Georg Philipp Telemann"s string concertos position themselves somewhere between the polyphonic complexity of the Bach orchestral sinfonias, the urbanity of Handel"s concerti grossi, and Vivaldi"s innumerable and endlessly delightful works of this type. But his approach always remained the most international as well as the most local. Two of these concertos, for example, exemplify the "Polish" style appropriate for the Electors of Saxony (Telemann"s employers, who were also kings of Poland), with their folky rhythms and groaning bass parts. Telemann offers a bit of the French style galant here or Italian theatricality there--he"s labeled one of the movements "Arlechinoso"--as the mood and moment suit him. Reinhard Goebel and the Musica Antiqua Köln dress these motleys with typical panache, a liveliness that argues once again for the validity of the period-instruments approach. One can well imagine Telemann hearing his music performed this way and nodding in approval. What the players have brought to Johann David Heinichen and some of the Baroque composers of the Baltic states serves them perfectly here: the conviction that while not all 18th-century music may match Bach"s profundity, much of it nevertheless shows us a very good time. And that Telemann, perhaps, can show us the best time of all. --Robert Burns Neveldine