 | Telemann - Concerto Recorder & Transverse Flute in E Minor Georg Philipp Telemann (1681 - 1767). Biography: Georg Philipp Telemann was a German Baroque music composer, born in Magdeburg. Self-taught in music, he studied law at the University of Leipzig. The most prolific composer in history (at least in terms of surviving oeuvre), he was a contemporary of Johann Sebastian Bach, Antonio Vivaldi and a lifelong friend of George Frideric Handel. While in the present day Bach is generally thought of as the greater composer, Telemann was more widely renowned for his musical abilities during his lifetime. Telemann traveled widely, absorbing various musical styles and incorporating them into his own compositions. He is known for writing concertos for unusual combinations of instruments, such as multiple violas or trumpets or oboes or harpsichords. He held a series of important musical positions, culminating in that of music director of the five largest churches in Hamburg, from 1720 until his death in 1767. Concerto for Recorder and Transverse Flute in E Minor: 1. Largo. Musica Antiqua Köln. Michael Schneider (Recorder) Wilbert Hazelzet (Transverse Flute). Dir. Reinhard Goebel. |
 | Telemann - Concerto for Transverse Flute in D Major Georg Philipp Telemann (1681 - 1767). Biography: Georg Philipp Telemann was a German Baroque music composer, born in Magdeburg. Self-taught in music, he studied law at the University of Leipzig. The most prolific composer in history (at least in terms of surviving oeuvre), he was a contemporary of Johann Sebastian Bach, Antonio Vivaldi and a lifelong friend of George Frideric Handel. While in the present day Bach is generally thought of as the greater composer, Telemann was more widely renowned for his musical abilities during his lifetime. Telemann traveled widely, absorbing various musical styles and incorporating them into his own compositions. He is known for writing concertos for unusual combinations of instruments, such as multiple violas or trumpets or oboes or harpsichords. He held a series of important musical positions, culminating in that of music director of the five largest churches in Hamburg, from 1720 until his death in 1767. Concerto for Transverse Flute in D Major: 1. Moderato. Musica Antiqua Köln. Wilbert Hazelzet (Transverse Flute). Dir. Reinhard Goebel. |
 | 1. Telemann: Concerto Recorder & Transverse Flute Stereo: http://br.youtube.com/watch?v=ZOfDfqgr18A&fmt=18 Georg Philipp Telemann (1681 - 1767). Concerto Recorder & Transverse Flute in E Minor. 1st mov: Largo. Ricercar Consort. La Pastorella. Georg Philipp Telemann was a German Baroque music composer, born in Magdeburg. Self-taught in music, he studied law at the University of Leipzig. The most prolific composer in history (at least in terms of surviving oeuvre), he was a contemporary of Johann Sebastian Bach, Antonio Vivaldi and a lifelong friend of George Frideric Handel. While in the present day Bach is generally thought of as the greater composer, Telemann was more widely renowned for his musical abilities during his lifetime. Telemann traveled widely, absorbing various musical styles and incorporating them into his own compositions. He is known for writing concertos for unusual combinations of instruments, such as multiple violas or trumpets or oboes or harpsichords. He held a series of important musical positions, culminating in that of music director of the five largest churches in Hamburg, from 1720 until his death in 1767. |
 | 2. Telemann: Concerto Recorder & Transverse Flute Stereo: http://br.youtube.com/watch?v=VdMbwnPk7GY&fmt=18 Georg Philipp Telemann (1681 - 1767). Concerto Recorder & Transverse Flute in E Minor. 2nd mov: Allegro. Ricercar Consort. La Pastorella. Georg Philipp Telemann was a German Baroque music composer, born in Magdeburg. Self-taught in music, he studied law at the University of Leipzig. The most prolific composer in history (at least in terms of surviving oeuvre), he was a contemporary of Johann Sebastian Bach, Antonio Vivaldi and a lifelong friend of George Frideric Handel. While in the present day Bach is generally thought of as the greater composer, Telemann was more widely renowned for his musical abilities during his lifetime. Telemann traveled widely, absorbing various musical styles and incorporating them into his own compositions. He is known for writing concertos for unusual combinations of instruments, such as multiple violas or trumpets or oboes or harpsichords. He held a series of important musical positions, culminating in that of music director of the five largest churches in Hamburg, from 1720 until his death in 1767. |
 | 3. Telemann: Concerto Recorder & Transverse Flute Stereo: http://br.youtube.com/watch?v=heWK5WFahJk&fmt=18 Georg Philipp Telemann (1681 - 1767). Concerto Recorder & Transverse Flute in E Minor. 3rd mov: Largo. Ricercar Consort. La Pastorella. Georg Philipp Telemann was a German Baroque music composer, born in Magdeburg. Self-taught in music, he studied law at the University of Leipzig. The most prolific composer in history (at least in terms of surviving oeuvre), he was a contemporary of Johann Sebastian Bach, Antonio Vivaldi and a lifelong friend of George Frideric Handel. While in the present day Bach is generally thought of as the greater composer, Telemann was more widely renowned for his musical abilities during his lifetime. Telemann traveled widely, absorbing various musical styles and incorporating them into his own compositions. He is known for writing concertos for unusual combinations of instruments, such as multiple violas or trumpets or oboes or harpsichords. He held a series of important musical positions, culminating in that of music director of the five largest churches in Hamburg, from 1720 until his death in 1767. |
 | 4. Telemann: Concerto Recorder & Transverse Flute Stereo: http://br.youtube.com/watch?v=v_qlvHfWjb8&fmt=18 Georg Philipp Telemann (1681 - 1767). Concerto Recorder & Transverse Flute in E Minor. 4th mov: Presto. Ricercar Consort. La Pastorella. Georg Philipp Telemann was a German Baroque music composer, born in Magdeburg. Self-taught in music, he studied law at the University of Leipzig. The most prolific composer in history (at least in terms of surviving oeuvre), he was a contemporary of Johann Sebastian Bach, Antonio Vivaldi and a lifelong friend of George Frideric Handel. While in the present day Bach is generally thought of as the greater composer, Telemann was more widely renowned for his musical abilities during his lifetime. Telemann traveled widely, absorbing various musical styles and incorporating them into his own compositions. He is known for writing concertos for unusual combinations of instruments, such as multiple violas or trumpets or oboes or harpsichords. He held a series of important musical positions, culminating in that of music director of the five largest churches in Hamburg, from 1720 until his death in 1767. |
 | Telemann - Concerto a 6 for Flute & Violin TWV52:e3 GEORG PHILIPP TELEMANN (1681-1767) Concerto a 6 for transverse flute, violin, strings and basso continuo in E minor TWV52:e3 1. Allegro 2. Adagio 3. Presto - Adagio - Allegro Performed by Les Boreades Featuring Francis Colpron, tranverse flute Manfredo Kraemer, violin |
 | 1. Bach: Unser Mund sei voll Lachens (BWV 110) Stereo: http://it.youtube.com/watch?v=6to3966jb5E&fmt=18 Johann Sebastian Bach (1685 - 1750). "Unser Mund sei voll Lachens" (BWV 110). Cantata for the First Day of Christmas. 1. Chor: Unser Mund sei voll Lachens und unsre Zunge voll Rühmens. Denn der Herr hat Großes an uns getan. 1. Chorus: May our mouths be full of laughter and our tongues full of praise. For the Lord has done great things for us. The Amsterdam Baroque Orquestra. Klaus Mertens (Bass). Sandrine Piau (Soprano). Bogna Bartosz (Alto). Paul Agnew (Tenor). Dir: Ton Koopman. The Christmas cantata Unser Mund sei voll Lachens, BWV 110, was first performed on 25 December 1725. The words can be traced back to Georg Christian Lehms (1711), whose texts Bach had already set in Weimar. Movement 1 refers to Psalm 126:23, movement 3 to Jeremiah 10:6 and movement 5 to Luke 2:14 this last also referring to the Christmas story in Luke 2. The final chorale sets the Alleluia strophe from Caspar Fügers Lied Wir Christenleut (1592). The festive scoring of the work includes the four-voice choir, which calls for ripieno (tutti) singers as well as solo singers, three trumpets and timpani, two transverse flutes, three oboes (including an oboe damore and an oboe da caccia), strings and continuo. The choral movement which determines the character of the cantata represents a reworking of the orchestral Overture in D, BWV 1069; here the newly composed vocal parts are skilfully worked into the already existing orchestral score. Another self-borrowing can be found in movement 5, taken from the Virga Jesse floruit interpolation from the Christmas Magnificat BWV 243a of 1723. The remaining solo pieces and the final chorale were newly composed in 1725. |
 | 2. Bach: Unser Mund sei voll Lachens (BWV 110) Stereo: http://it.youtube.com/watch?v=cakNKX7xW1I&fmt=18 Johann Sebastian Bach (1685 - 1750). "Unser Mund sei voll Lachens" (BWV 110). Cantata for the First Day of Christmas. 5. Arie (Duett) S T: Ehre sei Gott in der Höhe und Friede auf Erden und den Menschen ein Wohlgefallen! 5. Aria (Duet) S T: Glory be to God in the highest and peace on earth; and a happy occurrence for humanity! The Amsterdam Baroque Orquestra. Sandrine Piau (Soprano). Paul Agnew (Tenor). Dir: Ton Koopman. The Christmas cantata Unser Mund sei voll Lachens, BWV 110, was first performed on 25 December 1725. The words can be traced back to Georg Christian Lehms (1711), whose texts Bach had already set in Weimar. Movement 1 refers to Psalm 126:23, movement 3 to Jeremiah 10:6 and movement 5 to Luke 2:14 this last also referring to the Christmas story in Luke 2. The final chorale sets the Alleluia strophe from Caspar Fügers Lied Wir Christenleut (1592). The festive scoring of the work includes the four-voice choir, which calls for ripieno (tutti) singers as well as solo singers, three trumpets and timpani, two transverse flutes, three oboes (including an oboe damore and an oboe da caccia), strings and continuo. The choral movement which determines the character of the cantata represents a reworking of the orchestral Overture in D, BWV 1069; here the newly composed vocal parts are skilfully worked into the already existing orchestral score. Another self-borrowing can be found in movement 5, taken from the Virga Jesse floruit interpolation from the Christmas Magnificat BWV 243a of 1723. The remaining solo pieces and the final chorale were newly composed in 1725. |
 | 3. Bach: Unser Mund sei voll Lachens (BWV 110) Stereo: http://it.youtube.com/watch?v=BfsKUg6RtEI&fmt=18 Johann Sebastian Bach (1685 - 1750). "Unser Mund sei voll Lachens" (BWV 110). Cantata for the First Day of Christmas. 6. Arie B: Wacht auf, ihr Adern und ihr Glieder, Und singt dergleichen Freudenlieder, Die unserm Gott gefällig sein. Und ihr, ihr andachtsvollen Saiten, Sollt ihm ein solches Lob bereiten, Dabei sich Herz und Geist erfreun. 6. Aria B: Awaken, veins and limbs, and sing those same songs of joy that are pleasing to our God. And you, devout strings, you should prepare such praise for Him so that heart and spirit are delighted. The Amsterdam Baroque Orquestra. Klaus Mertens (Bass). Dir: Ton Koopman. The Christmas cantata Unser Mund sei voll Lachens, BWV 110, was first performed on 25 December 1725. The words can be traced back to Georg Christian Lehms (1711), whose texts Bach had already set in Weimar. Movement 1 refers to Psalm 126:23, movement 3 to Jeremiah 10:6 and movement 5 to Luke 2:14 this last also referring to the Christmas story in Luke 2. The final chorale sets the Alleluia strophe from Caspar Fügers Lied Wir Christenleut (1592). The festive scoring of the work includes the four-voice choir, which calls for ripieno (tutti) singers as well as solo singers, three trumpets and timpani, two transverse flutes, three oboes (including an oboe damore and an oboe da caccia), strings and continuo. The choral movement which determines the character of the cantata represents a reworking of the orchestral Overture in D, BWV 1069; here the newly composed vocal parts are skilfully worked into the already existing orchestral score. Another self-borrowing can be found in movement 5, taken from the Virga Jesse floruit interpolation from the Christmas Magnificat BWV 243a of 1723. The remaining solo pieces and the final chorale were newly composed in 1725. |
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