38) Because of its transmission and close stylistic affinity with the other two trios, not to mention its attribution to Telemann in the Solfeggi and the Breitkopf thematic catalogue (see below), there can be little doubt of its authenticity as well.
Additional evidence that the four Solfeggi trios, TWV42:C4 and TWV42:h5 were often transmitted together during the 18th century is provided by the presence of all six works in the Breitkopf thematic catalogue.
1 contain the Solfeggi ornaments, which are sufficiently divergent from those of the Wiesentheid parts to suggest that Quantz's and Count Rudolf-Franz's copies of the piece derived from different sources.
We have seen that the four trios excerpted in Quantz's Solfeggi belong to a set of six or more works composed during the initial stages of Telemann's career, most likely in Leipzig, Sorau or Eisenach, and circulated in manuscript copies during the first third of the 18th century.
What emerges from a broader examination of the Telemann works excerpted in the Solfeggi is a curious juxtaposition of modern and antiquated styles, only partially explained by the likelihood that the collection was compiled by Quantz over a number of years.
In practice, the trios must have been effective pedagogical tools, as they are almost the only examples of the French style in the Solfeggi.