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Klassiek - Verschenen op 15 november 2019 | Aparté

Hi-Res Booklet
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Symfonische muziek - Verschenen op 11 maart 2011 | harmonia mundi

Booklets Onderscheidingen Gramophone Editor's Choice
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Concertmuziek - Verschenen op 21 april 2017 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - Choc Classica de l'année
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Klassiek - Verschenen op 10 november 2016 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or - Le Choix de France Musique - Choc de Classica
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Klassiek - Verschenen op 13 maart 2007 | Evidence

Hi-Res Booklet
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Missen, passies, requiems - Verschenen op 23 maart 2018 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason
From the start of the 18th century, Lutheran Germany has kept the tradition of performing an oratorio for the Passion in Holy Week. In Hamburg, where Telemann is said to have spent 46 years as musical director, he would have overseen as many Passions. But if we include his previous jobs, that would take the number of works by Telemann for this theme alone to over sixty! These Passions could be strictly liturgical, that is, they could closely follow the text of one of the Gospels; but they could also liberally paraphrase the story of the Passion, following a version by a contemporary author; or they could represent a meditation on the events. And so Seliges Erwägen by Telemann, whose full title leaves no doubt as to the content: Oratorio of the Passion, or Spiritual Contemplation on the bitter suffering and death of Jesus Christ, to inspire prayer, in several meditations taken from the account of the Passion. Not a linear account of the Passion, as with Bach: but a series of individual meditations set to music. The work was first composed in 1719, and then reviewed and completed three years later for Hamburg, where the first performance took place on 19 March 1722 the success was considerable, and the work was performed again and again many times throughout the following decades. This was probably the most-performed work on the Passion in the 18th century, out ahead even of Telemann's Brockes Passion... There is no evangelist here, nor storyteller, but rather an evocation of the main events of the Passion. That is why there are only two main "roles" here: Christ, with six airs and six recitations, and the allegory of the Devotion (soprano or tenor) as the mouthpiece for the thoughts of the faithful, with eight airs and eight recitations. The sole narrator is Peter, with his denial and despair, and Caiaphas, the high priest who condemns Jesus, comes on for a single, very violent, air. This is very much a series of individual devotional meditations. The instrumentation in particular is extraordinarily rich. Alongside the strings, the continuo and the standard woodwind, a dash of colour is added by two horns, two chalumeaux, ancestors of the clarinet – what a pity that Bach never made the most of this sound – echoing recorders, a magnificent bassoon solo that intermingles with the soprano's voice; in short, once again, Teleman proves to us that far from being a mill for middle-of-the-road baroque, he is in fact one of the most imposing musical minds of his age. The Freiburger Barockorchester and a lovely soloists come together to perform this work.. © SM/Qobuz
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Klassiek - Verschenen op 1 januari 1987 | Archiv Produktion

Onderscheidingen The Qobuz Ideal Discography
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Sacred Oratorios - Verschenen op 24 maart 2009 | harmonia mundi

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Kamermuziek - Verschenen op 12 januari 2015 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica
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Klassiek - Verschenen op 1 januari 1989 | Archiv Produktion

Onderscheidingen The Qobuz Ideal Discography
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Kamermuziek - Verschenen op 27 oktober 2017 | Alpha

Hi-Res Booklet
An exceptionally prolific and versatile composer, Telemann reached a high musical stature in Germany at a very early stage. From 1715, aware that the provincial German musical market didn’t offer any outlet for his hundreds (and soon to be thousands) of works, he took it upon himself to broadcast his chamber music by publishing it in his own publishing house in Frankfurt. He thus became an entrepreneur and businessman, in addition to being a composer and instrumentalist. Starting in 1725, he pursued and developed this side activity in Hamburg, another very important business center. One of the outcomes of this pioneering work was that it drew the attention of Parisian flautist Michel Blavet. We think that it was Blavet who invited Telemann to Paris in 1737-38, giving him access to the most influential salons and even to the famous Concert Spirituel. His Sonatas for Two Flutes without Bass or Violin or Transverse Flute (1726) might well have been the source of their relationship. But the decisive role can probably be attributed to the 6 Quartets (1730), with which Telemann tackled new grounds in the area of chamber music for four voices, uniting the very heterogeneous sonorities of the transverse flute, the violin and the viola da gamba (or the cello) in a unique and very coherent trio of soloists, accompanied by a continuous bass. Around 1750, the Parisian publisher Le Clerc sold partitions in almost every chamber music genres from Telemann, including these so sought-after quartets, of which the present recording offers examples coming from the first, second and fourth volumes. At the helm, the superb ensemble Nevermind with Anna Besson on flute, Louis Creac’h on violin, Robin Pharo on viola da gamba and Jean Rondeau on harpsichord. © SM
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Klassiek - Verschenen op 8 oktober 2013 | Arcana

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Hi-Res Audio
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Kamermuziek - Verschenen op 1 september 2017 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason
With his new recording of Telemann’s Fantasias Paolo Pandolfo is continuing to take the viola da gamba in directions little chartered previously. After his Kind of Satie release, Pandolfo once again demonstrates his musical versatility – whether he is drawing from the within the established gamba repertory or from beyond it. Here, Pandolfo delves into the astonishingly prolific instrumental output of Georg Philipp Telemann, a composer so well-versed in the musical diversity of his time that he was more than capable of writing for instruments of which he was not a master. Such was the case when Telemann was writing various sets of Fantasias for solo instruments, and tapping into the demand coming from the burgeoning amateur market in Hamburg. One of these sets of 12 unaccompanied Fantasias – for the viola da gamba – was known to have been composed around 1735 but had been lost until very recently and it is only now that modern-day players are exploring Telemann’s approach to a revitalized genre but on what – by the 1730s – was becoming an increasingly outmoded instrument. From fugal writing to the galant idiom and different reflections of the French and Italian styles, Telemann packs a great deal of variety into these typically three-movement Fantasias. Paolo Pandolfo, who contributes an incisive performer’s note in the booklet, additionally records the 1728 D major Sonata from Der getreue Music-Meister, the only other work for the solo viola da gamba known by Telemann, whilst Peter Wollny reflects on Telemann’s compositional development in his own essay. © Glossa
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Koormuziek - Verschenen op 1 januari 1995 | CapriccioNR

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Sacred Oratorios - Verschenen op 7 april 2017 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
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Cantates (wereldlijk) - Verschenen op 1 november 1993 | Chandos

Booklet Onderscheidingen The Qobuz Ideal Discography
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Klassiek - Verschenen op 7 juli 2017 | Arcana

Hi-Res Booklet
Following a critically acclaimed Vivaldi album (A366), recorder player Lorenzo Cavasanti and his partners – grouped under the name Tripla Concordia – turn their attention to Georg Philipp Telemann, with an original programme that goes beyond the usual canon of his recorder sonatas. Among Telemann’s hundreds of sonatas, his last publication of solos for melody instrument and basso continuo, the XII Solos à violin ou traversière (Hamburg, 1734), contains music of great expressive depth. These twelve works not only sum up the composer’s approach to the solo sonata over several decades, but also reveal his continuing exploration of the genre’s possibilities. Yet they have been unfairly overshadowed by several of his earlier sonata collections. This recording by Lorenzo Cavasanti and the members of Tripla Concordia offers a new perspective on the XII Solos by performing four of them with recorder in place of violin or flute. Such flexibility of instrumentation was characteristic of Telemann, who often sanctioned alternative scorings in his publications. Paired with these works is a sonata preserved in a Brussels manuscript and one from the well-known Essercizii musici. The music’s significance is explored in booklet notes by Telemann scholar Steven Zohn, author of Music for a Mixed Taste: Style, Genre, and Meaning in Telemann’s Instrumental Works (New York: Oxford University Press, 2008). © Outhere Music
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Kamermuziek - Verschenen op 24 maart 2017 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Klassiek - Verschenen op 27 mei 2013 | harmonia mundi

Booklet
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Klassiek - Verschenen op 4 oktober 2002 | Warner Classics