Stefan Temmingh, Domen Marinčič & Wiebke Weidanz

Conceptual programmes are fashionable today and we have become accustomed to listening to CDs and concerts with a thematic reference. A look at concert programmes of the past quickly shows: we are in a fashion right now! Programmes from previous centuries are characterised by unbelievable lengths and, above all, a colourful mix. For example, it was nothing special to perform only one movement from a multi-movement work.

Modern concert programmes are, on the one hand, wonderful excursions into a particular zeitgeist, country, style or illuminate the work of a composer. They give us the opportunity to educate ourselves and delve into very specific subject areas, to learn new things and to make cross-connections from them. On the other hand, the danger of such programmes is that we lose the exhilaration, the splendour because of the intellectual examination of a theme. “Splendidly baroque!” makes no conceptual claim, but it is intended to capture the spirit of the baroque. With these classics of the recorder repertoire, I would like to highlight the aesthetic core idea of the Baroque – harmonic opulence, richness of ornamentation, simply the magnificent!

If I now allow myself a free ride with this programme, the question naturally arises: Why these works in particular? I have very personal stories to tell with all of them. Instead of the usual descriptions of works, I would like to describe my first encounters with these compositions. For me, these experiences were probably much more formative than any programme texts could be. You can find them everywhere on the internet today anyway.

I heard Telemann’s Trio in F major live for the first time in my life 23 years ago (shortly after my arrival in Germany) in Bremen with Peter Holtslag and Rainer Zipperling at an ERTA conference – I still have this image in my mind today. I was immediately impressed by the unusual instrumentation and virtuosity of the work.
I encountered Chédeville’s Sonata in G minor when the work was still considered a “Vivaldi” sonata, because the composer had published it under Vivaldi’s name. My teacher in South Africa, Karin Maritz, used this work to explain articulation to me for the first time in such a way that I understood how essential this parameter is for shaping.

When playing the Furioso from Handel’s B minor sonata (incidentally his longest sonata ever), I always think of my professor, Michael Schneider. He showed me the importance of very soft, dense articulation in this sonata. Telemann’s Trio in D minor reveals his genius in miniature. As a teenager I was allowed to record it (albeit with violin instead of a treble viol) for the South African Broadcasting Corporation. Of course, I was not aware at the time of the balancing act the last movement performs between Polish peasant music and a French gavotte. Today I see Telemann as the first “European” composer – he unites all the European musical styles of his time like no other.

In 2007, I travelled via Stockstadt to Viersen, where I was allowed to attend a master class by Maurice Steger. Maurice wanted to play Veracini’s work in Viersen and asked me to buy the sheet music on the way in Stockstadt. Today I am happy to be able to play exactly this piece in Bad Kissingen, with Maurice as artistic director. This is how the circle closes for me!

Stefan Temmingh recorder
Domen Marinčič viola da gamba
Wiebke Weidanz harpsichord

Works by Telemann, Chédeville, Leclair und Veracini

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SUN, 29.5.22 | 15.00 |» Rossini-Saal