Concerto Polonois In G Major For Strings And Basso Continuo: 1. Dolce
Concerto Polonois In G Major For Strings And Basso Continuo: 2. Allegro
Concerto Polonois In G Major For Strings And Basso Continuo: 3. Largo
Concerto Polonois In G Major For Strings And Basso Continuo: 1. Allegro
Concert Polonois In B Flat Major For Strings And Basso Continuo: 1. Polonoise
Concert Polonois In B Flat Major For Strings And Basso Continuo: 2. Allegro
Concert Polonois In B Flat Major For Strings And Basso Continuo: 3. Largo
Concert Polonois In B Flat Major For Strings And Basso Continuo: 4. Allegro
Divertimento In A Major For Strings And Basso Continuo: 1. Presto
Divertimento In A Major For Strings And Basso Continuo: 2. Scherzo I. Gaglierdamente
Divertimento In A Major For Strings And Basso Continuo: 3. Scherzo II. Poco grave; Scherzo III. Poco vivace; Scherzo II. Poco grave; Scherzo IV. Allegro di molto; Scherzo II. Poco grave
Divertimento In A Major For Strings And Basso Continuo: 4. Scherzo V. Lieto; Scherzo VI. Tempo precedente (senza Viola); Scherzo V. Lieto
Divertimento In B Flat Major For Strings And Basso Continuo: I. Allegro assai
Divertimento In B Flat Major For Strings And Basso Continuo: 2. Scherzo I. Vivace (Tempo di Minuetto tedesco); Scherzo II. alternamento col precedente. Moderato (Tempo di Minuetto francese); Scherzo I. Vivace
Divertimento In B Flat Major For Strings And Basso Continuo: 3. Scherzo III. Veloce; Scherzo IV. alternat.; Scherzo III. Veloce
Divertimento In B Flat Major For Strings And Basso Continuo: 4. Scherzo V. Con giubilo
Divertimento In B Flat Major For Strings And Basso Continuo: 5. Scherzo VI. Arlechinoso
Concerto In G Major For Viola, Strings And Basso Continuo: I. Largo
Concerto In G Major For Viola, Strings And Basso Continuo: 2. Allegro
Concerto In G Major For Viola, Strings And Basso Continuo: 3. Andante
Concerto In G Major For Viola, Strings And Basso Continuo: 4. Presto
Concerto 'a sei' In G Major For 2 Solo Violins, 2 Repieno Violins, Viola And Basso Continuo: 1. Grave
Concerto 'a sei' In G Major For 2 Solo Violins, 2 Repieno Violins, Viola And Basso Continuo: 2. Allegro
Concerto 'a sei' In G Major For 2 Solo Violins, 2 Repieno Violins, Viola And Basso Continuo: 3. Largo
Concerto 'a sei' In G Major For 2 Solo Violins, 2 Repieno Violins, Viola And Basso Continuo: 4. Presto
Concert In G Major For 2 Violas, Strings And Basso Continuo: i. [Lent]
Concert In G Major For 2 Violas, Strings And Basso Continuo: 2. Gai
Concert In G Major For 2 Violas, Strings And Basso Continuo: 3. Large
Concert In G Major For 2 Violas, Strings And Basso Continuo: 4. Vif
Georg Philipp Telemann's string concertos position themselves somewhere between the polyphonic complexity of the Bach orchestral sinfonias, the urbanity of Handel's concerti grossi, and Vivaldi's innumerable and endlessly ... more »delightful works of this type. But his approach always remained the most international as well as the most local. Two of these concertos, for example, exemplify the "Polish" style appropriate for the Electors of Saxony (Telemann's employers, who were also kings of Poland), with their folky rhythms and groaning bass parts. Telemann offers a bit of the French style galant here or Italian theatricality there--he's labeled one of the movements "Arlechinoso"--as the mood and moment suit him. Reinhard Goebel and the Musica Antiqua Köln dress these motleys with typical panache, a liveliness that argues once again for the validity of the period-instruments approach. One can well imagine Telemann hearing his music performed this way and nodding in approval. What the players have brought to Johann David Heinichen and some of the Baroque composers of the Baltic states serves them perfectly here: the conviction that while not all 18th-century music may match Bach's profundity, much of it nevertheless shows us a very good time. And that Telemann, perhaps, can show us the best time of all. --Robert Burns Neveldine« less
Georg Philipp Telemann's string concertos position themselves somewhere between the polyphonic complexity of the Bach orchestral sinfonias, the urbanity of Handel's concerti grossi, and Vivaldi's innumerable and endlessly delightful works of this type. But his approach always remained the most international as well as the most local. Two of these concertos, for example, exemplify the "Polish" style appropriate for the Electors of Saxony (Telemann's employers, who were also kings of Poland), with their folky rhythms and groaning bass parts. Telemann offers a bit of the French style galant here or Italian theatricality there--he's labeled one of the movements "Arlechinoso"--as the mood and moment suit him. Reinhard Goebel and the Musica Antiqua Köln dress these motleys with typical panache, a liveliness that argues once again for the validity of the period-instruments approach. One can well imagine Telemann hearing his music performed this way and nodding in approval. What the players have brought to Johann David Heinichen and some of the Baroque composers of the Baltic states serves them perfectly here: the conviction that while not all 18th-century music may match Bach's profundity, much of it nevertheless shows us a very good time. And that Telemann, perhaps, can show us the best time of all. --Robert Burns Neveldine
"Although the number of orchestras which specialize in early music has grown tremendously over the last quarter century, Reinhard Goebel and MAK continue to remain a notch above all the rest, as this Telemann CD shows. They are the most technically proficient ensemble in the world; they have a lush, wonderfully rich and full string sound which no other group is able to match; they continue to unearth previously unknown musical gems; and they remain the most innovative, exciting group around, with an uncanny ability to stir the listener like nobody else. It doesn't matter that the personnel keeps changing; with Goebel and his musical ideas guiding the group, they will maintain their standard of excellence. This CD is full of some wonderful pieces, and MAK makes them all come alive with excitement. The viola concerto in G-Major has never sounded as good as it does here with Florian Deuter. Nobody has played Telemann better over the past 25 years than this group, and that remains true today."
Superbly played mediocrity...
Teop Tnomrev | Vermont, USA | 12/03/2007
(2 out of 5 stars)
"While acknowledging that one does not go to Telemann in search of anything like profundity, these concertos chosen by Goebel are vacuous even by Telemann's standards.
The only concerto with any sort of harmonic rigor and emotional expressiveness is the Concerto in G "a sei". This one is up to the standards of Telemann's Tafelmusik -- music in which he really applied himself. The last concerto for 2 Viols is slightly less interesting but possibly worth knowing.
The rest are cotton candy, and conductors like Goebel probably picked them for the same reason Telemann wrote them. They sell music. Any one less familiar with baroque music and classical music will probably enjoy them very much. But they're like over-sweet gum drops. It won't take long before you have had your fill of them and want something a little more substantial.
Good background music, but that's all.
I don't blame Telemann. The man knew how to make a living. I blame Goebel for his lack of taste. Telemann wrote far better stuff."
Top-notch performance of a well-selected A-list
cmpst52 | Denton, NC United States | 01/30/2003
(5 out of 5 stars)
"The Music Antiqua Cologne are my favorite ensemble; their playing is always top-notch. Further, this is a selection of some of Telemann's best works. This is among the best CD's I've ever heard; great playing, great composing."
Thanks Georg !
W. Patterson | Kingman, Az. USA | 03/01/2009
(5 out of 5 stars)
"We are blessed that some very dedicated musicians have preserved and reproduced this wonderful old music."