Readers with a pronounced bias towards Telemann's music will be delighted by the appearance of this rarity: Oratorium der Kapitansmusik 1730 zum 100 Ehren und Freudenmahl der Hamburger Burgerkapitane (''Oratorio for the Captain's Music on the Occasion of the hundredth Gala Testimonial Dinner of the Hamburg Citizen Captains 1730''). But they will know that Telemann never did things in half measures and, if not actually surprised may well be daunted by an auction catalogue of the composer's effects issued in 1769 which lists no fewer than 30 Kapitansmusiken performed between 1724 and 1765. Well, here's one of them to be getting on with whose contents are attractive if, at times, unmemorable.
These Hamburg Captains seem to have done pretty well for themselves belonging, ex officio, to a club which held its annual beano at the end of August. By the time of Telemann's appointment to the city's music directorship it had apparently become the custom to perform an oratorio before lunch and a serenata after dinner. For the centenary junketings we may suppose that Telemann attempted to provide something a little special, perhaps. Even so, the score, encountered clinically and out of context, strikes my ears as only intermittently of musical interest. The composer himself adapted the text from the Old Testament, treating it allegorically, much along the same lines as the librettos of his later, larger-scale oratorios. Joy, Truth, Time, Mournfulness and Thankfulness are the protagonists here. All have their particular messages for the worthy Hanseatic burghers whose spirits, if lowered by the dreary moralizing platitudes of Mournfulness, must certainly have been revived by the concluding chorus ''So go and eat your bread in joy, drink your wine with good cheer...''.
The performance is sympathetic, quite stylish and considerably enhanced by a strong team of soloists. Of these Mieke van der Sluis, Wilfried Jochens and Harry van der Kamp are the best known and the most consistently secure. The Bremen Baroque Orchestra makes a lively contribution, though there is some rough playing from time to time. The Alsfeld Vocal Ensemble sounds a small group whose voices are agile and focused. It makes a particularly good showing in the ''Chorus of the Joyful'' (track 19) and in the accompanying piece on the disc, Telemann's Latin Magnificat. In the latter work the composer fields a larger orchestra which includes trumpets and drums. This is a vigorous performance of the work, marred only by insecure natural trumpet playing.
In short, a fascinating if not entirely satisfying release of some unfamiliar music. Much is soon forgotten, but affecting writing such as the chromatic, contrapuntal ''Chorus of Mournful'' (track 23), the simply harmonized chorales, and the duet for two basses make a deeper impression. Well worth exploring.'