The press has registered “stylistically flawless and tonally beautiful interpretations” and “listening experiences producing a lasting echo.” And the concertos forming the program on Vol. 4 of cpo’s recording of Telemann’s concertos with mixed solo instruments (“avec plusieurs instruments”) once again display a high compositional level and Telemann’s often-mentioned “mixed style” with multifaceted motivic designs and wide-ranging harmonic developments. The wealth of pithy thematic inventions and the extremely subtle motivic connections developed in the movements can hardly be described exhaustively. The short middle movement of the Concerto TWV 44: 41 merits special mention and carries through a modulatory process distinguished by special refinement. Telemann’s creed was: when melodic invention is exhausted, then one must pursue new harmonic paths. And he was true to his word: unusual harmonic courses of events in which the compositional-technical limits are tested or even transgressed are characteristic of Telemann’s compositional style in all the genres, straight through to his late oeuvre.