Georg Philipp Telemann is best known for his chamber/orchestral
compositions with increased focus on his vocal works.  Telemann
solo keyboard works are not extensive nor frequently recorded.

Telemann's six Harpsichord Overtures, TWV 32:5-10, were published between
1745 and 1749.  Prior to these keyboard works, two other sets of Telemann
solo keyboard compositions were published:  a set of Preludes and a set
of Fugues.  Each of the Overtures has three movements.  First movements
consist of a French-Style Prelude with dotted rhythms followed by a Fugue
always in two voices; when a third or fourth voice is added, one or more
existing voices is subtracted to maintain the two voice texture.  Another
interesting aspect of these works is that the second and third movements
are not dance forms but 'free' movements which look forward to the
classical sonata form.

CPO, a record company which has issued many Telemann discs, recently
issued one containing the six Harpsichord Overtures plus a Concerto in B
minor which likely was intially intended as an orchestral work.  Performing
these seven compositions is Harald Hoeren who is one of the co-founders
of Camerata Koln and Trio 1790.  Hoeren and Trio 1790 have been recording
piano trios for CPO from Kozeluch, Dussek, Just, and J.C.  Bach.  So, Mr.
Hoeren is an experienced veteran of the Period Instrument movement.  CPO's
catalog number is 999 645-2, and total music time is a very generous 75:27.
The harpsichord used by Hoeren was built by Klaus Ahrend after Flemish
models circa 1750.

I recently reviewed a disc of Boccherini Sonatas for Harpsichord and
Violin on the Glossa label.  I found those works to be pleasureable but
quite light and not worth the premium Glossa price.  After extensive
listening, I find these Telemann harpsichord overtures a much better
proposition.  They are more emotionally and technically diverse than the
Boccherini compositions and of greater substance.  Although not as Bach's
level of depth, Telemann's overtures well convey more than one or two
emotional themes as is the standard with Boccherini.  Further, CPO offers
the disc at less than mid-price levels.

Overture I begins with a ceremonial and optimistic Prelude reminiscent
of a fine Handel opera overture; the fugue has cascading passages which
create excitement and mystery.  The second movement, Larghetto e
scherzando, has a walking gait with staccato motifs from the right hand
which mix beautifully with legato passages.  The third movement Allegro
is a highly energetic and bubbly piece of music in the galant style.
This overture is simply delicious with much variety of expression.
Similar comments apply to the other five overtures as well.

Having been highly complimentary up to this point, I must admit that I
find nothing essential about the music.  Even leaving Bach aside, these
works do not compare well to Handel or Froberger solo harpsichord music.
The lyricism is a little deficient compared to Handel, and the depth can't
hold a candle to Froberger.  Listening to all six overtures at one sitting
can be a trial, because they are not highly distinctive from one another.
Overall, they do not represent Telemann at his most inspired level.

Don's Conclusions:  For those collectors who want every note written by
Telemann, the Hoeren disc can be safely recommended as the performances
and recorded sound are very good.  Baroque harpsichord enthusiasts should
also derive much pleasure from the recording.  Others would be well advised
to approach with some caution, although the relatively low price is not
much of an obstacle.  One overture at a time is likely the best way to
listen to the disc.

Don Satz
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