Page 41 of the Solfeggi, reproduced in Early music (Feb 1995), p.54, contains the excerpts from the French-style trios.
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.
The alternative readings given in the notes to ex.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. For the modern student of Quantz, his advocacy of Telemann's trios alla francese and early quartets in flute lessons and in the Versuch provides a fascinating example of his continuing allegiance to works that he first encountered as a young man.
Teske, Solfeggi Pour La Flute Traversiere avec 1'enseignement, Par [Mons.sup.r].
2392-Q-27, 32a and 33a) notes that all four of Telemann's extant duet collections and the Six sonates dans le gout italien are represented in the Solfeggi. The last collection he implausibly connects to Quantz's recommendation of Telemann's trios in the French style.