Track Listing

1. 1. Dolce
2. 2. Allegro
3. 3. Largo
4. 4. Allego
5. 1. Polonoise
6. 2. Allegro
7. 3. Largo
8. 4. Allegro
9. 1. Presto
10. 2. Scherzol. Gaglierdmente
11. 3. Scherzoll. Poco grave/Schzrzolll. Poco vivace Scherzo ll Poco grave/Scherzo iV Allegro di molto/
12. Scherzo V Lieto/Scherzo Vl. Tempo precedente (senza Viola)/Scherzo V Lieto
13. 1. allergo assai
14. 2. Scherzo l Vivace (Tempo di Minuetto tedesco)/Scherzoll alternamento col précedente. Moderato (Te
15. 3. Scherzo lll Veloce/Scherzo iv alternat/Scherzo lll Veloce
16. 4. Scherzo V Con giubilo
17. 5. Scherzo Vl Arlechinoso
18. Largo
19. Allegro
20. Andante (mi mineur)
21. Presto
22. 1. Grave
23. 2. Allergo
24. 3. Largo
25. 4. Presto
26. 1 [Lent]
27. 2. Gai
28. 3. Large
29. 4 Vif

Product Details

• Amazon Sales Rank: #69338 in Music
• Released on: 2000-07-18
• Number of discs: 1

Amazon.com
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

Customer Reviews

Goebel and MAK still the best out there
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.

Top-notch performance of a well-selected A-list
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.

Superbly played mediocrity...
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.