Credits:
Gershwin / Swayne
Description:
A must-hear disc that captures the essence of the music, an unprecedented attempt! Here is a true performance that transcends the boundaries between modern and period instruments. Masahiro Arita re-recorded Telemann's unaccompanied music for the first time in 30 years! Masahiro Arita, who will reach his 70th birthday in 2019, is still active at the forefront of the flute world. He performs all of Telemann's unaccompanied works on both modern and period instruments! Mr. Arita, who won the Japan Music Competition as a modern instrumentalist and became a pioneer of ancient music performance as a period instrumentalist, has pursued his own music without being restricted to one or the other, and this is a world first and an unprecedented project of two kinds of Telemann by one player. This is a monumental session recording made between the end of the Heisei era and the beginning of the 2025 era. Mr. Arita recorded the entire piece in 1989 using a traverso, and this is the first recording of the piece in 30 years. At that time, there was a new world that could only be presented by playing on period instruments, but now, 30 years later, period instrument playing has become widespread, and even modern instrumentalists have adopted period techniques.What, in short, is the essence of the performance that we should be aiming for? -This album is an unprecedented attempt to create a stir in the world of music. Comparing the two performances, the interpretation is basically the same, and the time is almost identical. Despite the differences in materials (wood and metal), timbre and reverberation resulting from operability, and pitch, the music being expressed is the same, and it is astonishing that the same music can be conveyed by both modern and period instruments. This is a very rare performance in which, in addition to the solid technique, Mr. Arita's ideas of "how Telemann should be" and "how music should be" are powerfully imprinted. However, it is also noteworthy that the individuality of the instruments is not eliminated, but rather the sonority of each instrument is fully utilized, with improvisational changes in detailed ornamentation and phrasing, making the performance sound natural and natural. The score used is the Ongaku-no-tomo-sha edition (2018), revised by Masahiro Arita. This edition was created after much research and reference to Telemann's own published scores, and the performance has a rich persuasive power because it was written and performed by Telemann himself.(1/2) King International
