{"id":9919,"date":"2025-07-24T15:45:34","date_gmt":"2025-07-24T13:45:34","guid":{"rendered":"https:\/\/wp-project-107.iustage.de\/das-zuercher-barockorchester-la-dresda-galante-en\/"},"modified":"2025-07-24T16:11:29","modified_gmt":"2025-07-24T14:11:29","slug":"das-zuercher-barockorchester-la-dresda-galante-en","status":"publish","type":"post","link":"https:\/\/www.rondeau.de\/en\/das-zuercher-barockorchester-la-dresda-galante-en\/","title":{"rendered":"Simon Borutzki: |12 Fantasias &#8211; 12 Recorders"},"content":{"rendered":"<p>Telemann&#8217;s Twelve Fantasias are a stunning example of Baroque solo works &#8216;senza basso&#8221;. The cycle&#8217;s title &#8220;Fantasie per il Violino senza Basso&#8221; indicates that it was originally written for the violin. Though Telemann did not intend these works for the recorder, he himself allowed for this possibility &#8211; and the present disc takes advantage of this: Simon Borutzki performs the pieces with twelve different recorders, clothing each Fantasia in its own garment of sound, selecting the most effective colours from his palette much like a painter. Considerations of noise levels, brilliance in the high range, or sonority in the low range were important here, depending on the content of the individual piece. The works&#8221; appeal and finesse derives from their ability to suggest polyphony through intricate melodic designs, which make use of the instrument&#8217;s full range.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Telemann&#8217;s Twelve Fantasias are a stunning example of Baroque solo works &#8216;senza basso&#8221;. The cycle&#8217;s title &#8220;Fantasie per il Violino senza Basso&#8221; indicates that it was originally written for the violin. Though Telemann did not intend these works for the recorder, he himself allowed for this possibility &#8211; and the present disc takes advantage of &hellip; <a href=\"https:\/\/www.rondeau.de\/en\/das-zuercher-barockorchester-la-dresda-galante-en\/\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">Simon Borutzki: |12 Fantasias &#8211; 12 Recorders<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":4914,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[699,1315,1317],"tags":[746,747,749,748],"class_list":["post-9919","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-klanglogo","category-music","category-orchestra","tag-antonio-vivaldi","tag-miriam-feuersinger","tag-renate-steinmann","tag-zuercher-barockorchester"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.rondeau.de\/en\/wp-json\/wp\/v2\/posts\/9919","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.rondeau.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.rondeau.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.rondeau.de\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.rondeau.de\/en\/wp-json\/wp\/v2\/comments?post=9919"}],"version-history":[{"count":1,"href":"https:\/\/www.rondeau.de\/en\/wp-json\/wp\/v2\/posts\/9919\/revisions"}],"predecessor-version":[{"id":9920,"href":"https:\/\/www.rondeau.de\/en\/wp-json\/wp\/v2\/posts\/9919\/revisions\/9920"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.rondeau.de\/en\/wp-json\/wp\/v2\/media\/4914"}],"wp:attachment":[{"href":"https:\/\/www.rondeau.de\/en\/wp-json\/wp\/v2\/media?parent=9919"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.rondeau.de\/en\/wp-json\/wp\/v2\/categories?post=9919"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.rondeau.de\/en\/wp-json\/wp\/v2\/tags?post=9919"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}