Music and research in Magdeburg

Although Georg Philipp Telemann himself apparently could not wait to leave his native city at the age of sixteen, Magdeburg dedicates to him every two years a baroque festival that has long since become an institution. The festival also stands out for its close connection to the local Telemann Centre, enabling it to remain consistently at the forefront of research, potential discoveries, and the revival of forgotten works—a rarity in the world of early-music festivals. In this interview, Carsten Lange, Director of the Telemann Centre for Preservation and Research, talks about the rediscoveries to be expected from this edition, the meaning of the 2026 theme (“Music. Power. Telemann.”), and the composer who, as a man of connections and influence, would very likely have invented a social network in his own time—though certainly not merely for effect.

The Magdeburg Telemann Days are among Germany’s oldest baroque festivals, founded in 1962. Is that more of an honour or a responsibility?

Carsten Lange: Both—and indeed a commitment. But above all, it is a festival with immense creative potential. By defining thematic focal points, we deliberately highlight corresponding works and associate them with specific artists and venues. Here in Magdeburg, with Telemann’s vast body of work in the background, this is a particularly special opportunity. At the same time, the early-music scene continues to grow, and the desire to present rarely performed works remains strong. It regularly leads to surprising moments. I am always struck by the power that unknown music can possess. That audiences are willing to be surprised is a true gift to us.

With the Telemann Centre, you benefit from a scholarly foundation that few festivals possess. How important is this?

C. L.: It is our backbone, and a considerable advantage. Thanks to the research carried out here and in collaboration with colleagues from around the world, particularly as part of the Telemann edition, we are able to include newly established works based on sources in critical editions, available in reference versions and, in some cases, performed for the first time in our era at the festival or in our Sunday concerts. Music must resonate; it must find a space in which to unfold its effects. It must move listeners and stir emotions. For the researchers at the Telemann Centre, this proximity to performance practice is a precious privilege. And when we are able to enrich the repertoire through discoveries, it is especially gratifying. Proposing unexplored territories in contrast to the mainstream of musical life, which focuses on a few iconic works, is an exciting mission.

It must be a special moment for you when a piece you have studied at length is performed for the first time, especially at home?

C. L.: Absolutely. It is an emotional moment. It is impressive to see how audiences can be seized and deeply moved by music they have never heard before. In Magdeburg, we have a curious, open and highly attentive audience that accompanies us with gratitude in these explorations into the unknown. But we must choose carefully, taking into account musicological relevance and engaging performers who are convincing both interpretatively and sonically. Such moments of discovery stimulate artists and scholars alike. Certainly, not every rediscovery proves to be a masterpiece—but with Telemann, one regularly encounters works that eventually enter the repertoire for good.

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