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Classical - Released March 13, 2007 | Evidence

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Classical - Released November 10, 2016 | Alpha

Hi-Res Booklet Distinctions Diapason d'or de l'année - Diapason d'or - Le Choix de France Musique - Choc de Classica
Giovanni Antonini's 2016 release with Il Giardino Armonico on Alpha Classics is a polished album of Baroque chamber music for recorder, alto and tenor chalumeaux (predecessors of the modern clarinet), solo violin, strings, and continuo. While the program opens with Jacques-Martin Hotteterre's brief Prélude for solo recorder, the rest of the program consists of four works by the prolific Georg Philipp Telemann, which show diversity of instrumentation and a mix of Baroque forms. The two works featuring a recorder soloist, the Suite in A minor and the Concerto in C major, are bright, attractive vehicles that shine a spotlight on Antonini for his virtuosity and controlled tone. In the Sonata in F major for two chalumeaux, violin, and continuo, Antonini plays tenor chalumeau and is joined by Tindaro Capuano on alto chalumeau and Liana Mosca on violin, and the rich sonorities of the two chalumeaux bring warmth to the performance. The Concerto di Camera in G minor for recorder, two violins, and continuo returns Antonini to his principal instrument and to the vigorous displays of the first half of the program. The church acoustics of San Marco, Milan provide a bit too much resonance for a true chamber feeling, though the musicians are closely recorded, and all of the solo parts are front and center. © TiVo
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Classical - Released November 15, 2019 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason
Often seen as playing second fiddle to his close friend Johann Sebastian Bach, Georg Philipp Telemann is making a spirited comeback and taking his place among the best composers of his day. In the manner of a Vivaldi production, Telemann's abundant work can be intimidating in its sheer quantity. A multiple instrumentalist, violinist, conductor, ensemble performer, Gottfried von der Goltz has dug up this group of six sonatas referred to as the Frankfurt Sonatas, named for the town where they were published in 1715. Leaving the Court of Bach's native Eisenach, Telemann set up in Frankfurt in 1712 as the chapelmaster of the Franciscan church. He would become one of the richest citizens of the town thanks to the ample emoluments he received in this post. These six sonatas are written in "stilo francese", all divided into four movements: a solemn overture followed by a faster second movement, and then a cantabile finishing with a lively, virtuoso finale. This strict schema gives range to a range of sonatas, which vary widely in their writing style and steer clear of the then-fashionable trio-sonata form, offering a tremendous free rein to the lead instrument. They are only equalled by Bach's sonatas for flute and violin. © François Hudry/Qobuz
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Concertos - Released April 21, 2017 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica - Choc Classica de l'année
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Masses, Passions, Requiems - Released March 23, 2018 | Aparté

Hi-Res Booklet Distinctions 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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Classical - Released March 31, 2015 | Alpha

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Classical - Released July 1, 2012 | Brilliant Classics

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Classical - Released May 17, 2019 | Ramée

Hi-Res Booklet Distinctions Diapason d'or
No eighteenth-century composer was so adept at so many musical styles as Georg Philipp Telemann. Telemann's versatility and inventiveness kept his musical style avant-garde during his entire life. He was not only praised by his contemporaries but was highly respected by the next generation: his fame was immense. Thererfore New Collegium, one of the promising ensembles of the younger generation, has chosen for their first studio recording on the Ramée label to show Telemann the chameleon, the breadth of his musical palette. Some of the pieces will undoubtedly sound familiar; others, such as the Italianate Trio for violin and cello obbligato, or the pastoral Trio for two violins in scordatura, will surely be delightful, new surprises for many. Coming in and out of disguise with Telemann’s chameleonic notes we often find ourselves wondering: is this truly music by just one composer, not six? © Ramée
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Classical - Released July 24, 2020 | Naxos

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"The Colourful Telemann" presents works from different periods of Georg Philipp Telemann’s life, reflecting his lively personality and exploring his seemingly unlimited invention over a wide variety of styles and genres. A contemporary of Bach and Handel, Telemann wrote music that stands out for its delightful and remarkably generous character, each piece like a leisurely walk with a good friend. From the German and French influences of the earlier Sonata to the dignified Sinfonia Melodica, possibly composed in the year of his death, this is Telemann at his best. © Naxos
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Classical - Released September 30, 2016 | Glossa

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Chamber Music - Released October 28, 2016 | Alpha

Booklet Distinctions 5 de Diapason
Le Théâtre Musical de Telemann may not be the most obvious title for an album of Baroque chamber suites, but it should not be taken in the sense of a stage work. Instead, the program of this 2016 release from Alpha suggests a theater of the imagination, or musical depictions of national musical characteristics, in which Telemann took an avid interest. His "ouvertures," of which he likely composed around 600, were collections of lively pieces in a variety of styles, for the most part dance music and character studies. Ensemble Masques, a Canadian consort of strings and continuo led by harpsichordist Olivier Fortin, presents a program of three suites and one concerto, but the most picaresque are the Ouverture - Suite in B flat major, "Les Nations," with its exotic depictions of Turks, Swiss, Muscovites, and Portuguese, and the Ouverture - Suite in G major, "Burlesque de Quixotte," a rendering of scenes from Don Quixote. More abstract pieces are gathered in the Ouverture - Suite in A major, which includes an opening in the style of Lully, followed by a series of conventional dances, and the Concerto Polonois in G major, a four-movement work that, for all of its folk associations, can be construed as absolute music. All the performances are delivered in exquisite period style, with scintillating ornamentation and vibrant string sonorities that suggest the use of authentic Baroque instrumentation. © TiVo
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Concertos - Released March 24, 2015 | Alpha

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
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Classical - Released October 11, 2019 | PentaTone

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Elephant House Quartet invites the listener for a stroll through the colourful oeuvre of Telemann — himself a gardening enthusiast — presenting a bouquet of chamber-musical jewels. "Telemann’s Garden" ranges from excerpts of solo fantasias for violin, flute and harpsichord to a sonata for viola da gamba and basso continuo, a trio sonata for violin, recorder and basso continuo, a suite for violin, flute and basso continuo, as well as one of the quartets Telemann wrote during his Paris sojourns. These pieces together constitute a fascinating portrait of one of the most prolific and successful composers of the Baroque era. Elephant House Quartet is a Baroque ensemble featuring virtuosos on each instrument in wonderful interaction, consisting of recorder player Bolette Roed, violinist Aureliusz Goliński, gambist Reiko Ichise and harpsichordist Allan Rasmussen. Telemann’s Garden marks their Pentatone debut. © Pentatone
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Classical - Released July 31, 2007 | harmonia mundi

Distinctions Diapason d'or
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Classical - Released September 6, 2019 | CPO

Booklet Distinctions 5 de Diapason

Classical - Released February 14, 2019 | Etcetera

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Chamber Music - Released October 27, 2017 | Alpha

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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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Classical - Released November 24, 2011 | Ambronay Éditions

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Chamber Music - Released March 24, 2017 | Alpha

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
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Classical - Released January 4, 2019 | CPO

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