Classic FM Album of the Week:
“At long last, a totally recommendable single album of the music of Georg Philipp Telemann allows us to understand why he was so highly regarded in 18th century Germany. Better than J.S. Bach in fact. Telemann, during the course of a long life, (1681-1767) held a number of important posts, notably, Music Director at Hamburg. He produced a wide range of orchestral music up until 1740, when he primarily composed choral religious stuff. Which may be why he has slipped a bit in recognition, as public interest in such music has waned over the centuries.
Totally recommendable … extremely attractive … extremely accomplished … absolutely first rate.
The three so called concerti–en-suite are extremely attractive, and melodic, each one of them featuring several solo instruments. The music is relatively undemanding, and capable of winning Telemann many new friends. Do give it a try. The orchestra, the Philadelphia based Tempesta di Mare, are extremely accomplished. The Chandos recording, as usual, is absolutely first rate.”
Classic FM: New Releases, 23 April 2018 (David Mellor’s Album Reviews)
Early Music Review:
Tempesta di Mare capture the ebullient drive and wonderful contours of these grandiose pieces.
Early Music America:
“In the Concerto-Suite in F Major, TWV 54:F1, [JSBach] Brandenburg lovers will appreciate the mixture of winds and strings, especially, in the opening Vivace, the daring horns of Todd Williams and Linda Dempf together with the mellifluous oboe of Priscilla Herreid and incisive violin of concertmaster Emlyn Ngai. This riot of sound, which returns as the third movement, is contrasted with the delicate violin and recorder duet of Ngai and Gwyn Roberts in the offsetting Scherzando. Then follow the suite movements, marked in French. In the Bourées, we focus on the energetic duets of cellists Lisa Terry and Eve Miller and violinists Ngai and Rebecca Harris.
In the Minuetts, horns and oboes dominate again, courtesy of some reconstruction work by co-director Richard Stone, then the delicious bassoons of Anna Marsh and Stephanie Corwin in the Loure and the heroic horn duets that emblazon the final Gigue.
But don’t wait for “Brandenburg ennui” to set in. Enjoy this recording as soon as you can.”
Grammophone:
“It’s all top-drawer stuff. Not least thanks to the beautifully blended sound of the whole: crisp strings, mellow woodwind, subtle-but-there harpsichord and theorbo and a gorgeous soft-focus halo of horns. In short, every instrumental timbre is beautifully looked after. As is every personality-rich note of Telemann’s.”
https://www.gramophone.co.uk/review/telemann-the-concerti-en-suite