| 作曲者 | Georg Philipp Telemann (1681-1767)・ゲオルク・フィリップ・テレマン |
| タイトル | Ouverture à 7 TWV 55:C6 |
| サブタイトル | C Major |
| 出版社 | Schott（ショット） |
| シリーズ名 | Concertino |
| 楽器編成 | 3 oboes, 2 violins, viola and basso continuo; harpsichord (piano), viola da gamba (cello, bassoon) ad libitum |
| 品番 | 9790001024136 |
| 編曲者 | Guenter Kehr |
| 難易度 | 中級 |
| 形状 | 46 ページ・Saddle stitching |
| 演奏時間 | 23分 |
| 出版年 | 1976年 |
| 出版番号 | CON 154 |
| ISMN | 9790001024136 |
| その他 | (= harpsichord) |
Right at the beginning of the overture, Telemann comes up with a surprising idea. After the -„bare“ entry of the wind section, the string tutti do not join in the playing until the third bar. The „harlequinade“ often appearing in Telemann’s overture suites obtains its attraction not least from syncopes and from a permanent change of tone colour. The „Espagniol“ whose title prom-ises a bit of urbanity turns out to be a saraband, the „Bourrée en Trompette“ justifies its name by the tone repetitions typical of trumpet music.In the context of the whole, the „Sommeille“, a harmonically unusual movement in C minor, is almost a piece across the border. Even in this gently rocking piece, Telemann is not at a loss for unobtrusive wit when he lets the upper parts die down shortly before the end, only a single bass tone represents the last chord.
Grave - Harlequinade - Espagniol - Bourrée en Trompette - Sommeille - Rondeau - Menuett I (alternativement) - Menuett II - Gigue