I remarked in my earlier review of this recording that the programme did not, perhaps, represent Telemann at his most inspired. That is still my feeling though I believe that a greater variety in instrumental colour than we have here would have alleviated the somewhat monochrome view of his music. The two most interesting works are the Sonatas in E flat and E minor from Telemann's last and most impressive set of sonatas and trio sonatas, the Essercizii Musici (c1740). Heinz Holliger plays them with refinement and a stylish sensibility, though I was conscious that his approach was rather too firmly rooted in formulae for a supposed correct approach at the expense of personal conviction. In other words, there is more to the performance of the finest of these sonatas than merely getting them right. After about ten minutes or so many ears started responding to this approach much in the same way as they become accustomed to the sound of well-oiled machinery. Continuo realizations are tastefully, by and large, and the inclusion of a bassoon is a good idea. The keyboard continuo, played sometimes on a spinet and sometimes on a harpsichord, errs on the flowery side and is on occasion frankly over-ornate.
But still this chamber playing reaches a very high standard of profiency and in small doses is likely to find plenty of admirers. There are, however, nuances in the music which are better served by the more subtle sonorities of period instruments. Not all of these works were written specifically for an oboe and it would have been more sensible to have offered the listener something in the way of tonal variety. I cannot help feeling that it is records such as this which, however well played, strenthen the all-too-frequently voiced belief that Telemann's music was entirely the product of a commonplace facility.
Good pressings and good recorded sound but recommended with caution.'