An ascending and descending G major ritornello theme begins in full string tutti (including solo violin, which joins in), reinforced by two oboes. The violin begins unspectacularly with the same theme, but spins it further - interrupted by orchestral interjections - to a transition marked by syncopation, which leads to the briefly appearing ritornello theme in A major. The violin decorates with sixteenth-note figurations until the entire repetition of the tutti ritornello returns, but this time in D major. The next violin solo entry brings a new rhythmically driving motif that dissolves into wild semiquavers. The next tutti again brings the ritornello theme in A major, with corresponding virtuoso figurations, accompanied by syncopations from the oboes. Then G major is reached again, orchestra and violin with new even more effective double-stop ornaments take turns, then the orchestral ritornello concludes the movement.

Quietly, the whole orchestra introduces a simple melodic theme in three answering parts. Then the violin enters a fifth higher with the same theme, but develops it further through touchingly beautiful sighing figures and harmonically floating cantilenas. In between, an oboe (or flute, depending on the interpretation) briefly joins in, leading to the second solo part, which gives the violin a good opportunity to sing itself out.

The concerto begins very melodiously with a slow movement in the tutti of the whole orchestra, whereby individual short motifs of the melody quickly emerge, which are also immediately taken over by the solo violin. Enjoyable music-making unfolds from the many facets of the opening melody, alternating between violin and orchestral tutti. The solo violin then begins its next entry with a particularly gallant, dance-like motif of suggestion, which in turn transitions into free recollections of the opening melody in the orchestra and violin solo. An octave lower, the motif appears again, now somewhat darker, and then leads slightly haltingly to the end of the movement.

After this rather French-influenced melodious opening movement, an energetic, twice-repeated motif with Italian temperament takes the lead. It is immediately continued in Italian violin figurations and shapes the ritornello theme until its conclusion. With a phrase of its own, the violin enters and ascends, repeats this phrase and lets it fade out in a wide span. Then immediately comes the energetic opening motif again, now in the dominant F major, followed by variations of the violin figurations of the opening theme. With imaginative runs and varied, fast figures, the violin then leads to the renewed ritornello theme, this time in G major, and then leaves the transition to the B flat major recapitulation to the solo violin. The orchestra and solo violin build to a brilliant Vivace conclusion.

Pianissimo, a finely woven tapestry of sound is laid out in which violins and violas play duols against triplets. The violin then sings a ravishingly beautiful aria, making this movement unforgettable. Even though the movement only lasts a good 2 minutes, one could listen to the beautiful melody of the solo violin for a very long time...

I.   OuvertureII.  Badinage – Vivement

III. Rondeau

IV. Menuet I & II

With a low G along with a suggestion in the bass and the response of the other strings, this overture immediately commands our attention. Following the French suite of a Lully or Couperin, Telemann opens his "Concert en ouverture" in slowly advancing, dotted crotchets.

In the middle section, the first violins polyphonically start a kind of fast fugue, the second violins and the bass follow and form a kind of ritornello tutti. Only now does the solo violin appear, brilliantly displaying itself in hurried sixteenth-note runs and imaginative figurations. Five slightly altered ritornello tutti and four solo sections alternate as in an Italian solo concerto.

The repetition of the slow opening section subtly varies the beginning, for now the bass lags behind the string choir. Slow and solemn, yet not ponderous, the overture progresses towards the conclusion.

The sequence of dance movements that now follows opens a badinage. Badinage means fun, banter and is characterised by a fast two-beat rhythm. Loosely dallying and somewhat from "above", the string ensemble brings a jocular dance melody. Only in the middle section of the movement does the solo violin enter and play itself to the fore with long chains of triplets. Only when everyone has had enough as far as triplets are concerned is the dallying first badinage part repeated.

A fast round dance follows, with a melodious orchestral theme and relatively plain violin solos alternating rondo-like with the orchestral tutti.

The string orchestra advances in the typical sarabande rhythm. Particularly exciting are the harmonic variations that the string choir follows in its solemn dance. This is where close listening is a benefit.

In contrast to the previous leisurely harmonic string movement, a wild caprice "alla breve" now breaks in. Not only the particularly striking orchestral trills are capricious, but also the variations in the solo violin's playing. Over a string carpet in the last solo, the solo violin invents its own "capricious" theme. But then - barely two minutes have passed - there is an end to these caprices.

A dance-like, swinging Gigue forms the conclusion of this overture concerto, as is often the case with suites. After the string tutti has introduced the gigue theme, the solo violin is given another opportunity to introduce its own motifs and its joy of playing. Then there is enough dancing, even though Telemann's overtures did not tend to be performed for dancing at the time, but were presented in their own concert occasions at court or in cities such as Leipzig, Frankfurt or Hamburg - the places where Telemann worked.