(Ga-ôrg’ Fe-lep’ Te’-le-man) 1681–1767 German composer Telemann was born in Magdeburg and showed early promise as a musician. While a law student at Leipzig Univeristy he founded a collegium musicum, directed the Leipzig Opera and was commissioned to write cantatas for St Thomas’s Church. In 1705 he became Kapellmeister to Count Erdmann of Promnitz, whose residence in Sorau (Zary) brought ...
1681–1767, German Telemann was born in Magdeburg, and created his first opera at the age of 12, in which he sang the title role and organized its informal performance in the street. Telemann was influenced by the operas he heard at the Brunswick court and Berlin. He attended university in Leipzig, and became the director of the ...
bassoon was usually relegated to the bass line, supporting other instruments, but a number of more challenging solo pieces appeared for the bassoon at the hands of both Telemann and J. S. Bach; Vivaldi distinguished himself by composing no fewer than 37 concertos for the instrument. Styles & Forms | Early Baroque | Classical Instruments | Cornett | Early ...
in French and English aristocratic circles. 1700–50 This period marked the heyday of composers such as George Frideric Handel (1685–1759), Johann Sebastian Bach (1685–1750), Antonio Vivaldi (1678–1741) and Georg Philipp Telemann (1681–1767), and was the culmination of the Baroque era. The Baroque orchestra’s core grouping of strings and harpsichord was now very firmly established, and oboes and bassoons were the ...
of doors, the oboe moved indoors and into the developing Baroque orchestra. It was quickly accepted as a standard instrument, being written for by Vivaldi, Handel and Telemann, and acting as soloist in some Baroque concerti grossi. Purcell wrote the oboe into all his larger works after 1690. The Baroque Oboe The Baroque oboe was first built ...
century oboe d’amore was a mezzo-soprano oboe in A with a bulb bell. Its tone, slightly darker than the oboe’s, made it popular with Bach and Georg Philipp Telemann (1681–1767) in particular. The greatest concentration of oboe d’amore makers seems to have been in Leipzig, which would explain its enduring popularity in Germany. Its appeal had diminished significantly ...
single loop to play the fundamental pitch bb'. Clearly these were small instruments, perhaps only 7 cm (3 in) across; nevertheless they appear in the music of Georg Philipp Telemann (1681–1767), George Frideric Handel (1685–1759) and Johann Sebastian Bach (1685–1750). Development In the eighteenth century, the post horn was extended in length and used by Wolfgang Amadeus Mozart (1756–91) ...
have less to do and accordingly the viola line in Baroque music tends to be simple. There is little virtuoso music for the viola dating from the Baroque, though Telemann wrote three concertos for it. During the Baroque era, a viola with seven bowed strings and seven concealed strings became popular. Called the viola d’amore, it is the ...
dunce instrument – dating from when its construction made it difficult to play with any virtuosity – the viola proved its immense musical worth hundreds of years ago. Georg Philipp Telemann (1681–1767), Johann Wenzel Anton Stamitz (1717–57) and Mozart provided early concerti; Beethoven, Carl Maria von Weber (1786–1826), Louis-Hector Berlioz (1803–69) and Mendelssohn soon expanded the instrument’s reputation for solo ...
roles Ginevra, in Ariodante, and Alcina. She returned to Italy in 1738, and retired two years later. Introduction | Late Baroque | Opera Personalities | Georg Philipp Telemann | Late Baroque | Opera Houses & Companies | Baroque Opera in Naples | Early & Middle Baroque | Opera ...
concertos, sonatas, sinfonias and sacred vocal music. Fifty psalm paraphrases in the vernacular, published under the title Estro poetico-armonico (‘Theories on Poetic Harmony’, 1724–26), were admired by Telemann, Mattheson and others. His celebrated satire on Italian opera, Il teatro alla moda (‘The Theatre in Fashion’, 1720), ridiculed the operatic practices of Vivaldi on its title page ...
the Charms of Music’, 1771). Recommended Recording: Five Violin Sonatas, Fabio Biondi, Rinaldo Alessandrini et al (Opus 111) Introduction | Late Baroque | Classical Personalities | Georg Philipp Telemann | Late Baroque | Classical ...
disseminated his overture and dance style in Germany, providing models for composers of the next generation such as J. S. Bach, George Frideric Handel (1685–1759) and Georg Philipp Telemann (1681–1767). The Italians were less receptive, but the French overture principle appears in the music of Antonio Vivaldi (1678–1741) on at least one occasion. Although he made many enemies ...
his hearing declined, founding a critical journal on music and writing the famous Grundlage einer Ehren-Pforte (‘Foundation for a Triumphal Arch’, 1740), a dictionary of composers. His lifelong friend Telemann conducted the music that Mattheson had composed for his own burial service after his death in 1764. Recommended Recording: Works for Two Harpsichords, Richard Egarr, Patrick Ayrton (Globe) ...
their birth. Fourteen months later a healthy son; Carl Philipp Emanuel Bach (1714–88), was born and, perhaps prophetically, the most illustrious composer of that period, Georg Philipp Telemann, was asked to be godfather. Bach took great trouble to train his sons as musicians. Later he did the same for several more distant relatives. The Cöthen Years Prince ...
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