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Appréciation d'ensemble / Overall evaluation :
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Reviewer : Nicholas Anderson Essercizii musici is perhaps the most impressive of Telemann’s chamber music collections. Until quite recently it was thought to date from c1739 but it is now known to have been printed in 1727 or 1728. The collection comprises solo sonatas with continuo, two suites for solo harpsichord, and 12 trio sonatas. The instruments are varied but specific to each work and include recorder, flute, oboe, violin, viola da gamba and harpsichord. In what I presume to be the first of two instalments, Florilegium presents 11 of the 24 pieces: seven of them are trios while the remaining four are continuo sonatas.
Florilegium
has already shown its sensibility to and affection for Telemann’s music. These
virtues are present here where the composer reveals his intuitive skill in
accommodating each instrument with music best suited to its tonal character, and
playing within the compass that reflects its strengths. If we are to believe
Telemann himself, he had at least a fluent working knowledge of all the
instruments featured in this richly rewarding collection. Quantz and other of
his contemporaries especially admired his trios, and it is evident at once to
our ears that they were not wrong. Difficult though it is to single out any
particular work, I would commend the A major Trio for flute, obbligato
harpsichord and continuo for the sensuous, caressing charm of its slow movements
and for the light- hearted spirit of its two faster ones. I hasten to add,
though, that it is a first among equals. The C minor Trio with its melancholy
opening Largo provides an eloquent testimony to the expressive capabilities of
both composer and performers. | ||||
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