Everything has an end sometime. Similarly, this chapter from the great book of Georg Philipp Telemann, which holds a significant place in our label's repertoire, is also noteworthy. After two decades, we have now recorded all the violin concertos that this artesian spring of music committed to paper with overflowing imagination throughout his lifetime. This presents more than three dozen entertaining works, some in expanded suite (overture) form, others in the standard three-movement structure-but always rich in subtle surprises and demanding solos involving up to four violins. This ninth and final volume is once again devoted to concertante duos and contains, as it were, as a bonus, "the" Viola Concerto in G major, which until our series appeared was widely regarded as Telemann's most "popular" contribution to the genre. Now, however, entirely new perspectives open up

Franz Schubert's chamber music occupies a vital place in the Western classical canon, demonstrating both his lyrical genius and emotional depth. Though he is widely known for his lieder and symphonies, his chamber works represent some of the most profound and innovative compositions of the early Romantic era. The String Quintet in C major, D. 956, written just weeks before Schubert's death in 1828, stands as one of the towering achievements in chamber music. Scored for two cellos instead of the more common two violas, the work is known for it's rich, warm textures and emotional contrasts. The slow movement, in particular, is a masterclass in stillness and poignancy, often cited as one of the most sublime moments in all of chamber music. Schubert's string quartets trace his compositional development and deepening expressiveness. The Death and the Maiden quartet (D. 810) is especially significant, combining dramatic intensity with variations on his earlier song of the same name. The juxtaposition of lyrical beauty with stark fatalism reflects Schubert's own grappling with mortality and human vulnerability. His piano trios blend lyricism and formal sophistication. The trios are notable for their expansive melodies, rich harmonic language, and a sense of narrative continuity that hints at the symphonic. The violin sonatas (often referred to as "sonatinas") are earlier works, more modest in scope but filled with charm and grace. While not as emotionally profound as his later chamber works, they already display Schubert's melodic gift and innate sense of dialogue between instruments. The Trout Quintet (D. 667) is perhaps Schubert's most popular chamber work. It's unusual instrumentation featuring piano, violin, viola, cello, and double bass and the famous set of variations on his song "Die Forelle" make it instantly appealing. Yet beyond it's surface charm, the work demonstrates Schubert's brilliance in crafting color and contrast, blending joy and depth seamlessly. Altogether, Schubert's chamber music reveals a composer capable of exploring the most intimate corners of the human soul. These works remain essential listening, offering profound insight into the expressive potential of small ensembles. Excellent performances by the Diogenes Quartet, the Amsterdam Piano Trio and the Berlin Philharmonic Octet.

With this release, cpo, the Gutenberg Soloists, and the Neumeyer Consort under Felix Koch have now completed an impressive five of the planned seven parts of their shared journey-on the way to what promises to be the first and, for a long time to come, likely the only and uniquely comprehensive recording of the cantatas that the extraordinarily industrious Georg Philipp Telemann composed in 1713/14 for the services at Frankfurt's Barfu�erkirche. This latest volume is devoted to the feasts of Ascension and Pentecost and also includes additional works designated for the Sundays after Trinity-each of them a smaller or greater marvel, rich in imagery that appeals to all the senses and pays full tribute to the instructive texts of the poetic pastor Erdmann Neumeister.

The unearthing of Telemann's Fantaisies pour la Basse de Viole in 2015 has been the most important discovery for the repertoire of viola da gamba in recent times. The compositions are a compendium of how Italian and French influences permeated the purely German language to create a specific style. Using the genre Fantasia, Telemann shows us a portrait full of audacity, freshness and compositional freedom hitherto unknown. Sara Ruiz plays on an anonymous viola da gamba dated around 1700. She�chooses�to emphasize the rotundness and the beauty of the tone, while her technical skills allow her to create a real drama. She does not hesitate to make use of a nice legato where a pleasant melody is encountered: she makes her instrument sing almost like a cello, i.e. a voice. With her, each Fantasia tells a story, every time a particular and thrilling one.

Telemann remains a paradox: The deeper one delves into his oeuvre, the more boundless his legacy seems - like entering a mysterious treasure trove where the eyes gradually adjust to the wealth amassed within, yet never fully grasp it's true extent. The sheer abundance of his orchestral works and concertos seems to grow exponentially with each new publication. When previously lost compositions unexpectedly resurface - such as these six overtures from 1736, of which only a single printed copy had survived - we are left speechless. Suddenly, an exquisite assortment unfolds before us, featuring "classical" Baroque dance forms interspersed with exotic elements such as the Polonaise and Murky, imaginative character sketches, and various fashionable pieces, all presented in a kaleidoscope of colors. How effortlessly time flies by!

Among the large number of passions that Telemann wrote, the St. Luke Passion of 1744 occupies an important place due to it's special interpretation of the text.

Telemann's practicality enabled him to recognize at a very early stage the cantors' desire for cantatas that are easy to perform. For this reason the collection entitled "Der Harmonische Gottesdienst" quickly became popular and no doubt earned him a handsome profit. The publication of this collection made him one of the most popular cantata composers of his time. In 1728 Mattheson referred to "Der Harmonische Gottesdienst" in his "Musicalischen Patrioten" as a standard work of valuable domestic music.

Telemann: Orchestral Suites

TELEMANN

DAS SELIGE ERWAGEN PASSIONS-O

Georg Philipp Telemann is undoubtedly one of the composers who wrote the most parts for the recorder. No wonder, as he had mastered the instrument since his childhood and provided it with rewarding parts not only in chamber music, but also in orchestral and vocal works. The young Portuguese recorder player Joao Francisco Tavora studied in Porto and Leipzig and presents works for recorder by Telemann in various scorings, which show off his extraordinary playing technique and interpretative skills to their best advantage.

One of the duties of the office of municipal music director in Hamburg was to perform a Passion every year during Lent, alternating from year to year according to the evangelists Matthew, Mark, Luke and John. Telemann took on this task with particular fervour and created a total of 46 passions throughout his time in Hamburg, from spring 1722 until his death in 1767, half of which are unfortunately lost today.

The new CD by the Capricornus Consort Basel is dedicated to Georg Philipp Telemann - exclusively works for strings in a wide variety of scorings, sometimes with and sometimes without basso continuo. Each of them documents across various creative periods Telemann's fascinating wealth of musical ideas, his adept sense of form and style, his creative approach to tradition and his constant interest in artistic innovation. Added to this is a large pinch of humour, which culminates in the eponymous 'Gulliver's Suite': Telemann sets the adventures of Jonathan Swift's Gulliver on his travels to music in absurd time signatures: The dwarves appear in 3/32nd time with tiny note values up to 128th, the giants can only perform the (otherwise fast) gigue very sedately due to huge note values or Telemann refers to the mathematical interest of the islanders by representing the time signature as a formula. The Capricornus Consort Basel, highly praised for it's subtle and sensitive interpretations and decorated with prizes, allows Telemann's wealth of ideas to shine in a colourful way, which will hopefully convince even the last person who still thinks Telemann is a second-rate prolific writer of the opposite!

Classical Music

Classical Music