By Steven Zohn
Georg Philipp Telemann gave us one of many richest legacies of instrumental track from the eighteenth century. even though 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 demise. but those works are actually one of the most well-liked within the baroque repertory. In track for a combined style, Steven Zohn considers Telemann's tune from stylistic, time-honored, 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 outstanding penchant for favourite amalgamation, exemplified by means of his pioneering position in constructing hybrid forms similar to the sonata in concerto sort ("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, drugs, politics, faith, and the flora and fauna, and which acted as cars for the composer's willing experience of musical humor. Zohn then explores Telemann's remarkable self-publishing company at Hamburg, and sheds gentle at the formerly unrecognized borrowing by way of J.S. Bach from a Telemann concerto. song 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
5 (letters engraved freehand); (b) p. 7. 1. Sonate metodiche no. 2/i, mm. 2. J. G. Pisendel’s ornamentation for 42:A8/i, violin 1 (D-Dl, Mus. 1. 2. Sack-Pfeiﬀe, from Johann Christoph Weigel, Musicalisches Theatrum (Nuremberg, ca. 3. Polnischer Bock, from Johann Christoph Weigel, Musicalisches Theatrum (Nuremberg, ca. 4. ”1 This was in fact nothing new, for such versatility had long been expected of German performers. ” Thus Georg Muﬀat acknowledged in the dedication to his 1695 Florilegium primum that “I dare not employ only a single style or method, but rather the most skillful mixture of styles I can manage through my experience in various countries.
On many occasions it has had the honor to entertain His Majesty, the king of Poland and other great rulers. It otherwise provides the music in the Neue O ne Acquiring a Mixed Taste 19 Kirche. Finally, it redounds to the ensemble’s glory that in many places are former members now counted among the most famous musicians. In Dresden, Mr. [Johann Georg] Pisendel excels upon the violin; in Darmstadt, Mr. [Johann Michael] Böhm on the oboe, ﬂute, and recorder; Mr. [Salomo] Bendler and [Martin] Petzold in Wolfenbüttel and Hamburg as tremendous basses and actors.
1. 2. Sack-Pfeiﬀe, from Johann Christoph Weigel, Musicalisches Theatrum (Nuremberg, ca. 3. Polnischer Bock, from Johann Christoph Weigel, Musicalisches Theatrum (Nuremberg, ca. 4. ”1 This was in fact nothing new, for such versatility had long been expected of German performers. ” Thus Georg Muﬀat acknowledged in the dedication to his 1695 Florilegium primum that “I dare not employ only a single style or method, but rather the most skillful mixture of styles I can manage through my experience in various countries.
Music for a Mixed Taste: Style, Genre, and Meaning in Telemann's Instrumental Works by Steven Zohn