Boris Begelman – Telemann: Violin Sonatas (Album Review)

Classical violinist Boris Begelman’s latest recording Telemann: Violin Sonatas is a fitting tribute to a renowned German composer and an excellent addition to any classical music fan’s collection.

Begelman is fast becoming known as one of the most prolific Baroque violinists of his generation. He first picked up the instrument when he was seven, and has since played in some of the best Baroque orchestras in the world, as well as with renowned conductors including Giovanni Antonini, Ottavio Dantone and Enrico Onofri.

Telemann: Violin Sonatas showcases not only Begelman’s talent for playing the violin, but perhaps even more so, the talent of self-taught German composer and multi-instrumentalist, Georg Philipp Telemann, who is responsible for the Baroque standards featured on this release. Begelman, accompanied by fellow musicians Ludovico Takeshi Minasi and Alexandra Koreneva – both of whom are well-respected in their own musical endeavours – expertly takes listeners on a journey through some of Telemann’s best work, including seven sonatas and “The Fantasia for Violin Solo”. They are transported back to a time when classical music reigned supreme and great composers such as Bach, Handel and Vivaldi were just starting to take the world by storm.

As someone who is unfamiliar with classical music, it would be wrong of me to go into detail about the technicalities of Begelman’s playing. However, it is undeniable that he has talent.  From a personal standpoint, I am a big admirer of those who can show versatility in their craft and Begelman does that by taking on standards that vary in tempo with seemingly unfaltering ability. Certainly, he seems to be well worthy of the praise he has so far received and I believe classical music lovers the world over will warm to him quite quickly.

This album will find a welcome place among the music collection of classical music fans, and it is a great introduction to Baroque music.

[Editor/Author Note: This review was originally written for cargoART Magazine (2015).]