During the 1720s and 1730s Telemann prepared and to a large extent oversaw the printing and publication of a wide diversity of compositions. Chamber cantatas, concertos, orchestral suites, solos, trios and quartets were all represented. The high-water mark of chamber music publications came in the late 1730s with the set of six Paris Quartets (1738) and the Essercizii Musici (c1739). There is not a weak composition among them and Telemann’s collection deserves its place among the most accomplished chamber music anthologies of the late baroque.
Essercizii Musici consists of 12 trios, ten sonatas for melody instrument with basso continuo and two suites for solo harpsichord. The contents are satisfying on two levels since not only do they furnish the listener with unflagging entertainment but they also provide the performer with music written with unusual sympathy for the instruments in question. Telemann, like Toad of Toad Hall, could turn his hand to almost anything and, it would seem, at the drop of a hat, did so. Here we have music both of intrinsically high calibre and of a cast which effortlessly explores the most alluring vocal range of each instrument. It is music which, in short, fulfils one of the composer’s fervently declared aims, to give each instrument what suits it best, thus pleasing both player and audience.
Andreas Staier – cembalo obligato
TWV 32:3 Solo 6 C-dur [Cem]