No.1 in D, TWV 43:D2

This is the first of a set of works in what Telemann called "six quartets or trios." First published in Hamburg in 1733, the collection consists of two parts, each having three works: the first three are sonatas, while the latter trio each feature a slow introductory movement followed by three divertimenti. As the title indicates, the composer allowed for alternate instrumental forces in all six pieces. This D major work, for example, can be performed as a trio by two transverse flutes or two violins and a cello or bassoon. As a quartet the options are two flutes or two violins and two cellos or two bassoons, or a basso continuo can be added to one of the trio combinations.

To avoid confusion this analysis will address the work in its version for two flutes and two cellos. The piece opens with a playful Dolce, the main theme elegant in its stop-and-start flute phrasing and sense of regal delicacy. The writing is not overly challenging for the performers, especially in the bass part, and the mood throughout this movement is chipper and graceful.

The ensuing Allegro is bright and perky, the flutes chirping mainly in their upper ranges, while the cellos heartily bounce their notes in gleeful support. The whole is colorfully celebratory, but in the very brief Grave movement that follows, the mood is uncertain in its seeming struggle, appearing to labor under a haze of gray clouds. Lasting less than a minute, however, it yields to the joyful finale. The music here sounds livelier than its Allegro marking would normally suggest, the flutes quite busy in keeping up with Telemann's challenging writing, and the cellos offering some interesting contrapuntal commentary. At about three minutes, this is the work's longest and most multifaceted movement.

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No.2 in E-, TWV43:e3

Published in Hamburg in 1733 along with five other chamber works to make up the Six Quartets or Trios, this E minor effort can, as the collection's title suggests, be played by four instruments (two transverse flutes or two violins and two cellos or two bassoons) or three (two flutes or two violins and a cello or bassoon; a basso continuo can also be used here to bring the number back to four). The trio versions are generally sufficient since the second bass part is quite simple in its scoring, often merely doubling the first part. Still, the piece is commonly performed as a quartet and is arguably better served that way.

The work, really an Italian-style sonata, consists of four movements,

and begins with an elegant, if somewhat melancholy Largo. The flutes (or violins) carry the major melodic material, with cellos (or bassoons) providing harmonic support. The mood is dreamy throughout, but the music is tinged by a sense of loneliness. Things change in the lively but brief Presto that follows. Here the flutes sing playfully and the cellos offer perky rhythms in the bass line.

The ensuing Cantabile is less songful than its marking suggests, sounding more playful and carefree in its relaxed and graceful music. The bass emerges here to offer some interesting contrapuntal lines. The finale, marked Allegro, sounds more energetic than the Presto second movement. It is also more chipper and bouncy, both in the writing for the main line and for the bass.

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No.3 in A, TWV43:A2

This is the third of six works in the so-named Six Quartets or Trios, first published in Hamburg by Telemann in 1733. The collection is in two parts of three works each: the first three are sonatas, while the latter group conform to the pattern of a slow introductory movement followed by three divertimenti. As the title of the collection suggests, the scoring allows for each work to be performed as a trio instead of a quartet. This three-movement G major work, for example, can employ two transverse flutes (or two violins) and one cello (or bassoon). In the quartet version a second cello or bassoon is added (often merely to double the first part), or a basso continuo can be used in the second bass part.

The first movement begins with a lively Vivace, where the flutes (or violins) are given the main—and quite chipper—melodic material. That said, the bass line has its moments, too, offering some interesting contrapuntal commentary and twice briefly seizing the spotlight in this two-minute panel.

The central movement is marked Largo and begins with the cellos (or bassoons) presenting the first part of the elegant main theme, the flutes finishing it off as the melody sails dreamily into their higher ranges. Throughout this panel the cellos take the lead, then yield to the somewhat more talkative flutes.

The Allegro finale brims with energy and sunshine, the flutes regaining the lead role, imparting a mixture of playfulness and mischief in their joyous chirping. The bass line serves in a mostly deferential capacity here, offering imaginative rhythmic and harmonic support throughout.

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No.4 in G, TWV43:G3

This is number four in a set of six chamber works in what Telemann titled "Six Quartets or Trios," a collection that allows for alternate instrumentation in both the quartet and trio versions: two transverse flutes or two violins are accompanied by one or two cellos or one or two bassoons. Also, a basso continuo can be added to one of the trio combinations to make a quartet. The second bass part often only doubles the first, thus making the quartet renditions marginally preferable.

The collection consists of two separate sets of three works each: the first are three- or four-movement sonatas, while the latter three feature a slow introductory movement followed by three divertimenti. This G major work opens with an elegant, somewhat playful Largo, with the flutes (or violins) presenting bright and dreamy melodic material. The bass line contributes only harmonic support, but to good effect.

The first Divertimento is a bouncy, chipper piece whose busy manner and infectious main theme immediately catch the ear. All is effervescent here, the music, if in a sometimes circuitous way, seeming ever on the rise and sparkling joyously. The ensuing Divertimento (Giocando) is relaxed in its elegance, but still spirited and playful. Again, the flutes dominate the important melodic material, though the cellos have more to say and even occasionally take the lead, if only briefly in some phrases. The Allegro finale, at less than a minute, comes across as more of an afterthought or an encore before the fact. Its unbounded energy and witty writing make the listener wish the music could go on a bit longer.

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No.5 in A-, TWV43:a1

Published as the fifth of the Six Quartets or Trios, in 1733, this A minor effort consists of a slow introduction, followed by three divertimento movements. The fourth and sixth works in this set are cast in that form, as well, while the first three are three- or four-movement sonatas. All works in the collection, as the title indicates, can be played by three or four performers using the following instrumental combinations: two transverse flutes or two violins and two cellos or two bassoons (or one cello or one bassoon, for a trio). Basso continuo can be employed with one of the trio combinations to form another quartet version.

This A minor Quartet opens with a somewhat somber but elegant Andante, dominated by the flutes (or violins), with the bass line providing harmonic underpinning. The ensuing Divertimento is brighter and livelier and, at three-and-a-half minutes, comprises the longest movement. The music here is playful, with the flutes again presenting the important thematic material, but with the bass line more prominent and contributing some interesting contrapuntal play.

The next Divertimento is an even livelier Presto, where elegance must cede ground to joyous festivity. The writing for the flutes is even more challenging here than in the previous movement. The concluding Divertimento is a one-minute Allegro more restrained than its marking might indicate. That said, the music sparkles still in its springy grace and chipper character.

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No.6 in E, TWV43:E1

This is the last of a set of chamber works Telemann titled Six Quartets or Trios. He allowed for numerous versions of the music, not just in the number of players, but in the instruments used. The choices are: two transverse flutes or two violins, to make up the lead pair, and one or two cellos or one or two bassoons, largely for accompaniment. If only one instrument is chosen for the bass, players can opt for a basso continuo to form yet another quartet version. The first three works in the set are sonatas and the last three offer a slow introductory panel, with three divertimento movements ensuing.

This E major work opens with an elegant Gratioso, the flutes (or violins) singing dreamily and playfully, the bass line often turning lively amid the bright atmosphere. The first Divertimento is a lively Allegro whose challenging flute writing and bouncy, sometimes breathless sense of drive impart a colorful busyness to the almost unbridled glee of the music. At three-and-a-half minutes, this is the longest and probably most substantive movement.

The ensuing Divertimento, marked Tempo giusto, features a more relaxed pacing, but still brims with a busy joy. As the movement proceeds the flutes grow livelier, the mood more playful. The brief final Divertimento (Allegro) features a sort of elegant stomping quality to both the delicate chirping in the main line and in the heartier but still graceful bass part.

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