Telemann's sonata TWV 42:c7 is written in the 'mixed (French and Italian) taste' (Griscom

& Lasocki). Discuss, with reference to all four movements.

In music, the phrase 'Baroque Period' refers to the period, and to some extent style, of music
between the 'Renaissance' and 'Classical' periods, and is usually said to be between c16001750. During the Renaissance, strict contrapuntal rules dictated to what extent a composer
could express their own ideas and voice, but in the early seventeenth century a new musical
style, originating in Italy began to influence music all over Europe, with the possible
exception being in France. By the late seventeenth and early eighteenth centuries, the
French style became more widespread, and more influential to the rest of Europe.
Generally speaking, Italian style Baroque music includes cantatas, concertos, sonatas and
operas. Music in the Italian style tended to be abstract in nature, in that it wasn't composed
about something in particular. Typical features of an Italian style work might include;
continuous, repeating rythms; strong use of the circle of fifths; surprise chords such as
Neapolitan sixths, augmented sixths, and tonic minor triads; strophic bass and improvised
ornamentation.
French style music on the other hand was mostly based on styles that had their roots in
dance, and as such tended to emphasise rhythmic detail. Much French music of the period
tended to be about something, such as a poem or a dance. Typical French style features
include stile bris (arpeggiated chords), flowing melodies, wide varieties of note values in
single phrases, and precisely written out ornaments.
In Die kleine Cammer-Music (1716) Telemann said that he had endeavored to present
something for everyone's taste, and this appears to be supported by the fact that despite
being German in origin, much of Telemann's music contains elements typical of both the
French and Italian styles.
Telemann's Trio Sonata for Recorder, Oboe & Harpsichord in C minor TWV 42:c7, is a four
movement sonata, in the form Adagio, Allegro, Adagio, Allegro. Telemann's use of the
Sonata, as opposed to a more 'German' fugue could be seen as Italian influence.
The first movement features a lot of imitation between the oboe and the recorder, which is a
feature of the Italian Baroque style, and ornaments are not written out, but left to the
performer's interpretation, unlike what would be expected in a piece of 'French taste'.
Telemann makes heavy use of the quaver, semiquaver, two demisemiquavers rhythm of the
first bar, and the continuo is instructed to use the same rhythm in almost every bar of the
first movement. The movement ends with a typically Italian falling seventh.
The second movement is a fugue in the style of a canarie dance, which was popular in
France and Italy during the Renaissance, and features prominent syncopated rhythms. This
shows a French influence, as much French music during this period was based on dance.
Bar three includes an unexpected C major chord, before the melody rises a diminished
fourth, then falls a diminished third. Also unexpected is the chromatic move from F and Ab
to D and F#. These kinds of unexpected chords are usually indicative of Italian Baroque
music.

The third movement is very short at only ten bars long, and is in the relative major. The
lyrical melody could be said to be a French element, but it is difficult to say in this brief
movement.
The fourth and final movement is also fugal in nature, and is a lively ending to the piece.
The oboe plays the opening theme, which is then imitated by the recorder, and subsequently
reappears in bars twelve, thirteen, twenty-four, five and six. The movement opens in C
minor, but within a few bars modulates to the relative major.
Despite being German, Telemann's Sonata contains many elements that would be described
as typically Italian; such as the fact that the piece is a sonata, and makes use of lots of
repetition and imitation, and a few that would be described as French; such as the dance-like
second movement.
However, despite being called a Sonata, three of the four movements are fugal, and this
could be related to Telemann's German heritage.
Overall, it appears that Telemann did achieve his aim in presenting something for
everyone's taste, but the majority of important features in this sonata appear to be inspired
by the Italian style that had become so popular in Europe.