Episodes
| Series | Episode | Title | First Broadcast | Repeated | Comments |
|---|---|---|---|---|---|
| 2010 | 01 | 20100614 | 20121119 (R3) | During his long and remarkably prolific life, Georg Philipp Telemann was recognised as the leading German composer of the Baroque era, whose reputation in his time, was even greater than that of his compatriot, JS Bach. He wrote a wealth of innovative music for the church, court, opera house, concert hall and private home. Telemann was an astute business man too, in tune with the changing tastes of his time. He made music more widely available by putting on regular series of public concerts and publishing collections of his own works for anyone willing and able to buy. Telemann broke new ground with the dramatic nature of his church cantatas in a move to make them more palatable to the congregation. They were hugely successful and could be heard far and wide across Germany in years to come. As a court composer in Sorau and Eisenach, he began writing fashionable French overtures and a constant stream of instrumental music. In the first programme, Donald Macleod features some of this early music, including a church cantata set to a text by the foremost cantata poet of the time, a concerto for four violins and an orchestral suite which draws on the popular figures of the commedia dell'arte. Donald Macleod focuses on some of Telemann's early music, including a church cantata. | |
| 2010 | 02 | 20100615 | 20121120 (R3) | After working his way around various cities in Germany, Telemann settled in Hamburg where he remained for the rest of his life. His music was in constant demand for all kinds of occasions. Donald Macleod introduces the festive music written for the annual banquet of the civic guard, and highlights from a work which started life as a comic interlude in a serious opera. Donald Macleod on the festive music Telemann wrote for a banquet in Hamburg. | |
| 2010 | 03 | 20100616 | 20121121 (R3) | With his astute business sense, Telemann no doubt had an eye to the financial advantages of publishing his own music, but he also had a genuine desire to make sheet music more readily available to anyone who could afford to buy it. Donald Macleod looks at some of the many collections Telemann published and marketed himself, including a range of chamber music for virtually every instrument in existence at the time, a collection of small-scale sacred cantatas for use in the home and the most popular of all his passion oratorios. Donald Macleod on some of the many collections Telemann published and marketed himself. | |
| 2010 | 04 | 20100617 | 20121122 (R3) | In October 1737 Telemann took up a longstanding offer to visit Paris where he was welcomed with open arms. Donald Macleod looks at the works Telemann wrote especially for his trip, including a selection of chamber works for flute, violin and continuo and a psalm setting performed twice at Paris' prestigious Concert Spirituel. Donald Macleod explores music Telemann wrote especially for a trip to Paris in 1737. | |
| 2010 | 05 LAST | 20100618 | 20121123 (R3) | After a long break, during which Telemann's productivity fell off dramatically, he made a remarkable comeback in the last ten years of his life when he wrote some of his greatest works. Donald Macleod introduces the colourful orchestral suite based on Cervantes' novel Don Quixote, and one of the finest examples of Telemann's word-painting in his last secular cantata. Donald Macleod explores Telemann's musical comeback in the last ten years of his life. | |
| 2016 | 01 | The Making Of The Man | 20160328 | 20170619 (R3) | Telemann was a many-splendoured thing: gardener, translator, theorist, publisher, poet, entrepreneur, and an early tech-geek. He also earned himself a place in the Guinness Book of World Records as music's most prolific composer. But is that necessarily an accolade to be proud of? And so Donald Macleod sets out to uncover the real Georg Philipp Telemann - a prolific, industrious polymath or, as one historian put it, a purveyor of 'factory products' achieved 'by dint of sedulous scribbling'. We also have to wrestle with a primary source on the composer which is at once both a treasure trove, and a route map of garden alleys. Johann Mattheson's 'autobiography' of the composer is a product of its time, with its tantalising combination of hard facts and fantasy. In the opening programme we meet the young Telemann, and try to hang some hard facts on Mattheson's tantalising portrait. We quickly discover that industry and tenacity ran in the composer's blood from an early age, as his mother puts all her effort into diverting her precocious son as far from a career in music as possible. Overture in B flat, TWV 55:B5 - 'Les Turcs Arte dei Suonatori Martin Gester, director Fantasia No.12 in G minor, TWV.40:13 Barthold Kuijken, flute Cantata: Es wollt uns Gott gen䀀dig sein Bach Consort Leipzig, Saxony Baroque Orchestra Ein guter Mut (Oden 1741) Klaus Mertens, baritone Ludger Remy, harpsichord La Bizarre' Overture, TWV.55:G2 Akademie für Alte Musik Berlin Ren退 Jacobs, director. How the young Telemann was determined to succeed despite the efforts of a reluctant parent Telemann was a many-splendoured thing: gardener, translator, theorist, publisher, poet, entrepreneur, and an early tech-geek. He also earned himself a place in the Guinness Book of World Records as music's most prolific composer. But is that necessarily an accolade to be proud of? And so Donald Macleod sets out to uncover the real Georg Philipp Telemann - a prolific, industrious polymath or, as one historian put it, a purveyor of 'factory products' achieved 'by dint of sedulous scribbling'. We also have to wrestle with a primary source on the composer which is at once both a treasure trove, and a route map of garden alleys. Johann Mattheson's 'autobiography' of the composer is a product of its time, with its tantalising combination of hard facts and fantasy. In the opening programme we meet the young Telemann, and try to hang some hard facts on Mattheson's tantalising portrait. We quickly discover that industry and tenacity ran in the composer's blood from an early age, as his mother puts all her effort into diverting her precocious son as far from a career in music as possible. Overture in B flat, TWV 55:B5 - 'Les Turcs Arte dei Suonatori Martin Gester, director Fantasia No.12 in G minor, TWV.40:13 Barthold Kuijken, flute Cantata: Es wollt uns Gott gen䀀dig sein Bach Consort Leipzig, Saxony Baroque Orchestra Ein guter Mut (Oden 1741) Klaus Mertens, baritone Ludger Remy, harpsichord La Bizarre' Overture, TWV.55:G2 Akademie für Alte Musik Berlin Ren退 Jacobs, director. How the young Telemann was determined to succeed despite the efforts of a reluctant parent |
| 2016 | 02 | The Collaborator | 20160329 | 20170620 (R3) | It was his summer sojourns with perhaps his most enlightened employer which saw Telemann's musical outlook transformed. In Poland he heard enough folk songs in eight days to last him a lifetime. Today we hear some of the fruits of those trips, brought vividly to life by the group Holland Baroque whose recordings are something of a mash-up of Telemann's music and the folk tunes of the day. Plus we discover how Telemann worked with the best performers around him to create a series of concerts so popular that a parking crisis ensued. With Donald Macleod. Les Janissaires, TWV.55:D17 Holland Baroque Society Milos Valent, violin Concerto in D for Trumpet and Violin, TWV.53:D5 Ingeborg Scheerer, violin, Hannes Rux, trumpet La Stagione Frankfurt Michael Schneider, director Pastorelle (conclusion) Doerthe Maria Sandmann, soprano (Caliste) Barbara Fink, soprano (Iris) Mathias Haussmann, baritone (Damon) Lydia Vierlinger, contralto (Amyntas) Bernhard Berchtold, tenor (Knirfix) Capella Leopoldina Kirill Karabits, conductor Suite in B flat 'Perpetuum Mobile' (and traditional Polish dances) Milos Valent, violin. Donald Macleod on how a trip to Poland inspired Telemann to experiment with folk flavours. It was his summer sojourns with perhaps his most enlightened employer which saw Telemann's musical outlook transformed. In Poland he heard enough folk songs in eight days to last him a lifetime. Today we hear some of the fruits of those trips, brought vividly to life by the group Holland Baroque whose recordings are something of a mash-up of Telemann's music and the folk tunes of the day. Plus we discover how Telemann worked with the best performers around him to create a series of concerts so popular that a parking crisis ensued. With Donald Macleod. Les Janissaires, TWV.55:D17 Holland Baroque Society Milos Valent, violin Concerto in D for Trumpet and Violin, TWV.53:D5 Ingeborg Scheerer, violin, Hannes Rux, trumpet La Stagione Frankfurt Michael Schneider, director Pastorelle (conclusion) Doerthe Maria Sandmann, soprano (Caliste) Barbara Fink, soprano (Iris) Mathias Haussmann, baritone (Damon) Lydia Vierlinger, contralto (Amyntas) Bernhard Berchtold, tenor (Knirfix) Capella Leopoldina Kirill Karabits, conductor Suite in B flat 'Perpetuum Mobile' (and traditional Polish dances) Milos Valent, violin. Donald Macleod on how a trip to Poland inspired Telemann to experiment with folk flavours. |
| 2016 | 03 | A Versatile Hand | 20160330 | 20170621 (R3) | Was there a single instrument of the time which Telemann didn't play? It certainly seems unlikely when browsing his claimed talents not just at the staple violin, flute and keyboard but also the likes of viola pomposa and the chalumeau. Today, a survey of Telemann's many musical talents, and also some wider skills at which he excelled including engraving and theoretical pursuits. We also encounter the ultimate in musical technology of the time, a keyboard instrument fitted with 500 candles, mirrors and coloured window, all in the quest to link sound and colour. With Donald Macleod. Sonata in F for recorder and continuo, TWV 41:F2 Michael Schneider, recorder Nicholas Selo, cello Sabine Bauer, harpsichord Concerto for 2 Chalumeaux in D minor, TWV.52:d1 Colin Lawson and Michael Harris, chalumeaux Collegium Musicum 90 Simon Standage, director Fantasia No.6 in D minor, TWV.40:7 Barthold Kuijken, flute Violin Fantasia No.6 in E minor, TWV.40:19 Rachel Podger, violin Double Horn Concerto in E flat, TWV.54:Es1 Teunis van der Zwart, horn Bart Arbeydt, horn Freiburg Baroque Gottfried von der Goltz, director. Donald Macleod surveys Telemann's countless instrumental skills. |
| 2016 | 04 | Doing Business | 20160331 | 20170622 (R3) | It looks like the worst decision of his life - turning down the job of Leipzig kantor which then cemented JS Bach's immortality. But was it actually a masterstroke? Donald Macleod uncovers Telemann's business acumen, beginning with that shrewd job negotiation which saw the composer leverage a hefty salary increase from his employers in Hamburg. We also explore Telemann's entrepreneurial activities as he cashes in from the wealth of the local nobility and filing expenses claims which would make any accountant proud. Overture (Jubeloratorium für die Hamburger Admiralit䀀t' TWV 23:1) Akademie für Alte Musik Berlin Sonata in D for viola da gamba (Der Getreue Music-Meister), TWV 40:1 Rainer Zippering, viola da gamba Brockes Passion (conclusion) Birgitte Christensen, soprano Lydia Teuscher, soprano Donat Havar, tenor RIAS Chamber Choir Berlin Academy of Ancient Music Rene Jacobs, director Suite in E minor, TWV 43:e1 (Paris Quartet No.5) Florilegium. Donald Macleod discovers Telemann's brilliant entrepreneurial skills. It looks like the worst decision of his life - turning down the job of Leipzig kantor which then cemented JS Bach's immortality. But was it actually a masterstroke? Donald Macleod uncovers Telemann's business acumen, beginning with that shrewd job negotiation which saw the composer leverage a hefty salary increase from his employers in Hamburg. We also explore Telemann's entrepreneurial activities as he cashes in from the wealth of the local nobility and filing expenses claims which would make any accountant proud. Overture (Jubeloratorium für die Hamburger Admiralit䀀t' TWV 23:1) Akademie für Alte Musik Berlin Sonata in D for viola da gamba (Der Getreue Music-Meister), TWV 40:1 Rainer Zippering, viola da gamba Brockes Passion (conclusion) Birgitte Christensen, soprano Lydia Teuscher, soprano Donat Havar, tenor RIAS Chamber Choir Berlin Academy of Ancient Music Rene Jacobs, director Suite in E minor, TWV 43:e1 (Paris Quartet No.5) Florilegium. Donald Macleod discovers Telemann's brilliant entrepreneurial skills. |
| 2016 | 05 LAST | Ever The Politician | 20160401 | 20170623 (R3) | One prominent contemporary called him 'the operator'. Telemann was nothing short of brilliant when it came to negotiating the tricky path between the diverse expectations of his influential patrons. But, as Donald Macleod discovers, all was not quite as rosy in his personal life as the composer's wife scandalises the whole of Hamburg with her gambling debts and an affair with a prominent military man. Les Cyclopes (Suite in E minor, TWV 55:e3) Holland Baroque Society O erhabnes Glück der Ehe (conclusion) Das Kleine Konzert Hermann Max, director Concerto in A minor for Recorder and Viola da Gamba, TWV 52:a1 Michael Schneider, recorder/director Rainer Zipperling, viola da gamba La Stagione Frankfurt Ino (conclusion) Barbara Schlick, soprano Musica Antiqua Koln Reinhard Goebel, director Cantata - Schmucke dich Gli Angeli Geneva Stephan Macleod, director. Donald Macleod charts the contrast in fortunes between Telemann's public and private lives One prominent contemporary called him 'the operator'. Telemann was nothing short of brilliant when it came to negotiating the tricky path between the diverse expectations of his influential patrons. But, as Donald Macleod discovers, all was not quite as rosy in his personal life as the composer's wife scandalises the whole of Hamburg with her gambling debts and an affair with a prominent military man. Les Cyclopes (Suite in E minor, TWV 55:e3) Holland Baroque Society O erhabnes Glück der Ehe (conclusion) Das Kleine Konzert Hermann Max, director Concerto in A minor for Recorder and Viola da Gamba, TWV 52:a1 Michael Schneider, recorder/director Rainer Zipperling, viola da gamba La Stagione Frankfurt Ino (conclusion) Barbara Schlick, soprano Musica Antiqua Koln Reinhard Goebel, director Cantata - Schmucke dich Gli Angeli Geneva Stephan Macleod, director. Donald Macleod charts the contrast in fortunes between Telemann's public and private lives |
| 2021 | 01 | Rise To Stardom | 20210913 | Donald Macleod follows Telemann's rise to fame and some of the many hindrances he faced along the way. Georg Philipp Telemann was one of the most celebrated musicians of the 18th century. In Europe, his fame eclipsed that of his close contemporaries Handel and Bach and he left behind him a vast legacy of works. This week, Donald Macleod turns the spotlight on this often forgotten musical superstar, exploring the many challenges he met, the influence of his family and friends and the composer's involvement in promoting his own music. Today, we see that Telemann's rise to stardom wasn't, by any means, a foregone conclusion. Throughout his career, he had to negotiate numerous obstacles, including his own mother, who decided early on that she didn't want her son to follow a musical career and did her best to put a stop to it. Concerto in E minor for recorder, flute, strings and continuo, TWV52:e1 (Presto) Wilbert Hazelzet, flute Michael Schneider, recorder Musica Antiqua K怀ln Reinhard Goebel, director Sonata for violin and basso continuo in G, TWV 41:G1 (Allegro & Adagio) Arsenale Sonoro Boris Begelman, violin Ludovico Minasi, cello Alexandra Koreneva, harpsichord Ouverture Suite in A minor, TWV 55:a2 Maurice Steger, recorder Akademie für Alte Musik Berlin Die Auferstehung und Himmelfahrt Jesu, TWV 6:6 (Tod! Wo ist dein Stachel?) Rheinische Kantorei Das Kleine Konzert Hermann Max, conductor Seig der Sch怀nheit, TWV 21:10 (excerpt) Valer Barna-Sabadus, countertenor Basel Chamber Ensemble Julia Schr怀der, conductor Donald Macleod explores some of the challenges Telemann faced as he struggled for success. | |
| 2021 | 02 | Family Man | 20210914 | Donald Macleod examines Telemann's ill-fated marriages and two significant friendships. Georg Philipp Telemann was one of the most celebrated musicians of the 18th century. In Europe, his fame eclipsed that of his close contemporaries, Handel and Bach, and he left behind him a vast legacy of works. This week, Donald Macleod turns the spotlight on this often forgotten musical superstar, exploring the many challenges he met, the influence of his family and friends, and the composer's involvement in promoting his own music. Today, Donald follows Telemann through two marriages, the first ending in tragedy and the second in hardship and recriminations, plus he examines the composer's personal connections with two of the era's most enduring musical icons. Trumpet Concert, TWV 51:D7 (Adagio) Alison Balsom, trumpet Balsom Ensemble Germanicus (Rimembranza crudel) Ann Hallenberg, mezzo-soprano Il Pomo d'Oro Riccardo Minasi, conductor Concerto for 2 violins in G, TWV 52:G2 Simon Standage, violin Micaela Comberti, violin Collegium Musicum 90 Concerto in G major, TWV 51:G2 (excerpt) Emmanuel Pahud, flute Berlin Baroque Soloists Rainer Ku߀maul, conductor Brockes Passion, TWV 5:1 (excerpt) Birgitte Christensen, soprano Lydia Teuscher, soprano Marie-Claude Chappios, mezzo-soprano Donကt Havကr, tenor Daniel Behle, tenor Johannes Weisser, baritone RIAS Kammercor Academy for Early Music, Berlin Ren退 Jacobs, conductor Donald Macleod examines Telemann's ill-fated marriages, plus two significant friendships. | |
| 2021 | 03 | Entrepreneur | 20210915 | Donald Macleod assesses Telemann, the canny businessman. Georg Philipp Telemann was one of the most celebrated musicians of the 18th century. In Europe, his fame eclipsed that of his close contemporaries, Handel and Bach, and he left behind him a vast legacy of works. This week, Donald Macleod turns the spotlight on this often forgotten musical superstar, exploring the many challenges he met, the influence of his family and friends, and the composer's involvement in promoting his own music. Telemann was inspired by many national musical styles, including German, Polish, Italian and French. He was greatly admired for being able to assimilate these different styles and make them his own - plus his eclecticism helped his music reach a wide and appreciative audience across Europe. Telemann was determined to capitalise on this popularity; he invested in the latest printing technology and operated a team of contacts across different countries to market his music, and help maximise his profits. Overture Suite in G, TWV 55:10 `Burlesque de Don Quixotte` (excerpt) Collegium Musicum 90 Simon Standage Flute Quartet in A minor, TWV 43:a3 Musica Antique K怀ln Reinhard Goebel, director Herr, ich habe lieb die St䀀tte deines Hauses, TWV 2:2 Mကria Zကdori, soprano Wilfried Jochens, tenor Kai Wessel, counter-tenor Stephan Schreckenberger, bass Das Kleine Konzert Rheinische Kantorei Hermann Max, conductor Concerto for Oboe in C minor, TWV 51:c1 Paul Dombrecht, obo退 Il Fondamento Trio in G minor, TWV 42:g5 (Essercizii musici) Ton Koopman, harpsichord Andrew Manze, violin Jaap ter Linden, cello Marcel Ponseele, oboe | |
| 2021 | 04 | Taking Paris, By Storm | 20210916 | Donald Macleod follows Telemann to France, where he's determined to put right a wrong. Georg Philipp Telemann was one of the most celebrated musicians of the 18th century. In Europe, his fame eclipsed that of his close contemporaries, Handel and Bach, and he left behind him a vast legacy of works. This week, Donald Macleod turns the spotlight on this often forgotten musical superstar, exploring the many challenges he met, the influence of his family and friends, and the composer's involvement in promoting his own music. Telemann had established his own publishing representatives across Europe in order to promote his own music. When news reached him that pirate editions of his works were appearing in Paris, he decided he must travel there himself, and deal with it personally. Trio in G major, TWV 42:G11 (Vivace) The Publick Music Das Seliges Erw䀀gen, TWV 5:2 (excerpt) Anna Lucia Richter Freiburger Barockorchester Gottfried von der Goltz, conductor Concerto for 2 Oboes and Bassoon in C, TWV 53:C1 (Concerto alla Francese) Luise Baumgartl, oboe Martin Stadler, oboe Marita Schaar, bassoon La Stagione Frankfurt Michael Schneider, conductor Quartet No 10 in B minor, TWV 43:h2 (excerpt) The Age of Passions Michael Behringer, harpsichord Deus judicium tuum, TWV 7:7 Patrizia Kwella, soprano Catherine Denley, alto Mark Tucker, tenor Michael George, bass Stephen Roberts, bass Collegium Musicum 90 Richard Hickox, conductor | |
| 2021 | 05 LAST | Indian Summer | 20210917 | Telemann's old age brings a surprising late twist to his story. With Donald Macleod Georg Philipp Telemann was one of the most celebrated musicians of the 18th century. In Europe, his fame eclipsed that of his close contemporaries, Handel and Bach, and he left behind him a vast legacy of works. This week, Donald Macleod turns the spotlight on this often forgotten musical superstar, exploring the many challenges he met, the influence of his family and friends, and the composer's involvement in promoting his own music. Today, Telemann's plans for a peaceful retirement are disrupted when a tragedy leaves him responsible for raising his young grandson. This period coincided with a sudden resurgence of creativity, which saw Telemann take an active interest in publishing again, and produce many new compositions. Violin Concerto in D, TWV 51:D10 (Vivace) Elizabeth Wallfisch, violin L'Orfeo Barokorchester Michi Gaigg Quartet in G, TWV 43:G2 Musica Amphion Pieter-Jan Belder, director Fantasie in A minor, TWV 33:19 Joseph Payne, Harpsichord Fantasie in E minor, TWV 33:4 Ouverture-Suite in C, TWV 55:C3 (Wassermusik) (excerpt) H怀怀r Barock Dan Laurin, director Ino, TWV 20:41 (excerpt) Ana Maria Labin, soprano La Stagione, Frankfurt Michael Schneider, director |