<<  -- 3 --  Robert Anderson    SLAVE LABOUR

By contrast Telemanniana is the sort of piece Massine was probably expecting when the post-war Stravinsky requisitioned Pergolesi for a new Diaghilev ballet. Stravinsky's etiolated score (the only Pergolesi he admitted to liking) required a complete rethinking for the choreography of Pulcinella. Henze has unashamedly introduced Telemann to the post-Wagnerian world, and clad in multicoloured raiment and utmost splendour No 6 in E minor of the Nouveaux quatuors. They made a considerable impression at the court of Louis XV when Telemann was in Paris for a six-month stay from the end of 1737. His main object was to scotch publishing piracy, and in Paris the works were duly printed. The main glory of this piece is its final 'ground', which evokes from Henze a succession of wondrous colours that adorn his orchestral palette. Clearly the Nordwestdeutsche Philharmonic and Markson revel in the sensuous richness of the score. This is how Henze launches the new-tailored Telemann [listen -- track 3, 0:00-1:16].

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