Telemann's orchestral suites (or overtures, as they are more correctly termed) represent the apogee of a genre which the German-speaking world made its own in the first half of the 18th century. If Bach only contributed four such pieces, they belong almost to a sub-genre for the manner in which he contrived a distinctive journey of such melodic and contrapuntal richesse. That is not to belittle Telemann's 135 multi-movement works (which this ambitious series is dedicated to completing), since almost all the major recordings of suites in the last couple of decades have re-affirmed that this is an oeuvre of cosmopolitan colour and arresting characterisation.

The bold major-key works are especially effective here in red-blooded playing by the modern-instrument Collegium Instrumentale Brugense. For those about to run back to the English Concert, Akademie für Alte Musik and Concentus Musicus, the distinctions are remarkably limited with the exception, perhaps, of an intermittently static bass and rather obviously valved horns. Otherwise, Patrick Peire delivers performances of lithe articulation in the fugal allegros (listen to the bright, transparent brilliance of the fine D minor Overture, d2), refined textures in the string and oboe unisons - so often missing in non-period recordings - and a meticulous feel for style in the saccade introductions of all the suites.

Not all the music commands (or demands) undivided attention but the radiant A major Overture (A4), the uproarious Burlesque de Don Quichotte (rather more belly-laugh here than the Drottningholm Baroque Ensemble) and tonal vernacular of the Volker Ouverture (B5), as well as the sheer sweep and facility of the three celebratory D major pieces, can only fill a room - and a collection - with music of infectious joy. Unanimity in the strings is an occasional problem but these are performances which, above all, bring out the uninhibited facility and spontaneity of Telemann's music. At super-budget price, this is genuinely a jolly good deal.