Many have yearningly awaited the continuation of this series! As already on the previous Vol. 3, Elizabeth Wallfisch has sought out another set of large-scope concertos in overture form. The distinguishing characteristic of these concerts en ouverture given their name by American musicologists is that the violin comes into the foreground in the fast segment of the overture as well as in most of the ensuing movements, in order to concertize with the rest of the orchestra or to lead the second part of a dance soloistically. Telemann was very inventive and delighted in experiment when it came to the mixing of genres. It thus could only be a matter of time before he next would add new expressive possibilities to his favorite genre, the overture suite. The collections figuring significantly in the transmission of Telemann's overture concertos are represented by the former holdings of the Darmstadt and Dresden court chapels. The overture concertos are always full of suspense and despite their many contrasts often already exhibit the galant style primarily concerned with the expression of playful lightness. In the Overture in E major TWV 55: E3 occupying the center of the present selection of works, Italian compositional elements come to light in such a way that one sometimes feels tempted to report the existence of a Concerto pervaded by French passages
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