Erik Bosgraaf & Francesco Corti play Sonata in F major by Telemann

Sonata in F major, TWV 41:F2 (Der getreue Music-meister)
Vivace - Largo - Allegro
Recorded for the Boston Early Music Festival on Monday afternoon 8 March 2021 at the Säulenhalle of the Musikbrauerei Berlin
Recording Engineer: Jonas Niederstadt
Video: Felix Hüffelmann & Bene Brandstetter
Erik plays on recorders after Peter Bressan by Ernst Meyer
Francesco plays on a harpsichord by Keith Hill after Ruckers
Kindly provided by Gerhard Oppelt and tuned by Markus Fischinger
Produced by Thiemo Wind
Kindly supported by Stichting Abrikoos
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[@T.NISHIBE_Composer]

This is the best performance of Telemann's sonata! What a beautiful and expressive recorder! I was impressed. 👏🎶 I heard from Hidehiro Nakamura that the Netherlands is locked down. Please be careful. From Japanese composer Tetsuya Nishibe.🇯🇵

[@anonymous2220]

Thank you!

[@mrbigarms]

I have to agree, outstanding performance, Telemann would have been proud to hear his sonata played like this I'm sure!

[@underrateddude368]

Wonderful music and outstanding performance! Thank you, gentlemen!

[@nikolapetricevic]

Hi, Erik, I just watched your interview with Sarah Jeffery here on YT, and I really loved the way you approach music and performing and improv. A wonderful performance, thank you for representing recorder in the world, it is a wonderful instrument!

[@anonymous2220]

Great!

[@annabelwaterfield6108]

Love this! Did it for Grade VIII in 1977.

[@anonymous2220]

Right! Thank you!

[@thejewk386]

Thank you Erik for these excellent recordings. I am just starting to learn some of the Telemann Sonatas, and I find videos very helpful as a learning tool as well as a source of pleasure.

[@anonymous2220]

Fabulous!

[@mariannevanhest-joore719]

Wat een prachtige uitvoering, bedankt allebei.

[@anonymous2220]

Graag gedaan!

[@thierryperrenoud1460]

Bravo! Ça chante très bien,c'est bon pour le cœur, votre musicalité me touche ! Bonne technique, bon équilibre avec le clavecin ,qii est très expressif aussi! Merci beaucoup!!!

[@stefanrook706]

Mooi Erik!

[@anonymous2220]

Dank Stefan!

[@ckmontana2813]

Thank you - you are a true inspiration to me! :-)

[@anonymous2220]

Oh nice!

[@harmonic2001]

Very nice and soft ! Bravo ! Wish you good for 2024 ! Take care 🙂

[@Cattrix999]

Woah!! Just wonderful!

[@veziculorile]

I just imagine such a little joyous birdie singing with glee to the heavens! Bravo!

[@anonymous2220]

Thank you!

[@boulylemoutonraye]

Un énorme bravo ! 👏👏

[@ke9tv]

That C in altississimo is terrifying!

[@spyrosgardikiotis9348]

Perfect!

[@meganheerding8016]

Wonderful.

[@anonymous2220]

Thank you!

[@henryu.580]

Were you improvising in the second movement? Sounds wonderful!

[@frakognome4434]

Terrific articulation

[@TheFlora80]

❤❤❤❤

[@BevMattocks]

Puts me to shame! One day I'll be able to play this at this tempo...

[@giorgiopasini4159]

0:30

[@danyelnicholas]

However fantastic their playing (it is fantastic!), however nice and plentiful your microphones, in a room like that it will always sound like a train station. Even the carpet cannot change that. Why not record in a proper chamber music room or studio? What is the psychology behind the large, empty hall fixation? Certainly it is not historic as such music was played in small, mostly wood panelled, often non-rectangular parlours with wall hangings, carpets, upholstery, bewigged people at the time.