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Reviewer: John
W. Barker Some time about 1740, Telemann published in Hamburg his collection called Essercizii Musici. The term is difficult to translate precisely, and “exercises” is not quite sufficient. Not even “Musical Study Pieces” quite does it. Basically, they are test pieces for excellent players, professional or amateur, ideal for domestic use.
This set was, in fact, the end of a long line of collections Telemann published himself and the capstone of his gatherings of chamber music, where he felt he had done his best work. It is a systematic assemblage of 12 solo sonatas and 12 trio sonatas in all keys. In the process, two solo sonatas (with continuo) were given to each one of four standard instruments: recorder, flute, oboe, violin, and viola da gamba, plus two suites (French style) for harpsichord alone; all these in two sets of six sonatas. Against those, Telemann placed 12 trio sonatas that form two sets of every combination (two melody instruments plus continuo) of the instruments that have been given solos.
This collection has been sampled regularly in programs of Telemann’s chamber music, but here we have what will be the first half of a full recording of the 24 pieces. In this program we are given 11 of them, 4 solo sonatas and 7 trios. Telemann was sensitive to the characters of the instruments, so that one is aware of the aptness of their representation. His inventiveness, and his skill in devising lovely melodies, is well understood by these seven players, who have been contributing to making the Florilegium ensemble an outstanding exponent of Baroque instrumental music.
Such qualities will be even
more self-recommending when Florilegium completes its recording of the 1740
publication. Exemplary sound and booklet notes. | ||||
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