The Suite in D major in the Deuxième Production
begins with a lengthy Ouverture, alternating a slow dotted section with a quicker, imitative idea, with rhythmic interest added by the simultaneous combination of triplets and duplets in the tutti sections that separate the varied episodes. Four movements, each titled Air, follow this large-scale opening. The general-purpose movement title could hardly cover a wider range of music: Air 1 contains, besides its lively subject (which Handel took as the basis for his organ concerto Op 7 No 4), some remarkable accompanying figurations for the violins which would have tested the best amateur players. Air 2 is in the style of a stately minuet, alternating the pairing of trumpet and oboe with the two violins between repetitions of the main theme. Air 3 is a lively Presto, again full of witty touches in the accompaniment and containing a series of delightful violin links back to the tuttis, along with a contrasting minor middle section. Air 4 in 12/8 time has, for contrast, a concertino group of string quartet, without double bass or harpsichord, and, just before the da capo, a lyrical cadenza for the solo violin. The Conclusion finds Telemann at his best, with a sparkling opening theme, and episodes where the two violins and the pair of wind instruments engage in rapid dialogue. The short Adagio is a total contrast, with a fine example of the composer’s familiar staccato accompaniment, over which the oboe and trumpet thread a long, continuous melody before the lively opening returns.
from notes by Robert King © 1989