F. Behrens repeats a criticism often heard in the past: that Georg Philipp Telemann diluted his output by "writing too much". That idea, dropped by an obscure early 19th Century critic and mindlessly repeated until recently, has increasingly receded with the rollout of editions of Telemann compositions since World War II. Many have appeared for the first time in the publications of the Telemann Archiv, formerly in Kassel Germany, and now in Telemann's home town of Magdeburg.

In recent decades we've heard for the first time T's late choral orchestral works. These demonstrate startling originality and continuing innovation in form and style even in his 80's (e.g. Day of Judgment, around 1762).

I admit I had no high opinion of T. in my early music training. Little duets and chamber pieces suited for beginning recorder students were the only works I'd heard. A breakthrough for me came when the late great radio music host, Robert J. Lurtsema, at Boston's WGBH radio presented all availble recordings of Telemann compositions for the 300th anniversary of his birth in 1681.

I was astounded to her the variety and unique qualities in Telemann's compositions. Many times I was late to work because I couldn't bear to leave Lurtsema's Morning Pro Musica while he was playing a new Telemann work.

I learned that Telemann was "the boss" in contemporary eyes in high baroque Germany. He was also an admirable man in many respects. He was a democrat by philosophy and the first in Germany to open the aristocratic collegium musica concerts to the public in Leipzig (while still a student). He was the first classical composer to incorporate authentic folk music (Polish Hanaka) in "concert music" - in much the same way Joseph Haydn later did with Hungarian gypsy music.

Next was discovery of Telemann's unlimited imagination in terms of concocting new forms and instrumental combinations, and harmonic and rhythmic variety. He was the first to develop the quartet form, and used it for a variety of instruments. T. played all the instruments of the then orchestra and exhibited an unmatched gift for exploiting instrumental sonorities - something one of the reviewers mentioned in her comments.

Thus, for example, in addition to the wild Polish folk dance n the last movement of the Concerto for Flute and Recorder in E, Telemann utilized and contrasted the special character of flute and recorder in this fine concerto. He was the first to capture the special qualities of the low register of the clarinet (chalumeau) in the dark and brooding opening of the Concerto for Two Clarinets, and even coupled two double basses with a piccolo in the solo instrument group for his "Cricket Symphony"

Comparisons with Bach? Early in his career Telemann rejected what he called formalism, e.g. the strict counterpoint which J.S. Bach developed to its highest level in music. Instead, he brought orchestral counterpoint, or simultaneous use of instrumental color and melodic interactions, to a level never before seen.

This is a feature that I find immediately distinguishes T. from other baroque composers, namely that in his hands, the orchestra, or different parts of it interact on even level with the soloists in concerti.

But there's a potential pitfall in contemporary authentic instrument performance of Telemann. He was a "pre"romantic, who revelled in emotions, mood, and subtle harmonic, melodic and rhythmic shifts. Performances that are too focused on stylistic issues and ornamentation can make Telemann sound like just any other baroque work. The recent trends to loosen up emotional expression in baroque performance promises to reveal new values in Telemann works that didn't come forth to full efect in the past decades. Incidentally, this is less of a problem with Bach works, because of the importance of his contrapuntal motives, as contrasted with shades of mood and emotion and dynamics in Telemann.

I realize that I may not reach many of the previous viewers - or even Behrens - with this commentary, but felt that I should try to create a better balance of information about a composer who has been regaining his proper appreciation in recent decades.

If you like baroque music then it would be hard not to like this. This is a great CD to play while sitting down for dinner with a good bottle of red wine. I own some much more highly acclaimed baroque CD's that are less enjoyable than this. At this price it is worth all 5 stars.

The works recorded here are orchestral suites scored for three oboes, bassoon, strings and basso continuo numbered TWV 55 g4, TWV 55 C6 and TWV 55 D15.

This is one of those records that make you wonder if Telemann shouldn't be considered an equal to his contemporary fellow countrymen and composers Bach and Handel. The repertoire here consists of orchestral suites, the musical form used in Handel's Water Music and Bach's BWV 1066-1069. It is a musical form grand in scale and extrovert in character. These performances are just as good as the best available performances of the works by Handel and Bach just mentioned. The music comes across with sparkling joy and invites the listener to join in and have fun. Rock me, Georg!

This ensemble plays modern instruments. Recorded in 1998. The sound is fine.

There is a 2 CD set available on Teldec/Warner with Harnoncourt performing all the works included on this disc and yet another three. But I have not heard it, so I can't tell you if the more famous conductor is also the better. Pinnock (on Archiv/DG) plays TWV 55 C6 and two other works. Pinnock's CD is as good as Müller-Brühl's, but it has long been deleted, so you will have to look for it used.

Telemann was really in touch with his Italian musical flavor in most of his works. Unlike JS Bach, Telemann keeps creating new/innovative ways to expand his style whereas Bach continued using "rhythmic formulas" (ingeniusly constructed mind you) to further his stamp on the Baroque world. Telemann advances toward Rocco in some of his works and there lies the freshness his style brings.