Telemann's Essercizii Musici was published in Hamburg late in 1739 or in the following year. Its collection of alternating ''Solos'' and ''Trios'' is a summary of the composer's best work in these forms; but while the Trios have been frequently performed both in concert and on disc some of the Solos remain less well-known. This delightful programme devised and performed by members of the Schola Cantorum Basiliensis offers all the pieces in Essercizii Musici calling for obbligato harpsichord. Least familiar to readers will be the two solo suites for harpsichord. The idea of including a continuo harpsichord for these pieces came from compositions written by Telemann's Hamburg contemporary, Johann Mattheson. The reasons are carefully laid out in the accompanying booklet and the arrangements were made by the players. I found the result convincing, especially perhaps, for the reason that Telemann's solo keyboard writing often sounds thin and, as the note rightly points out, often takes little account of harpsichord idiom.
The four Trios with obbligato harpsichord each has a different instrument to partner it. One in B flat requires a treble recorder, another in E flat, an oboe, a third in G calls for a viola da gamba and the fourth a transverse flute. These are captivating works, skilfully and appealingly written. The note suggests that the inspiration for such writing came from Rameau's Pieces de clavecin en concerts, published in 1741 but which Telemann might have heard or seen in manuscript during his highly successful visit to Paris in 1737-8. More likely perhaps, he would have encountered Mondonville's sonatas for obbligato harpsichord with violin which had already appeared by the time of his visit. Be that as it may, Telemann's Trios from Essercizii Musici are among the most impressive testaments to his ability in writing in a form for which he was greatly admired by his own colleagues both at home and abroad.
The performances are full of insight and sparkle with lively humour. Staier's contribution is outstanding but the remaining members of the Ensemble are hardly less deserving of praise. In short, a most appealing programme played with style and vitality. This is Telemann wearing his finest da camera clothes.'