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American Record Guide: (01/2018) 
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Reviewer: Todd Gorman

The program consists of six sonatas corresponding from varied sources. Four have been taken from the set of 12 Solos for Violin or Traverso published at Hamburg in 1734: 1, 3, 7, and 9. A sonata in G minor is played from a manuscript at the Brussels Conservatory, and a sonata in D minor is No. 7 from the Musical Exercises published in Hamburg around 1726- 8. All these have four movements arranged slow-fast-slow-fast with markings that vary from Largo and Grave to Presto. They are written with the zest and creativity we have long associated with Telemann. The members of period-instrument group Tripla Concordia have been praised here many times before. They are Lorenzo Cavasanti on recorders, cellist Caroline Boersma, and harpsichordist Sergio Ciomei. Performances as committed and professional as these are a pleasure to hear, and the sound presents it all clearly and naturally. The way the soprano recorder sings in the Sonata in F is a real treat—and quite distinct among four sonatas on alto recorder. As long as you could manage to play the notes, you can imagine how much fun it is to play the final movements of the Sonatas in C and B minor. These musicians are enjoying themselves. To miss such spirited and inspired playing would stint yourself and Telemann quite unfairly. In short, you may not want to sit still while hearing this! The booklet notes by Steven Zohn of Temple University describe French and Italian influences plus evocations of folk music such as drone basses. There are descriptions of the six different recorders played—one for each piece!—and photographs of the players.

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