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Telemann: Paris Quartets, Volume 3



SKU: 21005

Year of release: 2005

Quator No. 4 In B Minor 21:57
1. Prélude_ Vivement - Flatteusement Telemann 06:22
2. Coulant Telemann 02:42
3. Gai Telemann 01:42
4. Vite Telemann 02:05
5. Triste Telemann 03:23
6. Menuet_ Modéré Telemann 05:41
Quator No. 5 In A Major 18:34
7. Prélude_ Vivement Telemann 02:17
8. Gai Telemann 02:42
9. Modéré Telemann 04:34
10. Modéré Telemann 03:49
11. Pas Vite Telemann 02:01
12. Un Peu Gai Telemann 03:10
Quator No. 6 In E Minor 21:10
13. Prélude_ A discrétion - tres vite Telemann 04:44
14. Gai Telemann 03:07
15. Vite Telemann 01:37
16. Gracieusement Telemann 03:07
17. Distrait Telemann 03:34
18. Modéré Telemann 04:59
Deuxieme Suite In B Minor 12:04
19. Prélude_ Gayment Telemann 01:39
20. Air_ Modérement Telemann 03:39
21. Réjouissance Telemann 01:56
22. Courante Telemann 02:20
23. Passpied Telemann 02:30
Total time: 73:47

About this album

Despite Georg Philipp Telemann’s mother’s clear efforts to warn her son against ‘note-poison’ (Notengift) as a youth, Telemann (1681-1767) became one of Germany’s most prolific, accessible and popular composers in his day. When he set off to study law in Leipzig, he purposefully left all instruments, music and manuscript paper behind. However, as he recalled in his memoirs, when his roommate uncovered in his underwear a psalm he had set to music, his true vocation as a musician was never questioned again. Exposure to a large cross-section of society in his travels and in the many eminent positions he secured during his lifetime enabled him to soak up the latest vogue in musical styles. For instance, as Kapellmeister under Count Promnitz in Sorau, one of the earliest posts he held, he was obliged to study and compose in the manner of the great French master, Jean Baptiste Lully. The immediate result was the completion of two hundred French ‘Ouvertures’ in just two years. (Handel remarked that his compatriot composed music with the kind of ease another might write a letter.) It is well documented that Telemann’s contemporaries marveled at his command of the French, Italian and even Polish national musical idioms he incorporated into his works. The ‘Paris’ Quartets (1730) and ‘Nouveaux Quatuors’ (1738) are a fine example of his contribution to instrumental music in the Baroque era. While they reflect his mastery of Corelli’s Italian Sonata/Concerto forms and Lully’s French Suite influences, they also provide a departure point for the forward-looking conversational galant style……..

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Hifi Video Test

Florilegium bring a stylish grace to all three pieces. Ashley Solomons flute playing makes a lovely contrast with Kati Debretzenis violin. (...) (...) The groups relish of colour, their imaginative response to each and every phrase, and their eager, fresh spontaneity is mightily impressive and alluring. International Record Review (...) een ontdekkingsreis langs muzikale klankjuweeltjes.


Florilegium and Telemann a match made in Baroque heaven Florilegiums performances mix technical and musical finesse in equal measure and observe every expressive and rhetorical nuance with a delicious light touch. Florilegium and Telemann could have been made for each other.

Classic FM

Plenty to enjoy ... Unfailingly inventive and charming music

Technical Specifications

Recording Type Bit RateDSD64
SpeakersAudioLab, Holland
Recording SoftwarePyramix
Recording LocationDeventer Holland
Recording EngineerJared Sacks
ProducerWalter van Hauwe, Ashley Solomon
Mixing BoardRens Heijnis custom made
MicrophonesBruel & Kjaer, Schoeps
Mastering EquipmentB+W 803 diamond series
Mastering EngineerJared Sacks
Digital ConvertersMeitner DSD AD/DA
Cablesvan den Hul