The program of this album consists of a selection of lesser-known sacred works by Telemann, who successfully composed in all possible styles of his time and synthesized them into a new language that already anticipates some Classical elements. German, French and Italian idioms, both sacred and secular, are all equally present in his compositions. He wrote relatively few pieces in Latin, compared with his huge musical output. As a Lutheran Protestant, most of his sacred music is in German, and the use of that language strongly influenced his melodic and rhythmical writing. When Telemann dealt with a Latin Catholic text, he uses a less “German” style: when a choral melody is not present, he clearly quotes Vivaldi and Corelli. Telemann’s unusual Psalm 71 is connected to the only period in his life that he was outside Germany for a rather long time. In the fall of 1737, he was invited in Paris and stayed there for eight months. The composer specifically mentions his Psalm 71 in his autobiography published in 1740: he describes it as “written in the style of a French Grand Motet, with a colorful orchestration, in five parts.” This piece is probably a tribute to the French monarchy, in the style of Lully and Rameau. As for the Lateinisches Magnificat, it is recorded here for the first time in a complete version. The instrumentation is clearly influenced by Bach’s Magnificat: the use of strings, together with three trumpets and timpani, gives the composition a traditional German sound from the start. Strict counterpoint is extensively used for the choir: every single line is functional, with little ornamentation. Nevertheless, two movements are writen in Italian style. The excellent roster of soloists and the Allabastrina Choir & Consort Are led by Elena Sartori. © SM/Qobuz