Telemann - Twelve Fantasias for Solo Flute | Channel Classics CCS40617

Telemann - Twelve Fantasias for Solo Flute

£12.56

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Label: Channel Classics

Cat No: CCS40617

Format: CD

Number of Discs: 1

Genre: Instrumental

Release Date: 18th August 2017

Contents

About

‘This recording offers the listener a rare opportunity to hear two unique baroque flutes, both made in 1760 alongside my favourite modern copy. In combining all three on this recording I hope it opens a new sound world for the listener and breathes fresh life into these well-known works by Telemann. (...) Telemann’s twelve flute fantasias remain a challenge for today’s players, as they were in the eighteenth century. He left us some of the most inventive, musically original Baroque music for solo flute, covering the widest possible range of expression in the shortest amount of time, and designed for both performance and instruction.’ - Ashley Solomon (from liner notes)

As Director of Florilegium much of Ashley Solomon’s time is spent working and performing and recording with Florilegium, the ensemble he co-founded in 1991. He also records as a solo artist with Channel Classics and his recording of the complete Bach’s Flute Sonatas was recently voted the best overall version of these works on either modern or period flute by Gramophone Magazine (February 2017): ‘Solomon’s luminous tone and unfussy command of the complicated melodies conflate into something utterly beautiful. Slow movements are soulful in their infinite variety, fast ones are clever and with a wealth of invention behind them.’

Reviews

I restarted the first piece on this album about 20 times because the sound of Ashley Solomon’s opening note, played on a grenadilla wooden flute modelled on an instrument from 1750, is just astonishing… Telemann’s Fantasias were meant for instruction as well as performance; they are a test and a bounty for flautists, a tangle of freewheeling challenges that can easily come a cropper in lesser hands. Solomon makes them dance and sing, he makes them spacious.  Kate Molleson
The Guardian 20 July 2017

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