Unlike the movements by Bach explored by Helen and Ruth, for unaccompanied stringed instruments, Nick Logie looks at a work in which the viola is accompanied. In these clips, he is joined by harpsichordist Joe McHardy (although Telemann, of course, wrote the piece for viola and orchestra).
In this clip, Nick explains why the concerto is important to baroque viola players.
Here is a complete performance of the first movement (Largo).
Here is a complete performance of the second movement (Allegro).
Click the buttons below to explore the movement in more detail.
Each link includes written information about the music and its interpretation, together with videos, during which Ruth talks about ways to approach its performance.
1 - Understanding Sarabandes
2 - Phrasing and articulation
3 - Ornamentation
3 - Vibrato
3 - Syncopation and Playfulness in the Allegro
3 - Bowing in the Allegro
What is historically informed performance practice?
An introduction to historically informed performance practice of baroque music, and a look at period instruments and bows.
Allemande from JS Bach's Suite no. 1 in G for unaccompanied cello, BWV 1007
Ruth Alford explores this movement in the light of other baroque music for 'cello.
Giga from J S Bach's Partita no. 2 in D minor for solo violin, BWV 1004
Helen Kruger looks at what what baroque theorists had to say about bowing, phrasing and articulation and applies it to this movement.
Largo and Allegro from G P Telemann's Viola Concerto in G, TWV51:G9
Nicholas Logie discusses phrasing, ornamentation and vibrato.