By Steven Zohn
Georg Philipp Telemann gave us one of many richest legacies of instrumental track from the eighteenth century. notwithstanding thought of a definitive contribution to the style in the course of his lifetime, his concertos, sonatas, and suites have been then almost missed for almost centuries following his dying. but those works at the moment are one of the most well liked within the baroque repertory. In tune for a combined flavor, Steven Zohn considers Telemann's song from stylistic, universal, and cultural views. He investigates the composer's cosmopolitan "mixed taste"--a mixing of the French, Italian, English, and varnish nationwide styles-and his innovative growth of this idea to include combinations of the previous (late baroque) and new (galant) types. Telemann had an both notable penchant for popular amalgamation, exemplified through his pioneering position in constructing hybrid forms comparable to the sonata in concerto type ("Sonate auf Concertenart") and overture-suite with solo software ("Concert en ouverture"). Zohn examines the extramusical meanings of Telemann's "characteristic" overture-suites, which endure descriptive texts associating them with literature, medication, politics, faith, and the flora and fauna, and which acted as cars for the composer's prepared feel of musical humor. Zohn then explores Telemann's extraordinary self-publishing company at Hamburg, and sheds gentle at the formerly unrecognized borrowing by means of J.S. Bach from a Telemann concerto. song for a combined style additional unearths how Telemann's kind polonaise generates musical and social meanings during the undying oppositions of Orient-Occident, urban-rural, and serious-comic.
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Extra info for Music for a Mixed Taste: Style, Genre, and Meaning in Telemann's Instrumental Works
Nouveaux quatuors no. 6/vi, mm. 20. Duet in E minor for two ﬂutes, 40:142/i, mm. 21. Duet in E minor for two ﬂutes, 40:142/iii, mm. 22. Sei duetti no. 1/iii, mm. 23. Sei duetti no. 2/i, mm. 1. Suite in D major for 2 horns or trumpets, strings, and continuo, 55:D17/ii, mm. 2. “Sonata Polonese à 3” for violin, viola, and continuo, 42:a8: (a) movement 1, mm. 1–5; (b) movement 2, mm. 3. Concerto in C minor for oboe and strings, 51:c1/iv, mm. 4. Concerto in E minor for ﬂute, recorder, and strings, 52:e1/iv, mm.
1. 2. Movement types in the 12 Fantaisies à travers. 3. 4. 1. 1. 1. First page of “Violino Primo” part to Johann Ernst of Sachsen-Weimar, concerto in A minor for strings and continuo: (a) D-ROu, Musica saec. 5142, copied by an anonymous scribe in Weimar, ca. ; (b) Six concerts à violon concertant, op. 1 no. 2. Title page to concerto in G major for strings and continuo, 43:G8: D-DS, Mus. ms. 1033/90, copied by Johann Balthasar König, Frankfurt, ca. 3. First page of “Violino 1” part to concerto in E major for strings and continuo, 43:E2: D-DS, Mus.
I will never allow myself to be persuaded, however, that Telemann and Handel have not made inﬁnitely better overtures than Lully. 1 In the Versuch, Quantz had contented himself with providing a few points about the French overture’s style and noting that “Lully has provided good models for it; but some German composers, among others especially Handel and Telemann, have far surpassed him. . ) For Telemann, the distinction would have been far from meaningless: unlike Quantz, who seems not to have composed any overture-suites, he had witnessed the genre’s unfolding almost from its birth during the 1680s and 1690s, and knew as well as anyone how it had moved beyond the Lullian archetype during succeeding decades.