That Telemann’s annual cycles of church cantatas are differentiated from one through text, music, and scoring was first recognized in the previous century by Werner Menke and Wolf Hobohm. Subsequent studies by Ute Poetzsch-Seban, Christiane Jungius, and others have advanced our understanding of this phenomenon by considering several cycles in relation to others. The present author’s dissertation on Telemann’s Stolbergischer Jahrgang to poetry by Gottfried Behrndt provided the first comprehensive overview of one of the composer’s cycles, including perspectives on his strategies for establishing their individual profiles. This chapter pursues two goals: to offer insights and evaluations of the Stolbergischer Jahrgang in terms of the cantatas’ texts, tonality, scoring, and movement types; and to reflect on Telemann’s tendencies and motivations across his output of cantata cycles. Along the way, I formulate open questions and outline the present state of knowledge regarding Telemann’s efforts to give his cantata cycles distinct profiles.