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Concertos for wind instruments - Released January 19, 2018 | Accent

Booklet Distinctions Diapason d'or - Gramophone Editor's Choice
Stefan Temmingh is a member of the new young generation of world-class recorder players. Born in Cape Town, he comes from a Dutch-South-African family of musicians and now lives in Munich. Being an early music specialist, he plays internationally with his baroque ensemble at renowned festivals and concert series, and can also be heard as a member of ensembles of all sizes in Europe, Asia and Africa. His fine playing is regularly compared to the style of the legendary Frans Brüggen. On this collaboration with the Capricornus Consort Basel, he makes use of his wide array of technical and musical resources to render a reference version of Vivaldi’s Recorder Concertos. © Accent
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Classical - Released October 16, 2020 | Accent

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The Mediterranean Sea has been the hub of resettlement and migration for centuries. After the fall of the Byzantine Empire, the people who settled in those areas that were depopulated by years of war, expulsion and flight. And in 1492, the Spanish Reconquista led to the expulsion of the Sephardic Jews, who brought their culture to many countries around the Mediterranean. Even today, the Mediterranean again plays an inglorious role in flight and expulsion. The German gambist Friederike Heumann has taken this as an opportunity to present, together with the Turkish singer Nihan Devecioglu and the Spanish guitarist Xavier Díaz-Latorre, the many ancient cultures around the Mediterranean: the tradition of the Sephardic people, songs from Lebanon, Turkey, Armenia and Greece, art music from Venice to Fado in Spain and Portugal, whose influences reach as far as South America. © Accent
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Classical - Released September 17, 2021 | Accent

Booklet
The Thomaskantor position in Leipzig was one of the most important jobs for musicians in Germany in the 18th century. Several important musicians applied to succeed Johann Kuhnau after his death in 1722. In the recruitment process, the Leipzig city council was able to choose from the most famous personalities of the time. The first choice was Georg Philipp Telemann, who declined, however, after he had obtained a decent salary increase at his Hamburg post. The next two candidates were Johann Friedrich Fasch and Christoph Graupner - Fasch, knowing about Telemann's application, had accepted another position and Graupner would have become Thomaskantor, but his employer in Darmstadt would not let him go. Only the third choice, as is generally known, fell on Johann Sebastian Bach ... In his program "Leipzig 1723", Stefan Temmingh recalls this major moment in music history and presents recorder concertos by all four competitors. Excellently accompanied by the Capricornus Consort Basel, he thus creates a panopticon of recorder concertos by the greatest German masters of the time. © Accent
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Classical - Released January 18, 2019 | Accent

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Classical - Released November 6, 2015 | deutsche harmonia mundi

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Classical - Released November 6, 2015 | deutsche harmonia mundi

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Chamber Music - Released August 5, 2014 | Oehms Classics

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Chamber Music - Released June 7, 2011 | Oehms Classics

Booklet
Bach and other Baroque composers often transcribed their music for new instrumental combinations as needed under the press of a busy schedule, and performers like South African-born recorder player Stefan Temmingh have taken this fact as carte blanche to create arrangements of Bach's music as desired. You can make various arguments pro or con in connection with this practice, and the procedure here, going from keyboard works to ensemble pieces, is in some ways the most problematical. So what you think of Temmingh's disc may depend on where you come down on the larger question. But there's no question that the Young Turks who have revived the art of recorder playing tend to make entertaining albums, and Temmingh's is no exception. He offers arrangements of two of Bach's French Suites and one English Suite for the combination of recorder and a basso continuo consisting of viola da gamba and lute, together with shorter pieces mostly showcasing his collaborators; the lute pieces exist in several versions by Bach himself, one of them the lute solos actually heard here. Temmingh argues that the melodic quality of the keyboard suites suits them well to the recorder; they are not virtuoso keyboard works, and he doesn't have to stretch when it comes to the range. It might also be argued that the solo-continuo deployment of the arrangement somewhat distorts the relationship between the hands of the keyboard work; contrapuntal voices with similar textures in the original are contrasted in the arrangement. It's hard to argue, however, that Temmingh is anything other than technically superb. He's got a lot of power (an odd thing to say of a recorder player, perhaps, but relevant), and he can carry through a pitch or a short phrase with enough of a sense of a tonal center to let him bend notes a bit without falling into the distressing sliding tones that characterized recorder albums in the bad old days. He's a pleasure to listen to on a disc that will have the most appeal to those with an inclination toward speculative performance styles, and he is aided by total sonic clarity from the crack Oehms engineering team. © TiVo
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Classical - Released March 24, 2014 | deutsche harmonia mundi

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Classical - Released March 24, 2014 | deutsche harmonia mundi

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Classical - Released April 29, 2016 | Accent

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Chamber Music - Released January 1, 2007 | Oehms Classics

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Chamber Music - Released October 26, 2010 | Oehms Classics

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