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 contrasted with the “grandiloquent” and “overloaded” music that, according to him, coexisted at the time. Perhaps these observations reflect the end of Baroque taste in Germany and herald the dawn of galant music.
Among Scheibe's most admired composers were Telemann (with whom he had a close relationship) and Hasse, among others. However, he severely criticised J.S. Bach for his compositional style, which he considered too heavy. We will therefore explore this controversy through the interpretation of works by some of the composers who may have been involved in it: J.S. Bach, Keiser, Veracini, Hasse, Scheibe himself, Handel and Telemann.
The repertoire ranges from trio sonatas, sonatas for flute or viola da gamba with basso continuo, to arrangements of Keiser's opera arias for our chamber ensemble, presenting these pieces in an unusual combination.