Georg Philipp Telemann 
"Burlesque de Quixotte", Ouverture in G, TWV 55:G10:
	1	1. Ouverture 			
	2	2. Le Reveil de Quixotte 			
	3	3. Son Attaque des Moulins ŕ Vent 			
	4	4. Les Soupirs amoureux aprčs le Princesse Dul 			
	5	5. Sanche Panche berné 			
	6	6. Le Galope de Rosinante & Celui d'Ane de San 			
	7	7. Le Couché de Quixotte 

Johann Mattheson 
"Die geheimen Begebenheiten Henrico IV. Konigs von Castilien und Leon", Ouverture in F
	8	1. Ouverture 			
	9	2. Loure 			
	10	3. Entreé des Soldats 			
	11	4. Minuetta 			
	12	5. Menuet pour les Masques 			
	13	6. Gavotte alternativement 			
	14	7. Rittornello 			
	15	8. Gigue Espagnole 

Georg Philipp Telemann
"La Querelleuse" , Ouverture in G for strings & continuo in G major, TWV 55:G8:
	16	1. Ouverture 			
	17	2. Rondeau 			
	18	3. Les Combattans 			
	19	4. Passetemps 			
	20	5. Badinerie 			
	21	6. Menuet I & Menuet II 

Francesco Bartolomeo Conti
"Don Chisciotte in Sierra Morena", Ouverture in C.
Ballo de ''Pagarellieri''		
	22	1. Entrée (spiritoso, e staccato) 			
	23	2. Minuet primo & Minuet secondo 			
	24	3. Aria (leggiero) 			
	25	4. Aria (presto) 			
	26	5. Aria (adagio) 			
	27	6. Aria (tempo di Gavotta) 			
	28	7. Aria (andante) 			
	29	1. Bourée 			
	30	2. Marche 			
	31	3. Guigue 			
	32	4. La folia spaniola 			
	33	5. Guigue 			
	34	6. Chaconne 			

Elbipolis Barockorchester Hamburg
Jurgen Gross, Violine I
Michael Metzler , Percussion

I have discussed elsewhere the migration of the French orchestral suite to Germany, as well as noting the most gifted advocates of the genre, its structure, and its peculiarities. All that need be said here is that this CD contains four suites by three composers who chose to follow in the musical footsteps of Jean-Baptiste Lully and are therefore members of a group that is collectively known as Les Lullistes

Telemann, Mattheson, and Conti are associated with opera in the Hanseatic city of Hamburg at the height of the Baroque era and with the exception of the two overtures by Telemann, the remaining music is drawn from operas by Johann Mattheson and Conti. The only previous recording of Francesco B. Conti's music that I know is the cantata Languet anima mea that graced a 2002 Hänssler release of music owned by Bach. This disc appears to have been deleted, and can probably only be located in resale shops or on various Internet sites specializing in used CDs. However, the Conti cantata also appears on a recent release from Universal Classics (Archiv 000468902) featuring Magdalena Kozena .

Elbipolis is a young Hamburg-based German string ensemble that takes its name from a satirical novel by Christian Hunold. Elbipolis simply means 'City on the Elbe.' The ensemble' with the exception of the continuo group' performs one to a part. Here, they are augmented where required by a recorder and discreet percussion. While they are not the first to visit Telemann's 'Burlesque de Quixote,' Elbipolis tenders performances with refreshing vitality, making the music sound entirely novel, even to the ears of this auditor who owns four other recordings of this suite. In addition to the hallmarks of the period-instrument movement (improvised ornamentation and the like), Elbipolis seeks and finds the mock drama in each of the composers' works, presenting it with an appropriate tongue-in-cheek approach, but one that is never tossed off lightly. These are spirited performances, full of humor, grace, and joie de vivre . From first note to last, the music is proffered in a style and manner that makes this recording one of the best to land on my desk this year.

The notes by Jörg Jacobi are also exceptional and highly original; they completely eschew the facts concerning the lives and careers of the composers. Rather, they are a fabricated 'conversation' between Don Quichotte and Sancho Panza, and Messrs Telemann, Mattheson, and Conti! Of course Don Quichotte and his sidekick never visited Hamburg, and if they had, it would have been well before the time of these composers; nonetheless, the page is entertaining, enjoyable, and a welcome change from the material that we normally encounter.

Finally, why is Telemann's 'La querelleuse' included on a disc that is otherwise the domain of Cervantes's errant knight? If you know Cervantes, you'll catch on immediately; if not, you'll have to read the annotations to find out. ---FANFARE: Michael Carter, arkivmusic.com

A high-concept disc if ever there was one, Don Quichotte in Hamburg has as its conceit the fanciful notion that the Knight of the Rueful Countenance and his faithful squire Sancho Panza visited the free imperial city of Hamburg and spent a night listening to music intended to recount their adventures. Everything from the repertoire to the performances to the liner notes is centered on this conceit and, like so many other high-concept discs, it could easily have succumbed to terminal cuteness. That it doesn't is due entirely to the marvelously spirited and immensely entertaining performances of the Elbipolis Barockorchester Hamburg. A seven-member chamber orchestra augmented here with a guest percussionist and a recorder player, the tone is bright, the articulation is crisp, the tempos are brisk, the intonation is right on the money, and the ensemble is deep in the pocket and the music sounds light, witty, warm, and even a little sexy. The repertoire is wonderfully well-chosen -- two overtures by Georg Philipp Telemann plus one by Johann Mattheson and a suite from an opera by Francesco Bartolomeo Conti -- all of them more or less on the subject of the mad nobleman and noble madman from La Mancha. The sound is transparent and the liner notes are laugh-out-loud hilarious. Don Quichotte in Hamburg is a high-concept disc to be sure, but it is also a completely successful high-concept disc. ---James Leonard, Rovi

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1. Suite En Ré Majeur, Twv55 D:18 : Ouverture
2. Suite En Ré Majeur, Twv55 D:18 : Menuet I, Menuet Il
3. Suite En Ré Majeur, Twv55 D:18 : Gavotte En Rondeau
4. Suite En Ré Majeur, Twv55 D:18 : Passacaille
5. Suite En Ré Majeur, Twv55 D:18 : Air
6. Suite En Ré Majeur, Twv55 D:18 : Les Postillons
7. Suite En Ré Majeur, Twv55 D:18 : Fanfare
8. Ouverture "Les Nations", Twv55 B:5 : Ouverture
9. Ouverture "Les Nations", Twv55 B:5 : Menuet I, Menuet Il
10. Ouverture "Les Nations", Twv55 B:5 : Les Turcs
11. Ouverture "Les Nations", Twv55 B:5 : Les Suisses
12. Ouverture "Les Nations", Twv55 B:5 : Les Moscovites
13. Ouverture "Les Nations", Twv55 B:5 : Les Portugais
14. Ouverture "Les Nations", Twv55 B:5 : Les Boiteux
15. Ouverture "Les Nations", Twv55 B:5 : Les Coureurs
16. Concerto Pour Violon "Les Rainettes", Twv51 A:2 : !!!
17. Concerto Pour Violon "Les Rainettes", Twv51 A:2 : Adagio
18. Concerto Pour Violon "Les Rainettes", Twv51 A:2 : Menuet Alternativement
19. Ouverture "La Bizarre", Twv55 G:2 : Ouverture
20. Ouverture "La Bizarre", Twv55 G:2 : Courante
21. Ouverture "La Bizarre", Twv55 G:2 : Gavotte En Rondeau
22. Ouverture "La Bizarre", Twv55 G:2 : Branle
23. Ouverture "La Bizarre", Twv55 G:2 : Sarabande
24. Ouverture "La Bizarre", Twv55 G:2 : Fantaisie
25. Ouverture "La Bizarre", Twv55 G:2 : Menuet I, Menuet Il
26. Ouverture "La Bizarre", Twv55 G:2 :Rossignol

Midori Seiler (violin)
Akademie fur Ancient Music Berlin

Telemann's massive output includes examples of musical wit and oddball music that puzzled his contemporaries. The Overture La Bizarre, with its weird harmonic progressions and offbeat rhythms, exemplifies the unbuttoned Telemann, though 21st century listeners will be amused rather than shocked. They'll also relish the inventiveness displayed within the period style. The D Major Suite also entrances, its delicious dance movements flanked by an exciting overture and final Fanfare full of crashing drums and biting brass. The Les Nations Overture is one of those Baroque travelogues in which each movement depicts a different nationality, full of sly satirical touches, like the heavy-footed tread of Les Muscovites, and charming movements depicting the journey's horses. While most of the humor brings smiles, the "Frog" Violin Concerto induces a belly laugh as the violins precisely depict the frog's croaking. The crack original instrument ensemble Akademie für Alte Musik Berlin plays with gorgeous tone, rhythmic brio, and intoxicating drive. --Dan Davis, amazon.com

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Nun komm der Heiden Heiland TWV 1:1174
01. 1. Choral		01:33
02.	2. Aria		02:20
03.	3. Recitativo		01:21
04.	4. Aria		02:19
05.	5. Choral		01:29
06.	6. Recitativo		02:35
07.	7. Aria		03:34            play
08.	8. Choral		03:06

Der jüngste Tag wird bald sein ziel erreichen TWV 1:301
09. 1. Accompagnato		02:28
10.	2. Choral		01:06
11.	3. Recitativo		01:51
12.	4. Aria		03:43
13.	5. Tutti		01:06
14.	6. Recitativo		01:07
15.	7 Choral		01:21

Uns ist ein Kind geboren TWV 1:1451
16. 1. Tutti		01:31
17.	2. Duetto		01:23
18.	3. Tutti		01:28
19.	4. Aria		02:39
20.	5. Recitativo		01:29
21.	6. Aria		03:11
22.	7. Aria		02:30           play
23.	8. Choral		01:03

Gelobet seist du Jesu Christ TWV 1:612
24. 1. Choral		00:55
25.	2. Aria		02:36
26.	3. Recitativo		00:29
27.	4. Aria		03:07
28.	5. Recitativo		00:28
29.	6. Aria		02:35
30.	7. Recitativo		00:29
31.	8. Aria		03:03
32.	9. Recitativo		00:21
33.	10. Tutti		01:37

Il Fondamento
Paul Dombrecht - director

... in Bach's own birthplace, though Telemann was born in Magdeburg in 1681, four years before Bach. Telemann became Kapellmeister in Eisenach in 1708, working chiefly there and in Frankfurt until 1721, when he famously rejected an offer from Leipzig in order to become High Poobah of Musik in Hamburg, a berth he filled for the rest of his long life.

The first two cantatas on this CD - "Say unto the Daughter of Zion" and "Say unto the Weak of Heart" - were composed for the court of Eisenach as portions of annual cantatas cycles, though it seems they may have been written after Telemann moved "up". In any case, they are examples of Telemann's early mastery of the cantata form and were performed elsewhere in later decades, evidence of Telemann's immense popularity in his times. They are NOT Christmas music in the usual modern sense. Both were written for performance on Sundays in Advent, the period of penitential expectation before Christmas. As such, their textual themes are the awareness of Sinfulness and the Prophecy of the Messiah. The two Christmas Sunday cantatas - "Arise Zion" and "Childlike is the Divine Mystery" - are products of Telemann's maturity; the former probably dates from the 1740s and the latter from the 1760s. Thus, this recording offers a fine study of both Telemann's preservation of the baroque cantata form well into the era of rococo and of Telemann's brilliant innovations within that conserved form. All four cantatas are stunning music, whether one cares about their provenance or not. Like the best of Bach, all four get better and better as the listener becomes intimate with them.

The first and last of the set feature the rousing sounds of trumpets and timpani. Telemann's use of drums in Lutheran worship services was not unique, but the musical imagination displayed in his percussion is. No other composer wrote anything as dramatic for timpani as Telemann, especially in the fourth cantata "Kündlich groß ist das gottselige Geheimnis". Hearing is believing, friends, and ya gotta hear it! Trumpets were intended for the third cantata "Auf Zion" also, but the surviving score, prepared by Telemann's son Georg Michael, substituted recorders, and recorders it is on this CD. The trumpets and oboes in the Advent cantata "Saget der Tochter Zion" sound ominous, alerting humanity to its peril, while the same trumpets and oboes in the Christmas cantata "Kündlich etc" sound joyous, a remarkable feat of musical affect.

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Kein Vogel kann, TWV 1:994
1.   		Aria: Kein Vogel kann im weiten Fliegen 00:03:56
2.   		Recitativo: Kein Mensch darf den geringer schatzen 00:01:04
3.   		Aria: Erwage, sichrer Mensch, mit Beben 00:05:54
Deines neuen Bundes Gnade, TWV 1:212
4.   		Aria: Deines neuen Bundes Gnade 00:04:53
5.   		Recitativo: Wer hat den Schaum der wilden Wasserwogen 00:01:50
6.   		Ich zweifle nicht, ich bin gerecht 00:04:04
Schau nach Sodom nicht zurucke, TWV 1:1243
7.   		Aria: Schau nach Sodom nicht zurucke 00:03:40
8.   		Recitativo: Durch Christum von Gesetze los zu sein 00:01:16
9.   		Aria: Enthatlet Euch, das zu erfullen 00:04:36
Die Ehre des herrlichen Schopfers, TWV 1:334
10.   		Aria: Die Ehre des herrlichen Schopfers zu melden 00:02:59
11.   		Recitativo: Der Undank ist zu gross 00:01:32
12.   		Aria: Singet Gott in eurem Herzen 00:03:49
Verfolgter Geist, wo, TWV 1:1467
13.   		Aria: Verfolgter Geist, wohin 00:02:52
14.   		Recitativo: So ist es gross ist die Gefahr 00:02:24
15.   		Aria: So kampfet, gerustete Krieger, mit Freuden! 00:03:56
Locke nur, Erde, TWV 1:1069
16.   		Aria: Locke nur, Erde, mit schmeichelndem Reize 00:04:47
17.   		Recitativo: Verstummet nur, verkehrte Lehrer 00:01:06
18.   		Aria: Verlass den Bau der ird'schen Hutte 00:03:58
Packe dich, gelahmter Drache, TWV 1:1222
19.   		Aria: Packe dich, gelahmter Drache 00:04:04
20.   		Recitativo: Der Helfer sei Gelobt 00:02:11
21.   		Aria: Hinweg, o hollisches Getummel 00:04:00

Monica Frimmer, soprano
Rufus Müller, tenor
Bernhard Hirtreiter, tenor
Gotthold Schwarz, bass
Pieter Affourtit, violin
Gerhard Darmstadt, cello
Alfredo Bernardini, oboe
Christian Beuse, bassoon
Myriam Eichberger, recorder
Linde Brunnmayer, transverse flute
Christoph Hammer, organ and harpsichord

Telemann composed his 72 cantatas that comprise the Harmonishcher Gottesdienst with both the amateur and professional musician in mind. The short three-part works are easy enough that they present an attainable challenge to the amateur musician, yet difficult enough that an accomplished performer can make them shine. Telemann was apparently intent on making money from this series by aiming it at the largest possible market, additionally insuring its success by making it available in installments on a subscription plan. The cantatas on this current CD cover many topics, including praise of God, and getting through tough times with His help. Another theme is the giving up of wicked, worldly ways, this most obviously expounded in Cantata No. 48, “Look not back on Sodom!” In this work, the composer set a text loaded with warnings about the wages of sin to the most delightful and bucolic of melodies. Could this have been an “in joke” from a man who was making quite a good living from selling his wares and thus might not have found all earthly pleasures undesirable? The performances, as in the rest of the CDs in this series, hew a middle course between earnest amateur and trained professional, with soprano Monika Frimmer once again emerging as the most accomplished soloist. The obligato playing is handled well and the basso continuo is rock solid. Better sound on this one than some of the others: cleaner, better balanced, and more open. ---Classicstoday.com

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1. Ouverture - D Major - Jubeloratorium fur die Hamburger Admiralitat
2. Suite 'Alster': 1. Overture. Adagio maestoso - Allegro - Adagio
3. Suite 'Alster': 2. Die Kanonierende Pallas. Allegro
4. Suite 'Alster': 3. Das Alster-Echo. Allegretto
5. Suite 'Alster': 4. Die Hamburgischen Glockenspiele
6. Suite 'Alster': 5. Der Schwanen Gesang
7. Suite 'Alster': 6. Der Alster-Schafer Dorfmusik
8. Suite 'Alster': 7. Konzertierende Frosche und Krahen
9. Suite 'Alster': 8. Der ruhende Pan
10. Suite 'Alster': 9. Der jauchzende Pan
11. Suite 'Alster': 10. Der frohlokende Peleus
12. Suite 'Alster': 11. Der Schafer und Nymphen eilfertiger Abzug
13. Suite 'La Musette': 1. Overture. Maestoso - Allegro - Maestoso
14. Suite 'La Musette': 2. Napolitaine - (Trio)
15. Suite 'La Musette': 3. Polonaise
16. Suite 'La Musette': 4. Murky
17. Suite 'La Musette': 5. Menuet - (Trio)
18. Suite 'La Musette': 6. Musette
19. Suite 'La Musette': 7. Harlequinade
20. Suite 'La Chasse': 1. Ouverture. Lento - Allegro - Lento
21. Suite 'La Chasse': 2. Passepied I
22. Suite 'La Chasse': Passepied II
23. Suite 'La Chasse': 3. Sarabande
24. Suite 'La Chasse': Rigaudon
25. Suite 'La Chasse': 5. Le Plaisir
26. Ouverture jointe d'une suite tragi-comique: 1. Ouverture. Lentement - Vile - Lentement
27. Ouverture jointe d'une suite tragi-comique: 2. Le Podagre. Loure
28. Ouverture jointe d'une suite tragi-comique: 3. Remede experimente: la poste et la danse. Menuet en rondeau
29. Ouverture jointe d'une suite tragi-comique: 4. L'hypocondre. Sarabande - Gigue - Sarabande - Bourree - Sarabande
30. Ouverture jointe d'une suite tragi-comique: Remede: souffrance heroique. Marche
31. Ouverture jointe d'une suite tragi-comique: Le petit-maitre. Rondeau
32. Ouverture jointe d'une suite tragi-comique: Remede: petite-maison. Furies

Akademie fur Alte Musik Berlin

French horns play a prominent role in this program of Georg Philipp Telemann's orchestral suites: the 'Alster' Suite is a suite "with horn quartet," and the horns frequently come to the fore in the suite for winds, 'La Chasse.' The hornists of the Berlin Academy of Ancient Music bring expert technique to the whole, and are certainly the stars of this disc.

All of that is not to say, however, that the performances of the rest of the ensemble are at some lower standard. All of the playing is superb, and Telemann's evocative writing is brought to life to great effect. The 'Alster' Suite is particularly ripe with examples of this--the "Concertizing frogs and crows," for one. Yet these vital and varied suites aren't all animal noises. They are above all baroque dance suites which draw on a broad palette of orchestral colors, and the AAM gives them justly splendid performances. ---arkivmusic.com

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01  Fantasie no.01 in Bes    7:28
02  Fantasie no.02 in G    4:30
03  Fantasie no.03 in f    5:16
04  Fantasie no.04 in D    3:29
05  Fantasie no.05 in A    3:45
06  Fantasie no.06 in e    6:42
07  Fantasie no.07 in Es    5:02
08  Fantasie no.08 in E    3:47
09  Fantasie no.09 in b    4:22
10  Fantasie no.10 in D    4:48
11  Fantasie no.11 in F    3:42
12  Fantasie no.12 in a    4:47

Claire Bernard, violin (Guarneri)

The fantasia form seems to be one that Telemann liked to explore, and the notes of the CD tells us that besides this dozen for the solo violin, he also wrote twelve for the flute and the viola da gamba, plus three dozen for the harpsichord. The fantasia consists of three- to four-part themes which ranges from largo to presto, which unite together subtly to form a whole.

Georg Philipp Telemann Polyphony in the Twelve Fantasias for Solo Violin without Bass (XII Fantasias per il Violino senza Basso) is not as developed as Bach's famed Sonatas and Partitas for the solo violin, but instead there is a conversation between the bass and melody line, using the different strings of the violin to create different voices. This effect can be recognised right from the first Fantasia, where the G and E string of the violin is used alternately to answer each other in the movement, in contrast to the outright counterpoint use of chords in the fugues of Bach's solo violin music.

The fast movements always have a touch of spirituoso in them, sustaining exciting momentum by further developing the main idea before a recapitulation of the original theme, as in the Allegro of the Seventh Fantasia. Then, there are slow movements that are juxtaposed between the more lively ones. Sometimes, these are just a short phrase played softly in andante pace that comes after the allegro, like the line of silent monologue of the violin after the exposition of the Fifth Fantasia. In others, they are adagio parts having a prominent place in the piece.

The Eleventh Fantasia is an example of the development being led by a gentle and graceful theme, which makes up half of the whole fantasia and is further more repeated immediately after a change in motif. Unlike Bach's music, there is no extensive use of doublestops for counterpoint melodies, and the music is quite simple technically speaking, with almost all the twelve Fantasias playable on the violin without a shift of position from the first.

Admittably, the Fantasias are not pieces with intrinsic value for the violin virtuoso, nor are they anywhere near the greatness of the Sonatas and Partitas for the solo violin by Bach. But in my opinion that does not mean that they lack musical value. They are baroque violin music of a different sort altogether, and Telemann's contribution to the violin repertoire with these seems to be a development of the Vivaldi style with their similarities. Where Bach seems to be exploring the possibilities of the counterpoint on the violin by looking from the perspective of an organ player, Telemann is more concerned with musical ideas that are more organic in nature. --- inkpot.com

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1 - Quartet for flute, violin, viola & continuo in G minor, TWV 43:g4
2 - Quartet for recorder, oboe, violin & continuo in G major, TWV 43:G6
3 - Quartet for flute, violin, bassoon (or cello) & continuo in D minor, TWV 43:d3
4 - Quartet for flute, violin, bassoon & continuo in G major, TWV 43:G11
5 - Quartet for flute, oboe, violin & continuo in A minor, TWV 43:a3
6 - Sonata for flute, 2 violas da gamba & continuo in G major, TWV 43:G12
7 - Quartet (Concerto) for 2 violins, viola & continuo in B flat major, TWV 43:B2
8 - Quartet for flute, 2 violas da gamba & continuo in G major , TWV 43:G10

1. Flute Quartet In Gmin Twv43 G4 1 Allegro 
2. Flute Quartet In Gmin Twv43 G4 2 Adagio 
3. Flute Quartet In Gmin Twv43 G4 3 Allegro
4. Flute Quartet In G Twv43 G6 1 Allegro           play
5. Flute Quartet In G Twv43 G6 2 Grave 
6. Flute Quartet In G Twv43 G6 3 Allegro 
7. Flute Quartet In Dmin Twv43 D3 1 Adagio 
8. Flute Quartet In Dmin Twv43 D3 2 Allegro 
9. Flute Quartet In Dmin Twv43 D3 3 Largo 
10. Flute Quartet In Dmin Twv43 D3 4 Allegro 
11. Flute Quartet In G Twv43 G11 1 Affetuoso 
12. Flute Quartet In G Twv43 G11 2 Allegro 
13. Flute Quartet In G Twv43 G11 3 Adagio 
14. Flute Quartet In G Twv43 G11 4 Allegro Assai 
15. Flute Quartet In Amin Twv43 A3 1 Adagio 
16. Flute Quartet In Amin Twv43 A3 2 Allegro 
17. Flute Quartet In Amin Twv43 A3 3 Adagio 
18. Flute Quartet In Amin Twv43 A3 4 Vivace 
19. Flute Quartet In G Twv43 G12 1 Dolce 
20. Flute Quartet In G Twv43 G12 2 Allegro 
21. Flute Quartet In G Twv43 G12 3 Soave 
22. Flute Quartet In G Twv43 G12 4 Vivace 
23. Flute Quartet In Bflat Twv43 B2 1 Spiritoso 
24. Flute Quartet In Bflat Twv43 B2 2 Grave         play
25. Flute Quartet In Bflat Twv43 B2 3 Allegro 
26. Flute Quartet In G Twv43 G10 1 Vivace 
27. Flute Quartet In G Twv43 G10 2 Andante 
28. Flute Quartet In G Twv43 G10 3 Vivace

Musica Antiqua Koln
Reinhard Goebel - conductor and violinist

Here is a case of expectations richly rewarded. Telemann's flute quartets are vibrant and tuneful, at times making great demands on the soloists. The Musica Antiqua Koln are in all ways up to the challenge, delivering a musical bouquet that is at various turns elegant, soothing, and exciting.

Baroque music -- "exciting"? Yes, quite! As an example, have a listen to the final movement of the A minor quartet (track 18). The runs and bouncing tunes jumping from oboe to recorder to violin should have you smiling by the halfway point. Which is not to say that this music is all about Allegro and Vivace -- there are Adagio and Largo movements as well, which the soloists similarly relish by settling comfortably into their serenity and repose. This is music that is surely as rewarding for the players as it is for the listener. There is a variety of color in the selections and sequencing that keeps the ear from tiring, and recorded sound quality is first-rate. The sonority of the authentic instruments is not in any way distracting, in fact the tone and expression are easily on a level with any modern-instrument ensemble. If you are a fan of effervescent baroque then you will certainly want this in your collection. ---Raab H. “Rob”

If there is a group of specialists on early chamber music that is then with no doubt Reinhard Goebel and his Musica Antiqua Koln. Herr Goebel is an authority on early chamber music performance, this is his 8th recording of music of Georg Philipp Telemann(1681-1767) Herr Goebel has been devoting recordings of the works since 1979; thus making Telemann a favorite composer of this early music group. Herr Goebel and his musicians are well at home with this repertoire. The works in this recording are of the Flotenquartette (Flute Quartets) by Telemann. The Flutes used here are two very popular during the baroque periods the "transverse" or "German" Flute and the "French Flute" or Recorder. This recording is truly a great recording, and the sound is so clear that it sounds like you're there with them in the recording studio...Great historic music at a very competitive price....Goebel, Telemann and Musica Antiqua, the million dollar team of early music...... ---P. Alvarez

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Concerto In D-Dur En Ré Majeur
A1 	Vivace 	
A2 	Grave 	
A3 	Presto 	
Concerto In E Flat Es-Dur En Mi Bémol Majeur
A4 	Maestoso 	
A5 	Allegro 	
A6 	Grave 	
A7 	Vivace 	
Concerto In D-Dur En Ré Majeur
B1 	Vivace 	
B2 	Largo 	
B3 	Allegro 	
Suite In F-Dur En Fa Majeur
B4 	Ouverture 	
B5 	Rondeau 	
B6 	Sarabande 	
B7 	Menuet 	
B8 	Bourrée 	
Concerto In D-Dur En Ré Majeur
B9 	Spiritoso 	
B10 	Adagio 	
B11 	Allegro 	
B12 	Largo 	
B13 	Allegro Assai

Hermann Baumann, Nicholas Hill, Timothy Brown  - horns
Iona Brown – violin

Academy Of St. Martin-in-the-Fields
Iona Brown – conductor

Baumann gives a dazzling performance of the D major Concerto as well as a warmly sympathetic understanding to the Suite in F.

Telemann was amongst the first composers to write concertos for solo horn as opposed to featuring it either as an obbligato instrument in opera and cantata numbers, or as a strand in the mixed textures of concertos and suites. His horn writing is much more adventurous than, say, that of Vivaldi, but I wonder whether he could have envisaged virtuoso playing of the order presented here on present-day instruments by Hermann Baumann aided and, it seems, on occasion, almost abetted by Timothy Brown and Nicholas Hill. The technical excellence of these solo performances and the ringing sound of Baumann's tone, in particular, compensate for the occasional moments where Telemann's inspiration ebbs; but it seems to me that these movements are, indeed, few and far between, since all but one of the works included on this record contain movements of considerable enchantment.

The best known composition is the concerto in E flat for two horns from the third anthology of Telemann's Musique de table (1733). It's a resonant piece which provides the musical focal point both of the anthology and of the recording. Yet the Concerto in D for a single horn with string orchestra is hardly less demanding on the soloist. Baumann gives a dazzling performance with stylish embellishments and an occasional 'roulade' which not even he would get away with on a valveless instrument. Two other D major concertos are included here; one for two horns and strings, struck me as being slightly dull from the standpoint of invention though not in respect of Telemann's use of colour. The other, for three horns and a prominent concertante violin is rather more interesting. In order to achieve a good contrast in sonority the horns are banished from the central slow movement which consists of an expressive violin cantabile sensitively played by Iona Brown. No mention of her important contribution is made on the sleeve though she does qualify for an asterisk in the Concerto in E flat where, however, there are two concertante violins, not one.

The remaining work is a Suite in F for two horns, strings and continuo. It's an engaging example of Telemann's style at its most galant. A fine overture in the French manner brings to mind in its opening and closing sections some of those by his long-standing friend, Handel. The following Rondeau and Sarabande, two of the most affecting movements on the entire LP are, on the other hand, unequivocally the work of Telemann. The Sarabande, particularly, contains that blend of French sensibility and Italian feeling for colour which characterizes so much of his 'mixed' style. The entire suite is given a warmly sympathetic understanding which I wholeheartedly recommend. Recorded sound is clear and the horns are given just about the right degree of prominence. --- Nicholas Anderson, Gramophone [5/1985]

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Oratorio  'Wohl dem Volke' 67'49"

    1 Chor: Wohl dem Volke Start
    2 Rezitativ: Mit nimmersatter Lust und Achtsamkeit Start
    3 Chor: Stimmt in unsre frohen Lieder Start
    4 Rezitativ: Der reiche Segen läuft in meinen Hafen ein Start
    5 Aria: Freue dich an diesem Tage Start
    6 Rezitativ: Doch, da sich Glück und Wohl... Start
    7 Aria: Heiliges Wesen Start
    8 Rezitativ: Jawohl, Hammonia Start
    9 Aria: Kann dies wohl ein Mensch erwägen Start
    10 Rezitativ: Nein, Freundin, nein, nein Start
    11 Aria: Licht des Lebens Start
    12 Rezitativ: Hammonia, so recht... Start
    13 Aria: Im Gerichte soll mein göttlich's Gewichte... Start
    14 Rezitativ: O wahres Glück für mich Start
    15 Aria: Mein Blitz durchdringet Wahn und Lügen Start
    16 Rezitativ: Ja, Freundin, steh mir bei Start
    17 Aria: Eintracht, Ruhe, Fried und Segen Start
    18 Rezitativ: O Glück für mich Start
    19 Aria: Ein ewiges Verbinden verknüpfet uns an deinen Staat Start
    20 Rezitativ: O Hamburg, merke doch... Start
    21 Tutti: Herr mein Gott Start
    22 Rezitativ: Hammonia, verzeihe meine Frage Start
    23 Arie: Was hab ich nötig zu erwägen Start
    24 Rezitativ: O Himmel! Dieses ist die Unempfindliche Start
    25 Choral: Herr Gott, wir danken dir Start

Serenata 'Es locket die Trommel' 60'45"

    1 Chor: Es locket die Trommel mit wirbelnden Schlägen
    2 Rezitativ: So recht, ihr unerschrocknen Söhne
    3 Aria: Ein heller Strahl aus den entwichnen Zeiten
    4 Chor: Es locket die Trommel mit wirbelnden Schlägen
    5 Rezitativ: O weh!
    6 Aria: Schäfer, stellt die Freuden ein
    7 Rezitativ: Was für ein Angstgeschrei...
    8 Aria: Verberget den Vorrat
    9 Rezitativ: Verzagte, seht, ich bin's, der euch bewacht
    10 Aria: Ihr suchet euer ganzes Glück in meinem Schutz
    11 Rezitativ: Des Friedens Zuspruch...
    12 Aria: Dein Heldenmut sucht stets durch Blut
    13 Rezitativ: Nein, stelle deinen Kummer ein
    14 Aria: Der Adler führt die Legionen
    15 Rezitativ: Wohlan, so geh
    16 Tutti: Auf, rühret die Trommel
    17 Rezitativ: Ja ja, dies soll doch wohl geschehen
    18 Aria: Ja, es muss dein Fall erscheinen
    19 Rezitativ: Schweig, wahnwitzvoller Neid
    20 Aria: Ihr Deutschen, auf!
    21 Rezitativ: Die Tapferkeit begeistert Herz
    22 Aria: Ergreifet den Degen
    23 Rezitativ: Und du, Hammonia, hör hier des Schicksals Willen
    24 Tutti: Deutschlands Ruhm soll ewig stehen
    25 Freudenlied beim Capitäns-Convivium: Schließet die Kette der Einigkeit feste

Veronika Winter - Soprano 
Cornelia Samuelis -  Soprano
Jan Kobow - Tenor 
Immo Schröder - Tenor
Ekkehard Abele -  Bass  
Gregor Finke – Bass

Rheinische Kantorei
Das Kleine Konzert
Hermann Max – director

One of the many duties of Georg Philipp Telemann as Musikdirektor in Hamburg was the composition of the Kapitänsmusik. This was to be performed every year during the convivium, the festive banquet of the sixty-seven members of the officer corps of the civic guard. This event took place on the first Thursday after St Bartholomew's Day (24 August). The Kapitänsmusik consisted of two parts. It started with an oratorio which was performed during the midday meal; the serenata was played in the evening. Telemann composed 36 such works, of which only nine have survived.

In the (sacred) oratorio the many blessings of Hamburg are spelled out, mostly by a character called Hammonia (Hamburg). She calls on the citizens to praise God for his blessings. Here this is expressed, for instance, in a chorus of Hammonia with her children: "Holy being, you source of good, blessing and prosperity issue forth from you. You make sure that Hamburg's wall forever stand. Take from us the thanks for this." Various allegorical characters turn up which declare their bond with the city: Die Andacht (Devotion), Die Gerechtigkeit (Justice), Die Wahrheit (Truth) and Das Vertrauen (Trust). As in most such pieces there is an opposing character: Die Unachtsamkeit (Negligence). He acknowledges that there is much to enjoy in Hamburg, but for him the blessings are rather the earthly pleasures, like food and drink: "I look forward to the oyster season". He doesn't want to waste any time thinking about "the source of the blessing and its surplus". The other characters react with abhorrence, as Negligence "forgets that our God is the origin of good", as Devotion says. Hammonia then says he should "avoid my domain". The oratorio ends with the last stanza from the hymn 'Herr Gott, wir danken dir' (Johann Franck, 1618-1677).

The serenata is quite dramatic. This is to be expected because Telemann was a successful opera composer; from 1722 until its closure in 1738 he was the director of the Oper am Gänsemarkt. But this serenata is more dramatic than those in other Kapitänsmusiken in that its central subject is war. There was a historical reason for that. Hamburg was part of the Holy Roman Empire of the German Nation, and its emperor, Charles VI, had been involved in a war against the Ottoman empire since 1737. Although Hamburg was not directly struck by the war, it was part of the empire and therefore involved in the conflict. The serenata begins with a 'Chorus of the Heroes' in the form of a battaglia: "The drum calls with rolling beats, the mortars roar, the swords flash - this brings joy to our brave hearts". The warriors are encouraged by Der Kriegsgeist (The Spirit of War), the Elbe asks the shepherds to end their joy and "lay down your gentle flutes". It is then Die Zaghaftigkeit (Timidity) who describes the horrors of the war: "My heart beats in my horrified breast to think of the ominous gloom of signs of misfortune. (...) O who, who will save us from ruin?" Then Der Friede (Peace) enters and declares that "I am the one who watches over you". This gives Timidity new strength.

In the last part of the serenata the enemy is specifically mentioned. The Spirit of War says: "The eagle leads the legions before Istanbul's now horrified gate. He displays in sharpened talons, the sword drawn for Turkish ruin". He is encouraged by the Elbe: "Go, let German courage accustom the wild Saracens even more to servitude". This is followed by an aria which has again the form of a battaglia. As in the oratorio there is an opposing character. This time it is Der Neid (Envy) which expresses his "pleasure in Germany's misfortune". "I even see now with happy eyes the whole burden and your demise coming". But then Der Schutzgeist Deutschlands (Germany's Guardian Spirit) turns up and declares: "Germany is loved by heaven itself. Up, heroes, up to the fight". The serenata ends with a chorus: "Germany's glory shall always stand, and your happy prosperity, Hamburg/Schwerin, is ordained by God".

Considering that Germany was no political unity, but a patchwork of largely independent territories the use of the term 'Germany' is remarkable. It was hardly used in those days, and in his liner-notes Eckart Kleßman sees it as an expression of the wish "to put an end to the notorious threat posed to the practically defenseless German states, to strengthen their self-confidence, and to reinforce this self-confidence with military security". Whatever the reason may be, this aspect and the pronounced treatment of the subject of war makes this Kapitänsmusik rather unique in this part of Telemann's oeuvre.

One of the dramatic features of the serenata is the representation of the various characters. In particular The Spirit of War and Timidity are remarkable, as well as Envy. The characteristics of these protagonists are impressively explored by the various singers. In the oratorio it is the role of Negligence which attracts attention. Here Immo Schröder shines in his humorous portrayal of this character. Veronika Winter gives an immaculate performance of the role of Hammonia. As Germany's Guardian Spirit she sings the last aria of this work, 'Ergreifet den Degen' (Grip the sword) which is quite virtuosic. But most arias are pitched at a considerable technical level, and Telemann again shows his creative spirit, not only in the vocal parts but also in the instrumental score.

This Kapitänsmusik was first performed in modern times in 1965 in the former GDR, but its text had to be changed in many respects, for political reasons. Therefore the live performance in 2007 in Knechtsteden which was recorded by the German classical channel WDR Cologne and released by CPO, is the work's first modern performance in its original state. Hermann Max and all other participants deserve our gratitude for bringing this very fine piece of music to our attention. I am looking forward to the Kapitänsmusiken which are still waiting to be recorded. ---Johan van Veen, musicweb-international.com

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Kantate TWV 1-795 - Hier Ist Mein Herz, Geliebter Jesu
Quartett TWV 43:g4
Passionkantate TWV 1-1536 - Weiche, Lust Und Frohlichkeit
Quartett TWV 43:a3
Psalm 6 TWV 7-2 - Ach Herr, Strafe Mich Nicht
Ouverture TWV 55:D12

Dorothee Mields, soprano
Benoit Haller, tenor
Han Tol, recorder & direction
Balthasar-Neumann-Ensemble

Believe it or not, and I must speak in a hushed whisper, there are folk out there, and I sometimes think that I am one, who prefer Telemann to the great J.S. Bach. Why? Because he is more fun, more eclectic and a little more human although it has to be added that generally he is considered somewhat less profound. Having heard this CD a few times I am rather inclined to that view myself.

The CD gets its title from the second movement of the ‘Ouverture in D’ - a seventeen minute seven movement suite mostly consisting of the usual Sarabande, Bourée, Gigue etc movements. Amongst the usual suspects appears this singular ‘Perpetuum mobile’ which, at just a minute and a half, makes its point and is gone. It is a rare feature of such a suite and raises a gentle smile. But then other pieces on this gloriously performed recording do exactly the same.

As a chamber music composer Telemann is ‘spot-on’, good fun for both listeners and instrumentalists. So the planning of this CD offers us the best of both worlds, mixing, as it does, three twelve minute cantatas, all unpublished, and three instrumental works.

The first piece on the CD is for the feast of the Epiphany. Like all of the cantatas featured here it is a world premiere recording. It is scored for soprano and tenor and its opening duet, which I have played now quite often, with its wonderful suspensions in the words ‘Here is my heart, beloved Jesus’, immediately dispels the idea that Telemann cannot plumb the depths. A similarly moving opening can be heard in the cantata ‘Ac herr, strafe ich’, a setting for solo tenor and instruments of Psalm 6 beginning ‘O Lord punish me not in thy anger’. Here again dissonances and a falling suspension create a very moving atmosphere. The mood gradually lightens for the final ‘For all my foes shall be turned back and confounded’.

The middle cantata on the disc makes a nice contrast being scored for just solo soprano and ensemble. It sets a somewhat sober Passiontide text ‘Desist, pleasure and merriment’ (‘Weiche, Lust und Frohlichkeit’). These cantatas are divided into opening and closing arias with linked recitatives and/or ariosos with quite often have virtuoso instrumental work embedded somewhere in them - often for no special reason. In this latter cantata the violin writing in the middle aria ‘To redeem us accursed mortals’ is just like this, as is the writing for oboes in the tenor cantata also in the middle aria. The vocal writing is often incredibly challenging. The wonderful soprano Dorothee Mields is quoted in Doris Blaich’s excellent booklet notes as saying "How did these early singers manage to sing such long coloratura without breathing?". Quite so. Amazing to contemplate therefore that there are some 1700 cantatas like this awaiting a completist recording project! Telemann, it must be remembered, is really a church music composer, just like Bach.

The purely instrumental works would have been considered to be less typical of the composer by his contemporaries but it is this aspect of his work that we are nowadays more familiar with. Again it is often the flair and excitement of the writing which attracts. The A minor quartet for recorder, oboe, violin and continuo is a good example. It is in four movements beginning with an Adagio. I defy anyone who hears it not to be lulled by its smooth antiphonal writing. The ensuing Allegro is fugal with an independent and busy bass line. The following Adagio is elegant and conversational between the violin and oboe and recorder running together. The final Vivace leads off with a serious fugal idea on the oboe which takes on a life of its own before being answered by a recorder passage of much virtuosity. When the violin joins in it does so rather secretly before taking up the tune and becoming an equal partner particularly after a flashy virtuoso passage of its own. This busy movement is the longest by some way and brings the work to a highly successful conclusion. The three movement Quartet in G minor is scored for violin, viola and continuo and is less distinctive although its final Allegro is quite exciting.

So, to sum up. This is a very enjoyable if possibly slightly esoteric disc of energising and fulfilling music by a man who seems to have described himself as a "workaholic" and who "could not bear idleness" (according to the publicity with the disc). The performances by this outstanding ensemble match the composer’s inspiration and sometimes even exceed it. I recommend it to all readers of any persuasion. ---Gary Higginson, musicweb-international.com

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