The composer and music critic Johann Adolph Scheibe (1708–1776), at the forefront of the Enlightenment movement, advocated in his book Der critische Musicus a return to simplicity, imitation of nature and an emphasis on persuasive melodies. All this was in contrast to the ‘grandiloquent’ and ‘overloaded’ music that, according to him, coexisted at the time.
Perhaps these observations reflect the end of the Baroque taste in Germany and predict the dawn of galant music.
Among the composers most appreciated by Scheibe were Telemann (with whom he had a close relationship) and Hasse, among others. However, he severely criticised J.S. Bach for his heavy compositional style.
For this reason, we will delve into this controversy through the interpretation of works by some of the composers who may have been involved: J.S. Bach, Keiser, Veracini, Hasse, Scheibe himself, Handel and Telemann.
The repertoire ranges from trio sonatas, sonatas for flute or viola da gamba and basso continuo, and arrangements of some of Keiser's opera arias for our chamber ensemble, presenting these pieces in a not-so-usual combination.
It will be up to today's audience to decide whether they share Scheibe's tastes or have other inclinations.