you!
