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Telemann Concertos & cantata Ihr Volker Hort



SKU: 38616

Year of release: 2016

Concerto in E major 16:35
1. Andante Telemann 03:19
2. Allegro Telemann 05:27
3. Siciliana Telemann 03:19
4. Vivace Telemann 04:29
Concerto in A minor 16:15
5. Grave Telemann 03:54
6. Allegro Telemann 04:22
7. Dolce Telemann 03:40
8. Allegro Telemann 04:18
Cantata Ihr Volker hort 11:56
9. Aria Telemann 05:34
10. Recitative Telemann 03:10
11. Aria Halleluja Telemann 03:11
Concerto in D major 13:27
12. Moderato Telemann 02:26
13. Allegro Telemann 03:47
14. Largo Telemann 03:53
15. Vivace Telemann 03:21
Concerto a 4 in A minor 10:08
16. Adagio Telemann 02:27
17. Allegro Telemann 01:48
18. Adagio Telemann 01:41
19. Vivace Telemann 04:11
Overture in F major 18:09
20. Ouverture Telemann 03:28
21. Courante Telemann 01:40
22. Bourree I,II Telemann 02:45
23. Loure I,II Telemann 03:48
24. Menuet I,II Telemann 02:22
25. Forlane Telemann 01:32
26. La Tempete Telemann 02:32
Total time: 86:34

About this album

Georg Philipp Telemann came from an affluent but unmusical family. Though he showed early promise as a performer and composer, his mother had other ideas and tried to discourage him by confiscating all his musical instruments. As a law student in Leipzig, however, he became increasingly involved in ‘extra-curricular’ musical activities. He composed a cantata every two weeks and had written four operas by the time he gave in totally to his real passion. Fame and fortune in a creative artist’s lifetime do not necessarily presage the judgement of posterity. Throughout Germany Telemann basked in the sunshine of success, far eclipsing his contemporary colleague and occasional competitor Johann Sebastian Bach. In 1722 he was chosen by the city fathers of Leipzig for the position of Kantor at the St.Thomas Choir School; Bach was approached and secured this position only after Telemann had turned the offer down. When City Councillor Platz announced the appointment of Bach as Kantor for the churches in Leipzig in 1723, his pronouncement stated, “Since the best man could not be obtained, mediocre ones would have to be accepted.” Telemann had no intention of going to Leipzig. He simply used the offer to improve his bargaining position at Hamburg, where he established himself as Kantor of the five main churches in the city and ultimately as Director of the Hamburg Opera (an unheard of combination that annoyed the city fathers). He remained in Hamburg until his death in 1767

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Tijdschrift Oude Muziek

(...) pittige uitvoeringen en bovendien een mooie vocale bijdrage van mezzosopraan Clare Wilkinson. (...)

Luister 9

De Gelderlander

Een van de toppers binnen de wereld van de Oude Muziek viert nu zijn zilveren jubileum en doet dat met gouden klanken. (...) Uiteraard is geluidsexpert Jared Sacks van Channel Classics de aangewezen partner om het recital te vangen in een welluidende weergave. Hij laat de instrumenten hun natuurlijke uitstraling behouden en waakt voor voldoende detaillering in de samenklanken. (...) De keuze van de concerten is aantrekkelijk, net als het spel zelf.

BBC Music Magazine Recording of the Month

Diapason 5 stars

(...) La prise de son est superbe (...)

Gramophone, Editors Choice

Classics FM – CD of the Week

One reviewer has described the relationship between Florilegium and Telemann as "a marriage made in heaven" and there's no sign of this marriage facing any tempestuous waters as they reach their silver anniversary. (...)The music is performed with consummate skill and verve.

Klassieke Zaken

(...) de concerten plus de cantate Ihr Völker hUort klinken uit de instrumenten van Florilegium als een ‘hemels huwelijk’. (...)

Technical Specifications

Recording Type Bit RateDSD64
Recording SoftwareMerging
Recording LocationSt Michael’s Church, Highgate, London,
Recording EngineerJared Sacks
ProducerJared Sacks, Ashley Solomon
Mixing BoardRens Heijnis custom design
MicrophonesBruel & Kyaer, Schoeps
Mastering RoomGrimm LS1
Mastering Engineer

The recording was originally digitized using the Grimm AD1, which operates at DSD64. The original session tracks were edited and rebalanced (which meant going through the mixer)  in the only available format for that purpose; the Pyramix 352.8KHz/24bit PCM (DXD). Prior to the advent of direct digital delivery, the next step in the production process from 352.8KHz/24bit PCM would be the DSD64 edited master for SACD production. What we have done now is also make a direct conversion to DSD128 and DSD256 from that original DXD edited master, without going through any interim processing steps.


Those DXD to DSD conversions are not up-samplings, as they would be going from one PCM sampling rate to another, for they are different encoding systems. PCM is a digital value sample based system, and DSD is a digital bit density modulated system. Conversion from any PCM sample rate to any DSD bit rate system is a remodulation, not an up-sampling.

We feel there is an audio advantage to this process in using the original files so we give you the choice and you can decide.

Jared Sacks

Editing SoftwarePyramix
Digital ConvertersGrimm AD 64fs
Cablesvan den Hul