Telemann's two "Sonatas" from the six PARIS QUARTETS represent his attempt to capture the spirit of the "old-fashioned" Italian sonata da chiesa, while still writing in the musical language of his own time. The sonata da chiesa consisted of four movements, slow-fast (generally a fugue)-slow-fast (usually another fugue). Each movement was usually, but by no means always, related to the preceding movement by means of a common rhythmic or melodic motif. Frequently, all four movements were related to a motif played at the very beginning of the work, but which would undergo slight rhythmic or melodic changes from movement to mobement.
The "Sonata Seconda" beings with two themes - one played on the flute, the other on the violin. after a short pause, the movement begins again with the two melodies played on the viola da gamba and the flute. Following a second short pause, the movement continues without interrumption to the end. Despite its brevity, however, the two or three distinct melodic fragments upon which the movement is based recur towards the end in a kind of abbreviated recapitulation, the movement being in an experimental, quasi three-part song form, related to the emerging preclassical sonata-form. The fast second movement, like the second movement of the first sonata, is fugal without being a fugue. Although it is not based on any melody from the preceding movement, rhythmically it is clearly related to a rhythmic motif played on the flute at the beginning of the first movement.
Structurally, the movement is similar to a movement from a concerto grosso. The tutti (contrapuntal sections) are set off from the soli and duets (primarily homophonic sections). The slow third movement is again in the concerto grosso style, the tutti and soli being easily distinguishable. During the solo sections, Telemann contrasts the timbre of the flute and violin, which alternate in playing the same melodic passages. While there is little if any melodic or rhythmic relationschip between the second and thirdmovement, the third movement is related melodically to the first and second - indistinctly, perhaps, but related nonetheless. An unusual feature of this movement, which is again in the nature of a concerto grosso movement, is the unusual theme which outlines the dominant ninth chord in ever-widening melodic leaps.
The fifth and sixth QUARTETS are in the style of the "modern" French music, particularly of Couperin. Like the French composers, Telemann called his works "Suites." Each movement of these suites is given a title similar to those found in the French instrumental music of the period, and most of them are in the form of dances.
The "First Suite in G major" begins with a Prelude closely related in style to some of the trios of Couperin. The style of writing in these suites is more in the a quadro style of the French chamber music than in the concerto grosso style of the preceding QUARTETS. The next movement is a fast French dance, a Rigaudon. Coincidentally, this Rigaudon is in the same key as a similar dance by Rameau. It also makes use of certain melodic and rhythmic patterns found in Rameau's dance which was composed in 1724.