When compared with the two other Ouvertüre movements on the first disc, the Suite in D, TWV55:D21, is clearly the best choice to open the album, but is still not an exciting start. There isn’t the grandeur or swing to capture the attention, and the fast section is not sprightly enough to make the ternary structure register. And it’s certainly not the most benevolent sound conjured by La Stagione Frankfurt under the direction of Michael Schneider in this substantial celebration of Telemann’s late works.

Persevere, however, and delightful details emerge. There are timbral surprises in the third and fourth movements: gloriously acidic oboes and bassoons provide a dynamo-charged episode in the ‘Réjouissance’; then, in the ‘Carillon’, harpsichordist Sabine Bauer twinkles with the ethereal light and shade of a mobile dangling above a baby’s cot. Unfortunately, the Suite takes a dip once more and the following movement, ‘Tintamare’, is rough around the edges. The effect is strange; the performance scrappy yet safe.

A similar story characterises the Suite in F, TWV55:F16. The Ouvertüre lacks majesty, though there is some exquisite inégalité to the melodic unfurling in the violins. Again, I find myself frustrated at the larger picture: the relationship between phrases is characterised by an awkward inertia, and Schneider’s choice of tempo – a little too slow for my liking – makes Telemann’s construction seem much more discrete than it needs to be. The fifth movement, a pair of Minuets, shines a light on the gurgling horns and buzzing bassoons. Abundant in fine details, certainly, but I prefer my Telemann with a tad more excitement and structural flow.