Quartet No.1 in D (Paris Quartet No.7), TWV43:D3

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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