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I must admit to not having heard Gaillard’s name before but
she is an outstanding musician who has performed with such notable period
ensembles such as Le Concert Spirituel www.concertspirituel.com
, Les Talens Lyriques www.lestalenslyriques.com
, Le Concert d’Astrée www.leconcertdastree.fr
and Les Arts Florissants www.arts-florissants.com playing both oboe and recorder.
On this new disc, she plays a selection of recorders, tenor,
alto, soprano and sopranino made by Bruno Reinhard www.flutes-bruno-reinhard.com and Francesco Livighi in order to bring a
variety of sounds and textures to the music.
The exact date of publication of these Fantasies is not
known. The catalogue of Telemann’s works (Telemann-Werke-Verzeichnis) lists
these works as TWV40:002-013, dating them from around 1732/1733, but it is now
believed they may have been published in 1727/28. My book on Telemann by
Richard Petzoldt doesn’t help as, understandably given the modest size of a book,
Telemann’s vast output takes some covering.
Héloïse Gaillard orders the works differently to their
numbering, providing a satisfying recital. The Alla francese that opens Fantaisie No.7 in D major has some
unusual textures as the music jumps around. Gaillard draws some lovely timbres from her
tenor recorder before the music moves to an attractive dancing theme with some
first rate playing, before returning to the opening tempo. This Fantasy concludes
with a terrific little Presto.
The first of the two movements of the Fantaisie No.3 in D minor is marked Largo – Vivace – Largo - Vivace. After the brief slow opening, the Vivace lightly dances around before the Largo returns with lovely upward swoops
leading to a return of the Vivaceto
conclude. A flowing Allegro with
little decorative notes leads this Fantasie to a conclusion. Gaillard shows
terrific articulation with her Reinhard alto recorder.
The Fantaisie No.12
in G minor also adopts a slow, fast, slow structure this time with Grave – Allegro – Grave – Allegro – Dolce –
Allegro. In the opening, brief, Grave,
Gaillard’s soprano recorder brings lovely textures. The allegros are jolly and vibrant with a flowing Dolce before the final Allegro that dances to a close.
With the Fantaisie
No.9 in G major Gaillard changes back to the alto recorder for the Affetuoso, a slow section that brings
out so much of the instrument’s woody timbre. This is a lovely movement with
terrific breath control over these long drawn phrases. The Allegro brings some lovely rhythms that dance freely around. The Grave acts more as a link between the Allegro and concluding Vivace, a movement that has a syncopated rhythm in a melody reminiscent of Bach.
The tenor recorder is played in the Fantaisie No.8 in E minor, the Largo
of which moves around over the range in a very flowing piece. Spirituoso is a fast moving movement
based on a three note rising motif that appears throughout. A rhythmically
swaying Allegro brings to an end this
delightful Fantaisie, terrifically played by Gaillard.
Fantaisie No. 10 in A
minor opens with A tempo giusto,
a fast flowing section with beautifully controlled playing of the alto recorder.
Some of Telemann’s shorter movements are really attractive such as the
delightful Presto, full of life and
invention. With the Moderato, Telemann
brings more delights with a lovely flowing rhythm.
The tenor recorder brings an underlying warmth to the Dolce of the Fantaisie No.6 in D
minor. The Allegro has an
intricate rhythm that demands much from the player before the fast flowing Spirituoso that is no less a test of
technique and musicianship, brilliantly played by Gaillard.
Much of the Fantaisie
No. 2 in D minor is again curiously reminiscent of Bach. The opening Grave suggests the theme of Bach’s
Musical Offering but is carefully woven by Telemann. There is a lovely bouncing
Vivace before the Adagio with a theme
that again seems familiar yet is given an unusual rhythmic slant. The final Allegro again brings to mind a Bachian
theme. It is given a florid treatment that makes it most attractive.
In the Vivace – Adagio
of the Fantaisie No.1 in A major
there is a slow working out of the theme before a staccato dancing version
arrives. The Adagio is unusual having
long drawn phrases interspersed with rapid decorations. Here more than in any
of the other Fantasies Telemann looks to have been experimenting with ideas. Finally
there is a lovely rising and falling Allegro that flows along with lovely
playing from Gaillard using the tenor recorder.
Fantaisie No.5 in C
major brings Telemann’s favoured fast, slow, fast structure for the opening
movement marked Presto – Largo – Presto –
Dolce. The bright sound of the soprano recorder works so well in the rapid
passages and long drawn phrases. Short, punctuated phrases adorn the second
movement, Allegro, joyfully played by
this artist. The lively, final Allegro
has something of the feel of a sea shanty.
Returning to the alto recorder for the Fantaisie No.4 in E flat major, the Andante has an appealing melody, rather stately in character before
a fast flowing, slightly punctuated Allegro,
again showing Gaillard’s superb articulation. The Presto is a lovely piece with little upward flourishes, so well
phrased by Gaillard
The sopranino recorder arrives for the Fantaisie No.11 in B
flat major with an Allegro full
of short staccato phrases and an Adagio –
Vivace that has a florid, flowing opening before another shanty like theme
appears. There is a terrific little Allegro
that dashes ahead, full of intricate figuration, with a lovely little chirrup
to end. What a great way to end this attractive collection.
Héloïse Gaillard, who provides the booklet notes, is well recorded
in l’Eglise Saint Pierre du Tronchet, France. There are full details and
illustrations of the instruments.
Héloïse Gaillard is a first rate recorder player who provides excellent performances that allows us to hear another aspect of Telemann’s huge output.
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