In 1716 Telemann composed Die Kleine Kammermisik (The Little Chamber Music), a cycle of six seven-movement chamber Partitas intended primarily for the enjoyment of middle-class amateur musicians. Given their subsequent popularity, the ever resourceful composer decided to fully orchestrate them, adding a grand opening French-style Overture to each and newly designating the set as his Six Orchestral Suites. Like many other works composed during this period when Telemann was hitting his stride, these Suites are consistently well crafted, displaying a variety of mostly French and Italian formal and stylistic influences.
Unfortunately however, Telemann eschews the use of brass, relegating the many moments of fanfare exclusively to the oboes (Die Kleine Kammermusik was originally dedicated to four of Telemann’s oboist friends) which tends to homogenize dynamics and in turn impart an uncomfortable sense of uniformity throughout. The composer’s better-known Wassermusik (Water Music), which also dates from about the same time, likewise suffers from this deficiency, presenting an even more curious anomaly given how important and effectively Handel utilized brass in his seminal Water Music of 1717–Telemann’s model.
CPO’s sound is very good, with plenty of orchestral presence and instrumental detail. Michael Schneider’s notes are informative and feature many fascinating historical anecdotes. Fans of Telemann will find much to enjoy in these expertly performed premiere recordings, though listeners less familiar with this worthy composer are advised to begin elsewhere.
