Hello. I am extremely sensible to this kind of mistakes, but here, except the last movement it seems to me things are well placed. I know other performances that have similar tempi and miss totally the point. I am not familiar with Telemann. It is easier for me to recongnize right or wrong intepretation in his sacred music. Do you have a performance of this piece, or another of this concerto, to recommand? I would appreciated it a lot.

In fact it's not important which concerto, I would like you to share the intepretation of a Telemann concerto that you find the most accurate with his intentions. Thank you.

@@katherineparadis-chateaune8004 Hello Katherine, Teleman often sounds like an AI generated caricature of actual music of the period to me and this performance, though technically very accomplished, does not help in bringing out possible qualities of the music. Generally I admire Daniel Cuiller very much and I think this utterly dry and understated rendition might give us an idea how serious musicians sounded in the early 18th c. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-oWbMrI66jQs.htmlfeature=shared what do you think?

Manfred F. Bukofzer, Music In The Baroque Era (From Monteverdi to Bach), London: J. M. Dent & Sons (1st UK edition 1948), p. 26: "The basso continuo ... required at least two players, one to sustain the bass line (string bass, or wind instrument) and the other for the chordal accompaniment (keybooard instruments, lute, theorboe, and the popular guitar)."

Thanks! It’s fine to quote MB… but can you refer me to a reliable contemporary pictorial sourc, or to an actual contemporary account, or to any contemporary musical score or part, or book on continuo realisation that represents or mentions the guitar ?

Hey there :) honestly, very reliable contemporary sources discussing very archaic things are a bit hard to come by! I don’t disagree with you - the guitar was probably less likely to be chosen as lute/theorbo. Maybe it depended on region, patron or kapellmeister’s preference? But I don’t see any reason to disregard it completely as a possibility.

I also found the below but haven’t verified. Handel scored a cantata with guitar. 1682 ‘Matteis in The False Consonances of Musick’ gives instructions for playing continuo on Guitar. Like 1714 ‘Resumen de acompaner la parte con la guitarra’ by Murcia

This could also be intentional, to restore the "sound of the time"; but I agree, it's a perfect demonstration of why the lute eventually disappeared from the 18th century orchestra.

Besides those of Vivaldi there are concerti by Baron, Falckenhagen, Fasch, Handel (harp and lute), Kohaut, Krebs, Kropffgans, S.L.Weiss, Johann Sigismund Weiss, and probably some others I cannot now bring to mind.

@@havardrivansson7902 - Yes - the concerto by Johann Sigisimund Weiss is also very fine, on a par with this one by Fasch (one of Bach's favourite pupils apparently).