Right at the beginning of the overture, Telemann comes up with a surprising idea. After the -„bare“ entry of the wind section, the string tutti do not join in the playing until the third bar. The „harlequinade“ often appearing in Telemann’s overture suites obtains its attraction not least from syncopes and from a permanent change of tone colour. The „Espagniol“ whose title prom-ises a bit of urbanity turns out to be a saraband, the „Bourrée en Trompette“ justifies its name by the tone repetition...