In its Telemann Edition Brilliant Classics makes available
a rich selection of the composer’s important works. The number
of pieces and the particular selections provide an excellent
image of Telemann’s legacy, while the recordings are among the
best currently available. This Telemann Edition should
be a cornerstone to any collection of Baroque music.
The four discs devoted to the Tafelmusik cover the four
parts of that large set of pieces, as performed by Musica Amphion
and led by Pieter-Jan Belder. The clean, crisp sound of these
performers supports solid performances, which are uniformly
tight in ensemble. The presentation follows the order of the
suites, quartets, and concertos as found in the scores, with
one disc for each of the four parts. The two discs of trumpet
concertos offer a selection from the larger number of pieces
Telemann composed in this genre. Those familiar with Brilliant’s
set of Telemann’s Concertos will find that this box reproduces
two of the four discs released earlier. We get fine interpretations
from Otto Sauter, trumpet, and the Kurzpfälzisches Kammerorchester,
Mannheim, Nicol Matt, conductor. These make for an effective
introduction, with both concertos for solo trumpet, as well
as multiple ones. The Hamburger Trauermusik is scored
for three trumpets, two oboes, timpani and strings. The Sonata
in D for trumpet and strings is an effective shorter work that
fits well into this larger selection. These are complemented
by two other discs, one devoted to oboe concertos, and another
of concertos for “diverse instruments”. This includes several
concertos for flute, a concerto for trumpet and two oboes, and
the Symphony “El grillo” with its rich use of woodwinds: specifically
flute, piccolo oboe, chalumeau and strings.
At the core of the Telemann Edition are the Overtures,
that is the orchestral suites. These are presented on eight
discs and represent the composer’s major works in the genre.
The performances are exclusively by the Collegium Instrumentale
Brugense under Patrick Peire. They’re relatively recent recordings
made between 2004 and 2008. Some of these works resemble the
composer’s concertos, such as the Overture in D for two trumpets,
timpani, and strings (TWV55: D18). It is useful to have these
performances to supplement the other trumpet concertos and to
demonstrate the variety of interpretations of this repertoire.
The sometimes restrained trumpet sound in the Overture in D
offers a less extroverted approach and yet reflects the demands
Telemann made through his close scoring for brass and energetic
tempos. The overtures are of interest for the various kinds
of pieces that Telemann brought together in these individual
works. We hear not just the conventional dances commonly associated
with textbook models of the Baroque suite but also various pieces
in national styles. For example there’s the polonaise that forms
part of the Overture in D “La Gaillarde” (TWV55:D15), a suite
that also include the English “Angloise”. The Overture in G
“Burlesque de Quixotte” (TWV55:G10) not only calls to mind the
novel by Cervantes, but also Telemann’s short opera Don Quichotte,
which is performed from time to time. The Overture offers some
effective music inspired by popular episodes from the novel,
such as the furious movement entitled “Son Attaque des Moulins
à Vent” or the “Sanche Panse berne,” a clever character piece
which is also based on a dance-form. Here the program that some
listeners may associate with Richard Strauss finds expression
in the music of the earlier composer’s thoughtful work. Another
effective piece included here is the “Ouverture des Nations
anciens et moderns” (TWV35:G4), a work that is not unknown,
yet this performance merits attention for nuances that bring
out differences in rhythm and tempo. These and other suites
are worth exploring through the rich selection included. They
are an engaging representation of the variety Telemann brought
to the form. It’s good that we can now experience this music
through the hundreds of suites he composed which are now being
released by Brilliant Classics.
In addition to these pieces for relatively large ensembles,
the Telemann Edition includes chamber music. There’s
a disc devoted to the Fantasias for flute performed by Jed Wentz.
Previously released as an individual disc, its inclusion here
not only makes these fine pieces available to a wide audience,
but also showcases Wentz’s persuasive interpretations. This
particular recording has much to commend it with Wentz giving
full expression to Telemann’s melodic invention in these unaccompanied
pieces. It also captures the range of shadings of timbre in
the various Fantasias.
With regard to the other chamber music, the recorder sonatas
(CD 18) reflect a further side of Telemann’s legacy. The performances
by Ensemble Tripla Concordia are solid in supporting Lorenzo
Cavasanti in these familiar pieces. The virtuosic passages are
notable for the facility Cavasanti brings to Telemann’s music.
The entire effort is nicely rendered in the ensemble playing,
which is also a feature of the same performers’ efforts on the
flute-based trio-sonatas on the next disc in the collection.
Fabio Biondi is the violinist here. Similarly the Paris Quartets
(CDs 21-23) are more than respectably represented here with
Jed Wentz’s ensemble Musica ad Rhenum. We are offered the entirety
of Telemann’s works in this format. Musica ad Rhenum’s playing
is distinguished by a fine sense of phrasing. This serves to
offset the motor rhythms that propel some of the passages. You
can hear this in the first movement of the Concerto Secondo
in D (on CD 21). The slow movement that follows is marked by
a similar sensitivity to phrase structure. This element emerges
in various ways in the final movement and also in the other
Paris Quartets including the familiar Sonata Seconda in G minor,
which is both fresh and energetic in this reading. Other aspects
of Musica ad Rhenum’s recordings bear attention. Take for example
the deft intonation in the Second Suite in B minor, with its
passages of nicely resounding close scoring.
An important part of Telemann’s legacy is his vocal music, and
it is laudable to find a judicious selection in this set. He
composed his sacred works around the same time as J. S. Bach,
and approached the cantata genre with his own, individual style.
The works found here offer a different perspective on the era
and also convey a sense of Telemann’s inventiveness in this
traditional form. The cantatas for bass performed by Christian
Hiltz demonstrate the lyricism which infuses many of these pieces.
They deserve to be heard more frequently.
The other works in the Edition include selections from the Harmonisches
Gottesdienst, the composer’s set of pieces for specific
feasts in the liturgical year. These are akin to the cantata
cycles associated with J. S. Bach. Here the cantatas, sung by
baritone Klaus Mertens and Il Concertino Köln, offer a vocal
timbre similar to that of the bass cantatas. The choral pieces
are nicely rendered, with a fine blending of sound that serves
the music well.
The largest sacred work featured is the Passions-Oratorium,
TV5, no. 2, (CD 8 and 29), Telemann’s setting of the Brockes’
text, and one of six extant passion-settings the composer pursued.
The choice of Wolfgang Schäfer’s performance is an excellent
one, in that it gives a sense of Telemann’s style in this important
genre in Baroque Lutheran music. As such, the lighter sound
of the homophonic sections, especially the chorales, offsets
the textural difference between chorus and soloists which is
in any event minimized to bring the forces together. The somewhat
dry acoustic of the recording allows the text to be heard clearly,
yet never at the expense of the nicely blended instrumental
ensemble.
Telemann’s secular vocal music is represented by one piece,
the cantata Ino. As much as it has many good features,
the work itself falls short of the quality of other pieces in
the Telemann Edition. Those familiar with the efforts
of Barbara Schlick and Reinhard Goebel may wish to reacquaint
themselves with this recording, though, which dates from 1989.
This short piece is complemented by a a deft reading of Telemann’s
Ouverture in D.
The Telemann Edition also includes a CD-ROM, which presents
notes and texts; the latter an element essential for appreciation
of the vocal music. Unfortunately the disc replicates liner-notes
found with some of the original recordings and does not include
detailed listings for the present box set. This would have been
useful in documenting the present collection and would have
given a better sense of its range and sweep. Those interested
in the details related to each performance must consult the
sleeves used for each disc. These also contain the track-listings.
More than that, while it is possible to consult the full Brilliant
catalog on the CD-ROM, it would have been useful to have a had
a comprehensive worklist of Telemann’s oeuvre. The model for
this could have been the catalog published by Oxford Music Online.
It would certainly have enhanced the entire project. Such an
effort could easily have provided links to other Brilliant recordings
amongst which you will find some fine performances of Telemann’s
work not included here. An example is the three-disc set of
cantatas (CD99996). This is a missed opportunity by Brilliant
Classics. That said it does not detract unduly from what is
overall an excellent selection of Telemann’s music in effective,
if not always exemplary performances. It is difficult not to
recommend the Telemann Edition enthusiastically on account of
the quality of the selections and performances. Of necessity
this can only be a portion of Telemann’s large output however
the selections are representative and offer solid performances
of familiar works. At the same time space is found to include
fine readings of pieces that deserve to be heard more often.
James L. Zychowicz
Full list of contents and performers
CD1–4
TAFELMUSIK (complete)
Musica Amphion/Pieter-Jan Belder
CD5–6
TRUMPET CONCERTOS
Otto Sauter trumpet
Kammerorchester Mannheim/Nicol Matt
CD7 OBOE CONCERTOS
Heinz Holliger oboe
Academy of St Martin in the Fields/Iona Brown
CD8 CONCERTOS FOR DIVERSE INSTRUMENTS
Jed Wentz traverso
Peter Masseurs trumpet
Musica ad Rhenum
Amsterdam Bach Soloists
Wiener Akademie/Martin Haselböck
CD9–16
OVERTURES
Collegium Instrumentale
Brugense/Patrick Peire
CD17
12 FANTASIAS FOR FLUTE
Jed Wentz flute
CD18
RECORDER SONATAS
Lorenzo Cavasanti recorder
Ensemble Tripla Concordia
CD19 TRIO SONATAS FOR RECORDER, OBOE & B.C.
Lorenzo Cavasanti recorder
Alfredo Bernardini oboe
Ensemble Tripla Concordia
CD20 TRIO SONATAS FOR FLUTE, VIOLIN & B.C.
Fabio Biondi violin
Lorenzo Cavasanti flute
Ensemble Tripla Concordia
CD21–23
PARIS QUARTETS
Musica ad Rhenum/Jed Wentz
CD24
BASS CANTATAS
Christian Hilz bass
Ensemble Cordia/Stefano Veggetti
CD25–26 KANTATEN AUS DEM HARMONISCHEN GOTTESDIENST
Ingrid Schmithüsen soprano
Klaus Mertens baritone
Il Concertino Köln
CD27
INO · OVERTURE IN D
Barbara Schlick soprano
Musica Antiqua Köln/Reinhard Goebel
CD28–29
PASSIONS-ORATORIUM
Barbara Locher soprano
Zeger Vandersteene,
Stefan Dörr tenors
Berthold Possemeyer,
Johan-René Schmidt baritones
Freiburger Vokalensemble
L’Arpa Festante München/Wolfgang Schäfer
BRILLIANT CLASSICS 94104 [29 CDs + CD-ROM: c. 29:00:00] 
