!!! LIMITED EDITION !!!

The LUXURY AUDIOPHILE SELECTION product includes: Hybrid Super Audio CD and a custom-made 24-carat GOLD CD-R prepared in Dubai (!) exclusively for Prelude Classics.

The 250th death anniversary of Georg Philipp Telemann (1681-1767) having been celebrated five years ago, his name is still not very well established among music

!!! LIMITED EDITION !!!

The LUXURY AUDIOPHILE SELECTION product includes: Hybrid Super Audio CD and a custom-made 24-carat GOLD CD-R prepared in Dubai (!) exclusively for Prelude Classics.

The 250th death anniversary of Georg Philipp Telemann (1681-1767) having been celebrated five years ago, his name is still not very well established among music lovers in Poland. He was, nevertheless, one of the most eminent representatives of German music in the 1st half of the 18th century, listed with such composers, highly regarded in our country, as Johann Sebastian Bach and George Frederick Handel, both of whom were Telemann’s friends. In the 1st half of the 18th century Telemann enjoyed a much higher reputation than J.S. Bach and was, without a doubt, the key figure in German music life as well as an artist of international fame. This versatile artist was active in many places, including in Poland. In Żary (Germ. Sorau), Silesia, and Lesser Poland he became acquainted with Polish music, which he valued highly and drew upon in his own works. A man of many talents, he was dedicated first and foremost to music. He left behind an enormous output, larger than those of other great and prolific composers of that era and encompassing all the genres practiced at that time. He composed for current needs, for the Church (when he held the post of cantor) and opera houses (which he directed in various periods of his life). He was a focused Kapellmeister, leader of ensembles, and himself played several instruments with much success, as when, for instance, he held the post of court composer in Eisenach, giving performances with violin virtuoso Pantaleon Hebenstreit (1667-1750), a fact that Telemann mentions in his autobiography.

ARRANGED FROM THE FIRST VIOLA DA GAMBA EDITION BY MICHAŁ BRYŁA

Mozart’s violin sonatas, though light and easy to listen to, are hard to analyse and describe, which reflects the actual, extremely sophisticated and complex nature of this music. Of the vast multitude of ideas, each has influence on the originality of the form. Beethoven would break away from formal models in general. Mozart did the same on a

Mozart’s violin sonatas, though light and easy to listen to, are hard to analyse and describe, which reflects the actual, extremely sophisticated and complex nature of this music. Of the vast multitude of ideas, each has influence on the originality of the form. Beethoven would break away from formal models in general. Mozart did the same on a subtle local scale, nearly imperceptibly, through details and nuances. It is only on the level of expert interpretation that the composer’s genius can fully be revealed. They are all labelled by the composer as sonatas for piano and violin, and, indeed, we frequently get the impression that the piano plays the leading role. It opens sections, presents themes, shows off its unaffected, ‘rippling’ virtuosity. The violin (naturally an equal partner) frequently shapes the colour, or even functions as a ‘character instrument’. Altogether, these are fundamentally works meant to provide entertainment, but it is never a vain pastime. Music of such wealth and beauty is always first and foremost educational. It will very likely teach something different to everyone. Most of all, however, it undoubtedly represents a rich and noble spirit – not of any average person, but of a master and genius.

Johann Sebastian Bach’s position among humanity’s greatest geniuses(musical and not only) has always been and will remain exceptional. His oeuvre, colossal in size but also in many other respects, expresses the human spirit most originally and completely. Despite the great many commentaries and writings on Bach’s music, one never tires of paying

Johann Sebastian Bach’s position among humanity’s greatest geniuses(musical and not only) has always been and will remain exceptional. His oeuvre, colossal in size but also in many other respects, expresses the human spirit most originally and completely. Despite the great many commentaries and writings on Bach’s music, one never tires of paying homage and showing admiration, of new interpretations and perspectives. If any music can be called sacred, not only in the sense of its religious purpose, but sacred as only things dearest to us can be, then Bach comes first. One cannot help admiring him; one will never have enough of his music or stop craving for more. There are no words too lofty to express our admiration for and delight with Bach’s music. No solemn or emphatic statements will grasp what human language cannot convey, but what Bach manages to convey through his music. It is a notable though frequently overlooked aspect of Bach’s works that, though extremely complex and sophisticated, they are at the same time the most lucid and clear. Their content appeals directly to the heart, while their form delights the mind with its self-evident structures, in which every element is placed so as best to perform its role, to be perceived and comprehended. This is music that can appeal to everyone, inspires awe in everyone, and leaves not even the least prepared listenersindifferent. Bach is an irresistible element, beautiful and noble, thatsurprises and delights us, never failing to transport usinto a better world.Like no other music, Bach has it all and thus embodies absolute completeness