Ensemble C4 Explore the Timeless Brilliance of Telemann on ‘A Love for Telemann’

The Norwegian Baroque ensemble brings together chamber music and cantatas in a recording that celebrates the creativity, expressive freedom and enduring appeal of one of the Baroque era’s most prolific composers.

The music of Georg Philipp Telemann continues to offer musicians an extraordinary space for creativity, interpretation and expression. With their latest album, A Love for Telemann, Norwegian ensemble Ensemble C4 revisit the composer’s rich musical legacy, presenting a carefully selected programme of chamber music and cantatas that highlights the versatility and imagination behind his work.

Released through LAWO Classics, the recording marks the ensemble’s second album, following their 2024 interpretation of Händel’s Neun Deutsche Arien. However, Telemann’s music has been an important part of Ensemble C4’s identity since its foundation in 2015, making this release a particularly meaningful exploration of a composer whose repertoire has accompanied the musicians throughout their artistic journey.

Often described as the musicians’ composer, Telemann (1681–1767) was celebrated during his lifetime for his extraordinary productivity and ability to explore different musical forms. His compositions combine technical sophistication with an accessible musical language, offering performers considerable freedom to shape the material through their own personalities and interpretations.

This balance between structure and spontaneity is particularly evident throughout A Love for Telemann. The album features three chamber works alongside vocal compositions, including the cantatas Jauchzet, frohlocket! der Himmel ist offen, TWV 1:953, and Kein Vogel kann im weiten Fliegen, TWV 1:994, both from his collection Harmonischer Gottesdienst, as well as the Missa brevis, TWV 9:14.

The instrumental programme moves between contrasting combinations and textures. The Trio Sonata in G minor, TWV 42, opens the recording, while the Sonata without Bass in G minor, TWV 40:104, explores a more intimate instrumental dialogue. Elsewhere, the Trio Sonata in F major, TWV 42, brings together elegance and lively musical interaction.

The cantatas introduce another dimension to the album, transforming biblical references and moral reflections into expressive musical narratives. Through countertenor Daniel Sæther’s vocal performances, supported by the ensemble’s period instruments, these works reveal the dramatic and human qualities of Telemann’s writing. The Missa brevis further demonstrates the composer’s ability to bring freshness and invention to even the shortest traditional musical forms.

At the centre of the recording is Ensemble C4’s approach to historical performance. Rather than attempting to recreate a supposedly definitive version of the past, the musicians view early music as an ongoing conversation between historical knowledge and contemporary artistic expression. For them, the score is not simply a set of instructions but a starting point for interpretation, collaboration and musical discovery.

Founded by recorder player Caroline Eidsten Dahl, countertenor Daniel Sæther and baroque violinist Ingrid Økland, Ensemble C4 has developed a distinctive artistic identity through performances, commissions and collaborations across Norway and internationally. Their repertoire encompasses both early music and contemporary works, reflecting an interest in connecting different musical periods and traditions.

The album also features contributions from Maria Ines Zanovello on violin, Henrikke G. Rynning on cello, Jadran Duncumb on lute and baroque guitar, André Lislevand on viola da gamba and Christian Kjos on harpsichord.

Recorded at Grorud Church in Oslo between 13 and 15 January 2025, A Love for Telemann captures a group of musicians deeply familiar with the repertoire, allowing the music to move naturally between virtuosity, intimacy and expressive depth.

With this release, Ensemble C4 offer more than a retrospective look at Baroque music. They present Telemann as a composer whose work remains open to discovery, inviting both performers and listeners to engage with its remarkable musical freedom.