And though his music never reaches the heights of that of his countrymen Bach or Handel, it is indisputably well crafted, versatile and appealing to players and listeners, as these two new recordings highlight.

Epoca Barocca artfully juggle flutes, oboe, bassoons, cellos and continuo instruments in various combinations, producing a refreshing array of ensembles from duo sonatas to quartets. In the “Quadri” in D, F, A and E major, two flutes are paired first with two bassoons and then, in the third and fourth, with cellos; the second is taken by oboe, two bassoons and continuo. The oboe joins the flute and continuo in the trios and takes a solo turn in the G minor Sonata, accompanied by archlute and bassoon. These are stylish, beautifully paced performances.

Ensemble Meridiana’s approach is more consciously virtuoso, less obviously French than Italianate. They also add a trio once thought to be Telemann’s but now known to be by his contemporary, Pierre Prowo. Instead of flutes, they opt for recorder and violin, instead of two cellos, viol and bassoon.

In their hands both the G major and A minor Concertos sparkle. The violin carries the horn-call ritornello in the opening G major Allegro, allowing the recorder and oboe solo roles, while, in the Grave that follows, all three have solo turns; the continuo viol takes a bow in the finale. The A minor Concerto is characterised by rich ensemble textures, including as the second movement a garrulous fugue a 4. The trios offer further opportunities for individual instruments to shine. Prowo stands scrutiny well, the allegros Vivaldian, the Presto in the Polish folk style popular at the time. Ensemble Meridiana’s tempi are generally quite quick but never driving, their slow movements invariably graceful.