Helmut Müller-Brühl studied theology and philosophy as well as musicology at the Humanistisches Gymnasium in Bruhl. He went on to study the viola and conducting as well as music theory, and participated in master-classes given by the distinguished violinist Wolfgang Schneiderhan at Lucerne. In 1958 he invited the Cologne Chamber Orchestra, founded by the conductor Hermann Abendroth, to be the principal orchestra for the concerts given in his family home, the Schloss Bruhl, following which the orchestra’s conductor, Erich Kraak, called on Muhler- Bruhl to become its chief conductor in 1964. Since then the orchestra has worked with many artists of the highest calibre, such as Maurice Andre, Frans Bruggen, Gaspar Cassado, Jorg Demus, Christoph Eschenbach, Pierre Fournier, Ingrid Haebler, Wilhelm Kempff, Jean Pierre Rampal and Irmgard Seefried, and has toured extensively, appearing throughout Europe, North and South America and Asia as well as appearing at numerous international festivals. Under Müller-Brühl’s direction the orchestra initially recorded for the German label Schwann, covering an extremely wide range of repertoire from the seventeenth and eighteenth centuries.

For a period of 10 years from 1976 the orchestra performed on period instruments, under the name Capella Clementina; and using the experience thus gained, Müller-Brühl re-established the Cologne Chamber Orchestra in 1987, henceforth dedicated to giving performances on modern instruments, but informed by historical performance practice. The orchestra has since established successful concerts series in Cologne, at the Cologne Philharmonic Hall from 1988; in Paris, at the Theatre des Champs-Elysees from 1995; and in Munich, at the Prinz Regenten Theatre from 1997. In addition it has continued to be active in the recording studio, making numerous records of Baroque and Classical repertoire exclusively for the Naxos label from 1995 onwards. Müller-Brühl also specialised in working with young instrumentalists, and nurtured the careers of many of today’s successful musicians.

© Naxos Rights International Ltd. — David Patmore (A–Z of Conductors, Naxos 8.558087–90).

Among the most prolific and most famous composers of his generation, Telemann was born in 1681 at Magdeburg and educated at the University of Leipzig, where he founded the University Collegium Musicum and was the city council’s preferred candidate for the position of Thomascantor in 1723, when Bach was eventually appointed. Telemann had established himself in Hamburg in 1721 as Cantor of the Johanneum and director of music for the five principal city churches. He remained in Hamburg until his death in 1767, when he was succeeded by his godson, Carl Philipp Emanuel Bach, son of Johann Sebastian Bach. In his long career Telemann wrote a great deal of music of all kinds in a style that extends the late Baroque into the age of Haydn.

Church Music
Telemann’s church music includes 46 settings of the Passion and 1,043 cantatas, oratorios, Masses, motets and psalms.

Operas
Telemann wrote operas and other music for the stage, little of it now heard.

Secular Vocal Music
Of the various secular cantatas written by Telemann the best known today is Der Schulmeister.

Orchestral Music
In addition to a number of suites or overtures, Telemann wrote nearly 50 concertos for various solo instruments, including 21 for violin and eight double violin concertos. A Viola Concerto remains a necessary part of an otherwise meagre concerto repertoire for the instrument, and there are useful concertos for one and for two French horns, for trumpet, for oboe d’amore and for recorder. A number of instrumental compositions were brought together in the Tafelmusik or Musique de table of 1733.

Chamber Music
Telemann was equally prolific in the field of chamber music. He provided a quantity of works for solo instruments, including a set of a dozen fantasias for unaccompanied violin, and works for various groups of instruments (duos, trios, quartets and quintets).