This record launches a large-scale project: the world’s first complete recording of an entire annual cycle of seventy-two church cantatas by Georg Philipp Telemann for large ensembles (written in Frankfurt, 1714-15). All the featured singers perform in the “Gutenberg Soloists” vocal ensemble consisting of twelve members – in accordance with the Baroque practice, in which the solo parts are assumed by members of the choral ensemble.

This first double album present cantatas from the late summer of 1715 and five additional cantatas for the Lenten season from the cycle known as the “French Annual Cycle.” A significant reference is found on the original Frankfurt organ part of Telemann’s cantata “Gott schweige doch nicht also” from this year: “Judica, from the French Annual Cycle." This means the cantata concerned was intended for the Fifth Sunday in Lent; that is, it belonged precisely to the annual cycle of church cantatas that contemporaries called “French” because of its style. This is music worth discovering – and not only by and for Telemann fans!

The quartets featured on this CD belong to the first collection of quartets that Telemann wrote in Hamburg in 1730, in anticipation of a trip to Paris (which he would only make in the autumn of 1737, staying in the French capital for eight months), invited by four important French musicians: the flautist Michel Blavet, the violinist Jean-Pierre Guignon, the gambist Jean-Baptiste Forqueray and a cellist and harpsichordist named Prince Édouard. The collection was published in 1730 and contributed significantly to the spread of the composer's fame throughout Europe, particularly in France (so much so that it was reprinted by the Parisian publisher Le Clerc in 1736); it includes six quartets, and was published under the Italian title Quadri a violino, flauto traversiere, viola di gamba o violoncello, e fondamento: ripartiti in 2. concerti, 2. balletti, 2. sonate. The six Quadri constitute a réunion des goûts, as they incorporate diverse national styles. Although traces of the "German style" can be detected in each of them, the French style clearly prevails in the suites, while the Italian style dominates the sonatas.

After listening to a substantial number of operas, cantatas, concertos, and chamber music left by the immensely prolific Georg Philipp Telemann, one might assume there would soon be nothing new to discover. This is far from the truth, as demonstrated by the latest production from Camerata Koln and it's director, Michael Schneider. The "Six Quatuors ou Trios 1733" are not merely a continuation of Telemann's Concerti da camera. They differ significantly: polyphonic, chromatic quirks, delicate cantilenas, highly virtuosic (and expertly executed) miniatures, and finally, a series of ancient women's portraits in the contemporary colors of the "Getreue Music-Meister" - if anything is repeated here, it is the amazement at an almost limitless, inexhaustible imagination.

Like gazing into a kaleidoscope, this double-CD album brings a treasure-trove of musical miniatures tracing the sweeping panorama and historic perspective of 10 centuries. A mirage-like journey through 1000 years - from the 11th Century until present day - introduces evanescent encounters with a dizzying array of epochs, genres and styles: from otherworldly chants half-whispered beyond ancient monastery walls, to the traditions of Indian Raga, Bulgarian folk tunes and Mongolian throat-singing, to rustic bagpipes and medieval troubadours, to the Baroque splendor of Bach, Handel and Rameau, to Mozart and Schubert, to Italian and French opera, flamenco and tango, jazz and blues, Stravinsky and Shostakovich, Piazzolla, Duke Ellington, Erroll Garner and David Bowie. This charismatic retrospective is a fascinating collection, brimming with world-premiere recordings (50 out of 51 tracks) and presenting a stunning variety of compositions - some original, some arranged by the performing artists - violinist Elmira Darvarova (first and to date still only ever, woman-concertmaster of the Metropolitan Opera Orchestra) and hornist Howard Wall (a former long-time member of two of the world's greatest orchestras - the New York Philharmonic, and the Philadelphia Orchestra). 17 nations from 5 continents are represented, including by ten women composers (one of whom composed operas in the 17th C. and had her works performed for the likes of Galileo). The meticulous album notes cover the multi-dimensional, serendipitous and cross-pollinating nature of essential events and legacies, which endure and continue to fascinate and transport us.

The session notes for the 1974 recording show that Fantasias Nos. 1-5 were recorded on Monday, 26 August; Fantasias 7-12 on Tuesday, 27 August, followed by a day without recording. Fantasia No. 6 was recorded on Thursday, 29 August 1974. In these early days, it was Nimbus' practice to assemble masters quickly after recording, and given the founders' fierce commitment to 'unedited' takes, it is a reasonable bet that the master was assembled from the best whole takes of each movement. Scribbled words on the last page of the session notes suggest future possibilities: Tartini 24 Sonatas, Boccherini Quartets and Quintets with a 'very, very good pupil' for 2nd violin and 'Amo' (Fleming) on cello. Alas, it never happened. Apart from the Recording Agreement itself, there is no general correspondence in the Nimbus archive to explain how Maurice Clare found himself at Nimbus' Birmingham studio, nor why Telemann was the chosen repertoire. It is intriguing that Maurice's signature on the Agreement dated 24 April 1975 (interestingly eight months after the recording session) is witnessed by Ida G. Carroll-the celebrated principal of Manchester's Northern School of Music. In 1973, she was a key player in the amalgamation of Manchester's two music schools into the Royal Northern College of Music and served as it's first Dean of Management until 1976. © Adrian Farmer

A household word when speaking of repertoire, legendary flutist Jean-Pierre Rampal devoted just as much effort to establishing the masterpieces in their rightful place as to unearthing countless works from the baroque, classical and romantic eras. As far as concertos are concerned, cornerstones by Bach, Mozart and Vivaldi thus gained worldwide fame, and it went the same way for Ibert, Jolivet and Nielsen. Unfailing lyric sense, purity of style, magnificent tone, grace of phrasing, fabulous virtuosity, tremendous commitment... Critics, colleagues and the public were all running out of superlatives. Immediately valued as references, his recordings still fascinate and often leave the listener exhilarated. This 12 CD set tries the challenge of surrounding these marvels with some of the most dazzling rediscoveries, offering famous and less famous music, but equally glorious interpretations.