Telemann’s instrumental music is far better known than his vocal and choral works, but it shouldn’t be. The collection of motets and psalm settings presented here joins earlier recordings of cantatas (Carus, Capriccio, CPO), motets, and a St. Matthew Passion (Raumklang) to help bring deserving attention to a large yet still underappreciated part of Telemann’s oeuvre. All of these previous recordings have been reviewed here, but most pertinent to the current release are my comments regarding the cantatas (type Q8482 in Search Reviews) and motets (Q6117), the latter containing several works duplicated here.
The disc’s title work is a substantial motet (10 and a half minutes) based on the famous Luther hymn–and, in a style reminiscent of many of Bach’s chorale treatments, the tune runs in ingeniously varied ways through each of the five verses. It’s the disc’s highlight, both in terms of the sophistication and continuously appealing musical details and for the full-bodied, vibrant choral singing (the sopranos resplendent and the choir perfectly balanced with the instruments). Telemann’s psalm setting Singet dem Herrn (a different psalm text from Bach’s similarly titled masterpiece for double chorus) is another extended work–nine movements employing solos, duets, and choruses–likely written relatively early in Telemann’s career, yet it shows skillful organization, nicely compact sections, interesting choral writing, and artful integration of orchestral instruments.
Perhaps the most pleasant surprise here is the group of instrumental selections–“movements from festive music Telemann composed for funerals of two Hamburg mayors”–that occupy the middle portion of the program. This is some of the most mellifluous, tuneful, and rhythmically fluent music you’ll hear outside of Handel–and Telemann’s particular use of trumpets, trombones, and winds brings an extraordinarily rich color (unlike anything you’ll find in Bach) to these grand yet reverent scores (the sound of the “muffled” timpani, whose purpose is explained in the notes, is just right).
The baroque orchestra Les Favorites, founded only a couple of years ago, is a really fine ensemble, and it’s well-led by Holger Speck, who keeps tempos flowing smoothly and articulation clear and crisp. All of the solo singers are expert, the choir is marvelous, and the sound, from a Karlsruhe church, complements voices and instruments with ample space, natural timbres, and careful balances. What else need be said, except “More Telemann!” [6/8/2005]
