WGBH Radio WGBH Radio theclassicalstation.org

Telemann Edition


Release Date: 05/31/2011 
Label:  Brilliant Classics   Catalog #: 94104   Spars Code: DDD 
Composer:  Georg Philipp Telemann
Performer:  Theunis Van der ZwartKate ClarkErwin WieringaRemy Baudet,   ... 
Conductor:  Pieter-Jan BelderNicol MattIona BrownMartin Haselböck,   ... 
Orchestra/Ensemble:  Musica AmphionKurpfälzisches Chamber OrchestraMannheim Chamber Orchestra,   ... 
Number of Discs: 29 
Recorded in: Stereo 
In Stock: Usually ships in 24 hours.  

Notes and Editorial Reviews

Patrick Peire and his band have spent three decades opening the ears of music-lovers to many lovely and neglected works from the Baroque and Classical eras, including choral music of de Fesch and Fiocco and orchestral works of van Maldere and van Helmont. The band uses modern instruments, but employs period techniques and does so with astounding success; the high standards that Peire set and continues to demand from his Collegium are always present here. Each suite is set out with vigor and affection, commitment and purpose. These are models of unquestionable musical judgment and firm understanding of the style of the times. The sound applies a certain amount of concert hall realism, but without totally losing the gentle sonority of the Read more flutes and recorders.

– Michael Carter, FANFARE, reviewing the Peire/Collegium Instrumentale Brugensis performances of the Overtures

-----

Wentz has that exuberant quality, the impulsive vein, the virtuoso technique, the stamina, and the sense of fun that permeate genuine Gypsy music. He grabs a piece, turns it inside out, makes it his own. He takes all kinds of liberty with tempo, dynamics, inflections. He pushes the flute to its very limits, and is certainly not worried about being prim or proper. Hard passages seem easy to him, and notes fly by with the speed of a hurricane. Calm moments are few and short. After listening to the whole CD, I felt as dishevelled and unsettled as if, on a windy day, I had driven a long distance on a motorcycle without a helmet. A visceral, strong experience. This approach is, of course, controversial; and it has earned him a few wrinkled noses. Wentz recordings are never calm, smooth, poised. On the other hand, they are never boring, either. In the present case, the result of this unique approach is immensely interesting. After all, fantasias are especially appropriate for such fanciful romps. And how can a fantasia have too much fantasy?

– Laura Rónai, FANFARE, reviewing the Fantasias for solo flute, available individually as Brilliant 93440

-----

Christian Hilz’s transparent baritone is the real winner here. He is clearly one of the protégés of the style pioneered by Max von Egmont in the old Bach series. The tone is light and facile, the pitches are secure, and the coloratura, what there is of it, is handled with ease and ability. If you want to hear something unusual, with a fine performance by both singer and ensemble that pretty much represents what Telemann might have had in mind, you can’t miss with this recording. Here’s to hoping that Brilliant Classics embarks upon many more in this vein.

– Bertil van Boer, FANFARE, reviewing the cantatas sung by Christian Hilz, available individually as Brilliant 93940

-----

Both singers, Klaus Mertens in particular, are experienced practitioners of German Baroque sacred repertoire, and it would have been surprising had they produced less than very good performances. And so it proves, although it is Mertens’s disc that is overall the more satisfying, not only because he projects the cantatas more strongly, but also because he has selected a particularly rewarding group of works given livelier, more ambient sound than the rather close recording accorded Schmithüsen’s disc. Not that there is much wrong with her bright, well-produced singing... [M]any arias make considerable demands on their singer. Among those in Schmithüsen’s cantatas, the remarkable “Folternde Rache” (“Vengeful torture”) (from Schmeck und sehet) stands out in this respect, its driving rhythms and tortured chromaticism twisted into ever-greater declamatory intensity.

– Brian Robins, FANFARE, reviewing the Harmonischer Gottes-Dienst cantatas, available individually as Brilliant 93095

-----

Both these works are shining samples of his late style, written in 1765, two years before his death at age 86. Ino shows clearly the strong influence he had on Haydn, the stronger and more varied rhythms of the music enlivening the vocal line and providing richly varied orchestral accompaniment and commentary. Here the formalism of Baroque style is completely energized by his pleading sarabandes and restless sicilianos; even the gigues are played with an almost reckless abandon compared to his past music... If you don’t have these works in your collection (and this is the only recording of Ino), this is the disc to get, but even if you do, I can’t imagine that Goebel’s interpretations wouldn’t inspire or delight you.

– Lynn René Bayley, FANFARE, reviewing Ino and the Concerto in D, available individually as Brilliant 93897

-----

Full Review:

THE TELEMANN EDITION Various performers BRILLIANT 94104 (29 CDs + CD-ROM: 29:22:36 Text and Translation)

Many years ago (probably 30 or more), a whimsical New Yorker cartoon (is there any other kind?) showed the plaza of Lincoln Center in New York City with a prominent marquee display: “All the Georg Philip Telemann you can stand.” While that was a delightfully witty riff on the composer’s staggering prolificacy, we have fortunately long since moved past the stage where Telemann’s music was something one would simply “stand” as a poor stand-in for Bach, rather than treasuring it in its own right as the work of a major original musical genius. But for those who somehow failed to catch the Telemann Express when it first left the station, as well as those who did but are eager to travel with him farther, Brilliant Classics here provides a stellar introduction to the composer at a super-budget price.

As virtually all of the contents have previously enjoyed uniformly laudatory reviews in these pages as separate releases (with which I am in virtually complete accord), I will provide only a brief indication of the contents of each disc, along with a reference to the corresponding review for additional details. Most of these recordings are original releases by Brilliant Classics, with the licensed reissues being CD 7 (from Decca), tracks 11–20 on CD 8 (from Novalis), CD 19 (from Stradivarius), CD 27 (from Deutsche Grammophon), and CDs 25–26 and 28–29 (from Bayer). CD 20 has also just been released on the Dynamic label (see Robert Maxham’s recent review in 37:4).

CDs 1–4: The complete Tafelmusik [Pieter-Jan Belder, Musica Amphion] (one CD of excerpts, Robert McColley, 28:5);

CDs 5–6: Concertos, Sonatas, and Suites for trumpet [Otto Sauter (tpt), Nicol Matt, Kurzpfälzisches Chamber Orchestra Mannheim] (not reviewed);

CD 7: Oboe Concertos [Heinz Holliger (ob), Iona Brown, AMSF] (George Chien 9:5);

CD 8: Concerto in e for flute, violin, strings, and basso continuo [Jed Wentz (fl), Musica ad Rhenum]; Concerto in D for trumpet, two oboes, strings, and basso continuo [Peter Masseurs (tpt), Amsterdam Bach Soloists]; Symphony “Il Grillo” for flute, piccolo, oboe, chalumeau, 2 double basses, 2 violins, viola, and bass continuo + Concerto in e for flute, oboe d’amore, viola d’amore, strings, and basso continuo + Concerto in e for flute, recorder, strings, and basso continuo [Martin Haselböck, Wiener Akademie] (the Haselböck items only, Tom Moore, 18:6);

CDs 9–16: Overtures [Patrick Peire, Collegium Instrumentale Brugense] (Michael Carter, 30:4 and 31:1; Ron Salemi, 32:4);

CD 17: 12 Fantasias for Flute [Jed Wentz] (Laura Rónai, 32:5);

CD 18: Recorder Sonatas [Ensemble Tripla Concordia] (not reviewed);

CDs 19–20: Trio Sonatas for recorder, oboe, and basso continuo; Trio Sonatas for flute, violin, and basso continuo [Fabio Biondi (vln), Ensemble Tripla Concordia] (Ron Salemi, 32:6);

CDs 21–23: Paris Quartets (Musica ad Rhenum] (Barry Brenesal, 32:1);

CD 24: Cantatas Die Gnadenthüre steht dir offen; Herr, erhöre meine Stimme ; and Ach Herr, lehr uns bedenken wohl + Overture in D + 3 instrumental excerpts from miscellaneous works [Christian Hilz (bs), Il Pinzimonio Vocale, Stefano Veggetti, Ensemble Cordia] (Bertil van Boer, 34:3);

CDs 25–26: Cantatas from Der harmonische Gottesdienst [Ingrid Schmithüsen (sop), Klaus Mertens (br), Il Concertino Köln] (Brian Robins, 30:6);

CD 27: Ino (secular cantata) + Overture in D [Barbara Schlick (sop), Reinhard Goebel, Musica Antiqua Köln](Lynn René Bayley, 33:4);

CDs 28–29: Passions-Oratorio [Barbara Locher (sop), Zeger Vandersteene (ten), Stefan Dörr (ten), Berthold Possemeyer (br), Johan-René Schmidt (br), Wolfgang Schäfer, Freiberger Vocal Ens L’Arpa, Festante München] (James A. Altena, 36:2).

As for the items not previously reviewed (most of CDs 1–4, all of CDs 5–6, the first two concertos on CD 8, and all of CD 18), those too are of an equally high caliber. The Tafelmusik by Musica Amphion is competitive with any other available version; Otto Sauter is a marvelously sweet-toned trumpeter with faultless technique and a seamless legato; and the Ensemble Tripla Concordia excels as much in the recorder sonatas as in the trio sonatas. Except for CD 7 (from 1981) and the Haselböck items on CD 8 (from 1990), all of the recordings here date from after 2000. Period instruments are used in all the performances except those on CD 7, portions of CD 8, and CDs 9–16, and except for the ones on CD 7 even those rendered on modern instruments are acutely observant of period performance techniques. The supplementary CD-ROM provides booklet notes and—something lacking from the previous separate issues by Brilliant—librettos for all the vocal works, though only the bass cantatas on CD 24 have English translations provided in addition to the original German texts.

It is rare to have a set of this size and scope be of such unfailingly high quality. Apart from a lack of complete English text translations in a printed booklet, the only caveat I can offer is that Brilliant did not include two other Telemann sets it previously released (a three-CD set of sacred cantatas and a St. Matthew Passion , all conducted by Ulrich Stötzel except for one disc of cantatas led by Hermann Max), and has now released a separate five-CD set of Telemann’s harpsichord music. While Brilliant may no longer have a license to those two sets (originally from Hänssler and Capriccio), this raises suspicions that an even bigger Telemann mega-box set may be in the offing further down the line. As I discuss in my companion review in this issue of Brilliant’s mega-box set of C. P. E. Bach, the question is whether to gamble on buying now or later. In both cases, I would enthusiastically recommend now.

FANFARE: James A. Altena

-----

Georg Philipp Telemann (1681-1767) was one of the most prolific composers of the Barock period, rivalling Vivaldi in his industry. He studied languages and science at Leipzig University, and was largely self-taught as far as music was concerned. In 1704 he became organist of the New Church in the city, and founded a students music society, called Collegium Musicum. After several other appointments in Germany, including Bayreuth, Eisenach and Frankfurt, he became director of music at the Johanneum in Hamburg, and organist at 5 major churches in the city. A tireless traveller, he visited Berlin many times and in 1737 went to Paris.

He was a friend, colleague and, through marriage a relation to J.S Bach. His huge output includes over 40 operas, 44 Passions, 12 sets of services for the year, cantatas, Psalm settings, keyboard music for organ and harpsichord and many inventive concertos and overtures.

This 29-CD set provides a superb introduction to this master of the Baroque. He often suffers in comparison to Bach, Handel and Vivaldi mainly because it is so difficult to know where to start with such a vast body of work. This Brilliant Classics box set makes the Telemann experience all the more enjoyable by making this selection and providing a wonderful window into the world of this great composer.

- CDROM includes booklet essays and sung texts
- Artists include Heinz Holliger, Academy of St Martin in the Fields, Iona Brown, Otto Sauter, Amsterdam Bach Soloists, Wiener Akademie, Martin Haselböck, Barbara Schlick, Musica Antiqua Koln, Reinhard Goebel, Fabio Biondi and others Read less

Works on This Recording

1. Tafelmusik by Georg Philipp Telemann
Performer:  Theunis Van der Zwart (French Horn), Kate Clark (Recorder), Erwin Wieringa (French Horn),
Remy Baudet (Violin), Wilbert Hazelzet (Recorder), Peter Frankenberg (Oboe),
Richte Van der Meer (Cello), Sayuri Yamagata (Violin), Will Wroth (Trumpet),
Franc Polman (Violin), Alfredo Bernardini (Oboe), Jaap ter Linden (Cello),
Frank De Bruine (Oboe)
Conductor:  Pieter-Jan Belder
Orchestra/Ensemble:  Musica Amphion
Period: Baroque 
Length: 259 Minutes 24 Secs. 
2. Concerto for Trumpet in D major, TV 51 no D 7 by Georg Philipp Telemann
Performer:  Otto Sauter (Trumpet)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Kurpfälzisches Chamber Orchestra,  Mannheim Chamber Orchestra
Period: Baroque 
Written: circa 1708-1714; Eisenach, Germany 
Date of Recording: 2004 
Venue:  Mannheim, Germany 
Length: 6 Minutes 47 Secs. 
3. Tafelmusik, Part 2: no 6, Conclusion for Oboe, Trumpet and Strings in D major, TV 50 no 9 by Georg Philipp Telemann
Performer:  Otto Sauter (Trumpet)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Mannheim Chamber Orchestra,  Kurpfälzisches Chamber Orchestra
Period: Baroque 
Written: by 1733; Hamburg, Germany 
Date of Recording: 2004 
Venue:  Mannheim, Germany 
Length: 6 Minutes 49 Secs. 
4. Overture-Suite for 2 Trumpets, Strings and Basso continuo in D major, TV 55 no D 17 by Georg Philipp Telemann
Performer:  Franz Wagnermeyer (Trumpet), Otto Sauter (Trumpet)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Mannheim Chamber Orchestra,  Kurpfälzisches Chamber Orchestra
Period: Baroque 
Written: 17th Century; Germany 
Date of Recording: 2004 
Venue:  Mannheim, Germany 
Length: 18 Minutes 34 Secs. 
5. Suite for 2 Trumpets, Timpani, Strings and Basso Continuo in D major, TV 55 no D 18 by Georg Philipp Telemann
Performer:  Franz Wagnermeyer (Trumpet), Otto Sauter (Trumpet)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Mannheim Chamber Orchestra,  Kurpfälzisches Chamber Orchestra
Period: Baroque 
Written: 18th Century; Germany 
Date of Recording: 2004 
Venue:  Mannheim, Germany 
Length: 18 Minutes 45 Secs. 
6. Concerto for Violin, Cello, Trumpet and Strings in D major, TV 53 no D 5 by Georg Philipp Telemann
Performer:  Otto Sauter (Trumpet)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Kurpfälzisches Chamber Orchestra
Period: Baroque 
Written: Germany 
Date of Recording: 2004 
Venue:  Mannheim, Germany 
Length: 13 Minutes 3 Secs. 
7. Suite for Trumpet, Strings and Basso Continuo in D major, TV 55 no 8 by Georg Philipp Telemann
Performer:  Otto Sauter (Trumpet)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Kurpfälzisches Chamber Orchestra
Period: Baroque 
Written: Germany 
Date of Recording: 2004 
Venue:  Mannheim, Germany 
Length: 22 Minutes 41 Secs. 
8. Sinfonia for Trumpet, Strings and Basso Continuo in D major, TV 44 no 1 "Spirituosa" by Georg Philipp Telemann
Performer:  Otto Sauter (Trumpet)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Kurpfälzisches Chamber Orchestra
Period: Baroque 
Written: 18th Century; Germany 
Date of Recording: 2004 
Venue:  Mannheim, Germany 
Length: 10 Minutes 54 Secs. 
9. Concerto for 2 Oboes, Trumpet, Strings and Basso continuo in D major, TV 53 no D 2 by Georg Philipp Telemann
Performer:  Otto Sauter (Trumpet)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Kurpfälzisches Chamber Orchestra
Period: Baroque 
Written: Germany 
Date of Recording: 2004 
Venue:  Mannheim, Germany 
Length: 9 Minutes 28 Secs. 
10. Overture-Suite in D major, TV 55 no D 1 by Georg Philipp Telemann
Performer:  Otto Sauter (Trumpet)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Kurpfälzisches Chamber Orchestra
Period: Baroque 
Written: 18th Century; Germany 
Date of Recording: 2004 
Venue:  Mannheim, Germany 
Length: 32 Minutes 39 Secs. 
11. Quartet for Trumpet, 2 Oboes and Basso Continuo in D major, TV 43 no D 7 by Georg Philipp Telemann
Performer:  Otto Sauter (Trumpet)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Kurpfälzisches Chamber Orchestra
Period: Baroque 
Written: 18th Century; Germany 
Date of Recording: 2004 
Venue:  Mannheim, Germany 
Length: 12 Minutes 32 Secs. 
12. Hamburger Trauermusik , TV 50 no A 5 by Georg Philipp Telemann
Performer:  Franz Wagnermeyer (Trumpet), Kenji Tamiya (Trumpet), Otto Sauter (Trumpet)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Kurpfälzisches Chamber Orchestra
Period: Baroque 
Written: Germany 
Date of Recording: 2004 
Venue:  Mannheim, Germany 
Length: 9 Minutes 50 Secs. 
13. Concerto for 3 Trumpets, 2 Oboes, Timpani and Strings in D major, TV 54 no D 4 by Georg Philipp Telemann
Performer:  Kenji Tamiya (Trumpet), Otto Sauter (Trumpet), Franz Wagnermeyer (Trumpet)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Kurpfälzisches Chamber Orchestra
Period: Baroque 
Written: Germany 
Date of Recording: 2004 
Venue:  Mannheim, Germany 
Length: 7 Minutes 48 Secs. 
14. Concerto for 2 Trumpets, 2 Violins, Strings and Basso continuo in E flat major, TV 54 no Es 1 by Georg Philipp Telemann
Performer:  Franz Wagnermeyer (Trumpet), Otto Sauter (Trumpet)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Kurpfälzisches Chamber Orchestra
Period: Baroque 
Written: Germany 
Date of Recording: 2004 
Venue:  Mannheim, Germany 
Length: 14 Minutes 43 Secs. 
15. Overture-Suite for 2 Trumpets, Strings and Basso continuo in D major, TV 55 no D 17 by Georg Philipp Telemann
Performer:  Franz Wagnermeyer (Trumpet), Otto Sauter (Trumpet)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Kurpfälzisches Chamber Orchestra
Period: Baroque 
Written: 17th Century; Germany 
Date of Recording: 2004 
Venue:  Mannheim, Germany 
Length: 18 Minutes 34 Secs. 
16. Tafelmusik, Part 2: no 1, Overture for Trumpet, Oboe and Strings in D major by Georg Philipp Telemann
Performer:  Otto Sauter (Trumpet)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Kurpfälzisches Chamber Orchestra
Period: Baroque 
Written: 1733; Germany 
Date of Recording: 2004 
Venue:  Mannheim, Germany 
Length: 6 Minutes 49 Secs. 
17. Concerto for Oboe in E minor by Georg Philipp Telemann
Performer:  Heinz Holliger (Oboe)
Conductor:  Iona Brown
Orchestra/Ensemble:  Academy of St. Martin in the Fields
Period: Baroque 
Written: Germany 
18. Concerto for Oboe in D minor by Georg Philipp Telemann
Performer:  Heinz Holliger (Oboe)
Conductor:  Iona Brown
Orchestra/Ensemble:  Academy of St. Martin in the Fields
Period: Baroque 
19. Concerto for Oboe in C minor by Georg Philipp Telemann
Performer:  Heinz Holliger (Oboe)
Conductor:  Iona Brown
Orchestra/Ensemble:  Academy of St. Martin in the Fields
Period: Baroque 
Written: Germany 
20. Concerto for Oboe in F minor by Georg Philipp Telemann
Performer:  Heinz Holliger (Oboe)
Conductor:  Iona Brown
Orchestra/Ensemble:  Academy of St. Martin in the Fields
Period: Baroque 
Written: Germany 
21. Concerto for Oboe in D major by Georg Philipp Telemann
Performer:  Heinz Holliger (Oboe)
Conductor:  Iona Brown
Orchestra/Ensemble:  Academy of St. Martin in the Fields
Period: Baroque 
Written: Germany 
22. Concerto(s) by Georg Philipp Telemann
Performer:  Jed Wentz (Flute), Peter Masseurs (Trumpet)
Conductor:  Martin Haselböck
Orchestra/Ensemble:  Vienna Academy,  Amsterdam Bach Soloists,  Musica ad Rhenum
Period: Baroque 
23. Overture(s) by Georg Philipp Telemann
Conductor:  Patrick Peire
Orchestra/Ensemble:  Collegium Instrumentale Brugensis
Period: Baroque 
24. Fantasias (12) for Flute solo, TV 40 no 2-13 by Georg Philipp Telemann
Performer:  Jed Wentz (Flute)
Period: Baroque 
Written: by 1732; Hamburg, Germany 
25. Trio Sonata for Recorder, Violin and Basso Continuo in D minor, TV 42 no d 10 by Georg Philipp Telemann
Performer:  Fabio Biondi (Violin), Lorenzo Cavasanti (Recorder), Caroline Boersma (Cello),
Sergio Ciomei (Harpsichord)
Orchestra/Ensemble:  Tripla Concordia
Period: Baroque 
Written: Germany 
26. Trios (6): no 2 for Recorder, Violin and Basso Continuo in A minor, TV 42 no a 1 by Georg Philipp Telemann
Performer:  Caroline Boersma (Cello), Sergio Ciomei (Harpsichord), Lorenzo Cavasanti (Recorder),
Fabio Biondi (Violin)
Orchestra/Ensemble:  Tripla Concordia
Period: Baroque 
Written: by 1718; Frankfurt, Germany 
27. Trio Sonata in F major, TV 42 no F 8 by Georg Philipp Telemann
Performer:  Fabio Biondi (Violin), Sergio Ciomei (Harpsichord), Lorenzo Cavasanti (Recorder),
Caroline Boersma (Cello)
Orchestra/Ensemble:  Tripla Concordia
Period: Baroque 
Written: Germany 
28. Trio Sonata in F minor, TV 42 no f 2 by Georg Philipp Telemann
Performer:  Sergio Ciomei (Harpsichord), Lorenzo Cavasanti (Recorder), Caroline Boersma (Cello),
Fabio Biondi (Violin)
Orchestra/Ensemble:  Tripla Concordia
Period: Baroque 
Written: Germany 
29. Getreue Music-Meister: no 36, Sonata for Recorder and Basso Continuo in F minor TV 41 no f 1 by Georg Philipp Telemann
Performer:  Caroline Boersma (Cello), Sergio Ciomei (Harpsichord), Fabio Biondi (Violin),
Lorenzo Cavasanti (Recorder)
Orchestra/Ensemble:  Tripla Concordia
Period: Baroque 
Written: by 1728; Germany 
30. Essercizii musici, P 47: no 10, Trio Sonata in A minor, TV 42 no a 4 by Georg Philipp Telemann
Performer:  Lorenzo Cavasanti (Recorder), Fabio Biondi (Violin), Caroline Boersma (Cello),
Sergio Ciomei (Harpsichord)
Orchestra/Ensemble:  Tripla Concordia
Period: Baroque 
Written: by 1740; Germany 
31. Quartets (6) for Flute, Violin, Viola da Gamba and Basso Continuo, Book 1 "Paris Quartets" by Georg Philipp Telemann
Performer:  Jed Wentz (Flute), Job Ter Haar (Cello), Michael Borgstede (Harpsichord),
Igor Rukhadze (Violin), Cassandra L. Luckhardt (Viola da gamba)
Conductor:  Jed Wentz
Orchestra/Ensemble:  Musica ad Rhenum
Period: Baroque 
Written: by 1730; Hamburg, Germany 
Length: 61 Minutes 25 Secs. 
32. Nouveaux quatuors en six suites "Paris Quartets" by Georg Philipp Telemann
Performer:  Cassandra L. Luckhardt (Viola da gamba), Igor Rukhadze (Violin), Michael Borgstede (Harpsichord),
Job Ter Haar (Cello), Jed Wentz (Flute)
Conductor:  Jed Wentz
Orchestra/Ensemble:  Musica ad Rhenum
Period: Baroque 
Written: 1738; Paris, France 
Length: 102 Minutes 24 Secs. 
33. Die Gnadentüre stehet offen, TV 1 no 339 by Georg Philipp Telemann
Performer:  Christian Hilz (Baritone)
Conductor:  Stefano Veggetti
Orchestra/Ensemble:  Cordia Ensemble
Period: Baroque 
Written: 1748-1749 
34. Herr, erhöre meine Stimme, TV 1 no 738 by Georg Philipp Telemann
Performer:  Christian Hilz (Baritone)
Conductor:  Stefano Veggetti
Orchestra/Ensemble:  Cordia Ensemble
Period: Baroque 
35. Ach Herr! Lehr uns Bedenken wohl, TV 1 no 24 by Georg Philipp Telemann
Performer:  Christian Hilz (Baritone)
Conductor:  Stefano Veggetti
Orchestra/Ensemble:  Cordia Ensemble
Period: Baroque 
36. Overture-Suite for 2 Oboes, 2 Horns, Strings and Basso continuo in D major, TV 55 no D 21 by Georg Philipp Telemann
Conductor:  Stefano Veggetti
Orchestra/Ensemble:  Cordia Ensemble
Period: Baroque 
Written: 1765 
37. Miriways, TV 21 no 24: Sinfonia by Georg Philipp Telemann
Conductor:  Stefano Veggetti
Orchestra/Ensemble:  Cordia Ensemble
Period: Baroque 
Written: by 1728 
38. Unbegreiflich ist dein Wesen, TV 1 no 1745 by Georg Philipp Telemann
Performer:  Ingrid Schmithüsen (Soprano)
Orchestra/Ensemble:  Il Concertino Köln
Date of Recording: 1990 
Venue:  Holy Cross Church, Klasmühle, Germany 
Length: 7 Minutes 46 Secs. 
Language: German 
39. Auf ehernen Mauern, TV 1 no 96 by Georg Philipp Telemann
Performer:  Ingrid Schmithüsen (Soprano)
Orchestra/Ensemble:  Il Concertino Köln
Date of Recording: 1990 
Venue:  Holy Cross Church, Klasmühle, Germany 
Length: 11 Minutes 24 Secs. 
Language: German 
40. Was ist mir doch das Rühmen nütze, TV 1 no 1521 by Georg Philipp Telemann
Performer:  Ingrid Schmithüsen (Soprano)
Orchestra/Ensemble:  Il Concertino Köln
Period: Baroque 
Date of Recording: 1990 
Venue:  Holy Cross Church, Klasmühle, Germany 
Length: 11 Minutes 4 Secs. 
Language: German 
41. Schmeckt und sehet unser Gottes Freundlichkeit, TV 1 no 1252 by Georg Philipp Telemann
Performer:  Ingrid Schmithüsen (Soprano)
Orchestra/Ensemble:  Il Concertino Köln
Date of Recording: 1990 
Venue:  Holy Cross Church, Klasmühle, Germany 
Length: 11 Minutes 33 Secs. 
Language: German 
42. Durchsuche dich, du stolzer Geist, TV 1 no 399 by Georg Philipp Telemann
Performer:  Ingrid Schmithüsen (Soprano)
Orchestra/Ensemble:  Il Concertino Köln
Date of Recording: 1990 
Venue:  Holy Cross Church, Klasmühle, Germany 
Length: 12 Minutes 41 Secs. 
Language: German 
43. Glaubet, hoffet, leidet, duldet, TV 1 no 626 by Georg Philipp Telemann
Performer:  Ingrid Schmithüsen (Soprano)
Orchestra/Ensemble:  Il Concertino Köln
Date of Recording: 1990 
Venue:  Holy Cross Church, Klasmühle, Germany 
Length: 10 Minutes 4 Secs. 
Language: German 
44. Triumphierender Versöhner, TV 1 no 1422 by Georg Philipp Telemann
Performer:  Klaus Mertens (Baritone)
Orchestra/Ensemble:  Il Concertino Köln
Date of Recording: 1990 
Venue:  Paterskirche, Kempen, Germany 
Length: 10 Minutes 6 Secs. 
Language: German 
45. Weg mit Sodoms gift'gen Früchten, TV 1 no 1534 by Georg Philipp Telemann
Performer:  Klaus Mertens (Baritone)
Orchestra/Ensemble:  Il Concertino Köln
Date of Recording: 1990 
Venue:  Paterskirche, Kempen, Germany 
Length: 11 Minutes 9 Secs. 
Language: German 
46. Ihr Völker, hört, TV 1 no 921 by Georg Philipp Telemann
Performer:  Klaus Mertens (Baritone)
Orchestra/Ensemble:  Il Concertino Köln
Date of Recording: 1990 
Venue:  Paterskirche, Kempen, Germany 
Length: 12 Minutes 4 Secs. 
Language: German 
47. Stille die Tränen des winselnden Armen, TV 1 no 1401 by Georg Philipp Telemann
Performer:  Klaus Mertens (Baritone)
Orchestra/Ensemble:  Il Concertino Köln
Date of Recording: 1990 
Venue:  Paterskirche, Kempen, Germany 
Length: 10 Minutes 11 Secs. 
Language: German 
48. Ergeuss dich zur Salbung der schmachtenden Seele, TV 1 no 447 by Georg Philipp Telemann
Performer:  Klaus Mertens (Baritone)
Orchestra/Ensemble:  Il Concertino Köln
Period: Baroque 
Written: 1725; Germany 
Date of Recording: 1990 
Venue:  Paterskirche, Kempen, Germany 
Length: 13 Minutes 21 Secs. 
Language: German 
49. Zischet nur, stechet, ihr feurigen Zungen, TV 1 no 1732 by Georg Philipp Telemann
Performer:  Klaus Mertens (Baritone)
Orchestra/Ensemble:  Il Concertino Köln
Date of Recording: 1990 
Venue:  Paterskirche, Kempen, Germany 
Length: 10 Minutes 37 Secs. 
Language: German 
50. Overture in D major by Georg Philipp Telemann
Conductor:  Reinhard Goebel
Orchestra/Ensemble:  Musica Antiqua Cologne
Period: Baroque 
Written: Germany 
51. Ino by Georg Philipp Telemann
Performer:  Barbara Schlick (Soprano)
Conductor:  Reinhard Goebel
Orchestra/Ensemble:  Musica Antiqua Cologne
Period: Baroque 
52. Selige Erwägen des Leidens und sterbens Jesu Christi, TV 5 no 2 by Georg Philipp Telemann
Performer:  Johan-René Schmidt (Baritone), Berthold Possemeyer (Baritone), Stefan Dörr (Tenor),
Barbara Locher (Soprano), Zeger Vandersteene (Tenor)
Conductor:  Wolfgang Schäfer
Orchestra/Ensemble:  L'Arpa Festante,  Freiburg Vocal Ensemble
Period: Baroque 
Written: 1720/1722; Hamburg, Germany 
Language: German 

Customer Reviews

Be the first to review this title
Review This Title
Review This Title Share on Facebook