Music for a Mixed Taste: Style, Genre, and Meaning in by Steven Zohn
By Steven Zohn
Georg Philipp Telemann gave us one of many richest legacies of instrumental song 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 nearly missed for almost centuries following his loss of life. but those works are actually one of the most well-liked within the baroque repertory. In track for a combined flavor, Steven Zohn considers Telemann's tune from stylistic, typical, and cultural views. He investigates the composer's cosmopolitan "mixed taste"--a mixing of the French, Italian, English, and varnish nationwide styles-and his ingenious enlargement of this idea to include combos of the previous (late baroque) and new (galant) kinds. Telemann had an both impressive penchant for primary amalgamation, exemplified through his pioneering function in constructing hybrid kinds resembling the sonata in concerto variety ("Sonate auf Concertenart") and overture-suite with solo tool ("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 automobiles for the composer's prepared experience of musical humor. Zohn then explores Telemann's unheard of self-publishing company at Hamburg, and sheds gentle at the formerly unrecognized borrowing through J.S. Bach from a Telemann concerto. tune for a combined flavor extra unearths how Telemann's sort polonaise generates musical and social meanings in the course of the undying oppositions of Orient-Occident, urban-rural, and serious-comic.
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Additional info for Music for a Mixed Taste: Style, Genre, and Meaning in Telemann's Instrumental Works
Example text
Fischer; Erlebach, following Lully’s practice, notates the same instruments in G1, C1, C2, C3, and F4 clefs. Telemann’s grouping together of adjacent couplets through common melodic material is also reminiscent of French theatrical chaconnes. But he otherwise avoids typically Lullian features such as an ascending opening gesture beginning on the second beat, suggestions of tutti-solo contrast, alternations of instrumental with vocal segments, a rhythmic accelerando from quarter-note to sixteenth-note motion, and a section in the parallel mode.
12 A score of eleven anonymous overture-suites copied in 1689 by the court oboist Charles Babel provides a further indication of what Telemann might have heard during his visits. 13 Twelve more anonymous overture-suites, copied by the Hanover oboist “Mr. 14 Babel also transcribed numerous movements from Lully’s stage works for harpsichord or instrumental trio. After leaving Hanover, he published two sets of Trios de differents autheurs in Amsterdam (1697 and 1700), both dominated by Lully’s music.
14 Why this is so remains a mystery, and unfortunately the nonvocal portion of Telemann’s musical estate seems to have vanished with scarcely a trace. However, hundreds of the extant scribal copies were made at courts to which the composer had close ties, and some are in the hands of musicians he knew personally. 16 Still, copies can tell us only the date by which the music was written, and in fact a given work might have been decades old by the time a particular scribe put quill to paper. We are also fortunate to possess Telemann’s authorized publications from Frankfurt and most of his self-published editions from Hamburg; these last, engraved by the composer, have the status of autograph fair copies, and many are precisely datable.