Telemann in Wien - zur Wiederentdeckung von sieben als verschollen geltenden Kantaten aus Telemanns "Zweitem Lingen'-schen Jahrgang" in der Österreichischen Nationalbibliothek

2021 ◽  
Vol 61 (3) ◽  
pp. 205-221
Author(s):  
Eric Fiedler
Keyword(s):  
Georg Philipp Telemann

Der Autor entdeckte in der Österreichischen Nationalbibliothek in Wien 44 Kantaten von Georg Philipp Telemann. Diese Kantaten sind in der Telemann-Literatur durchaus bekannt, lediglich 7 Kantaten aus dieser Sammlung galten bisher als verschollen oder sind in keinem Telemann-Werkverzeichnis aufgeführt. Sie sind dem "Zweiten Lingen'schen Jahrgang" zuzuordnen. Die Problematik einer protestantischen Kirchenmusik im katholischen Österreich-Ungarn wird angesprochen. bms online (Mano Eßwein) Vgl. auch:  Ralph-Jürgen Reipsch: Zur Provenienz einer Sammlung von Telemann-Kirchenmusiken in der Österreichischen Nationalbibliothek (Mus. Hs. 15.532), in: Die Musikforschung, 64 (2011) 1, S. 50-52

scholarly journals Johann Georg Sulzer’s “Recitativ” and North German Musical Aesthetics

2017 ◽  
Vol 23 (2) ◽  
Author(s):  
Matthew L. Boyle
Keyword(s):  
Diverse Group ◽  
Musical Aesthetics ◽  
Georg Philipp Telemann ◽  
Poetic Texts ◽  
Technical Features ◽  
New Evidence

Johann Georg Sulzer’s “Recitativ” is a uniquely ambitious article in hisAllgemeine Theorie der schönen Künste. The longest music article in his encyclopedia and accompanied with over 100 musical examples, it describes the technical features and expressive functions of the genre of recitative through 15 rules. It also documents a regional dispute between Berlin and Hamburg over the composition of recitative. Georg Philipp Telemann and Johann Adolf Scheibe, composers associated with Hamburg, are chastised in “Recitativ” for their willingness to abandon Italianate formulas and adopt French or newly invented techniques. In contrast, the Berliner Carl Heinrich Graun is celebrated, with passages of his recitative used as stylistic exemplars. In the years before the publication of “Recitativ,” a diverse group of musicians in Berlin beginning with Graun expressed distaste for French-influenced recitative, including even the Francophile Friedrich Wilhelm Marpurg. The article is the product of collaboration between several Berliner authors who express their city’s Italianate taste in recitative, including Sulzer, Johann Abraham Peter Schulz, Johann Kirnberger, and Johann Friedrich Agricola. New evidence suggests that Agricola’s influence on the article is greater than previously acknowledged. Sulzer’s text is presented in a side-by-side translation that includes his 39 numbered musical examples, with added bibliographic commentary and translations of poetic texts (also downloadable as an Appendix).

Georg Philipp Telemann

2001 ◽  
pp. 429-454
Author(s):  
Wolfgang Hirschmann
Keyword(s):  
Georg Philipp Telemann

Georg Philipp Telemann

1939 ◽  
pp. 33-35
Author(s):  
Hans Hollerop ◽  
Hollerop
Keyword(s):  
Georg Philipp Telemann

Georg Philipp Telemann. Autographe und Abschriften

1994 ◽  
Vol 80 (2) ◽  
pp. 334
Author(s):  
Marielle Popin ◽  
Joachim Jaenecke
Keyword(s):  
Georg Philipp Telemann

Baroque Music

Music ◽  
2011 ◽  
Author(s):  
Tim Carter
Keyword(s):  
Siglo De Oro ◽  
Claudio Monteverdi ◽  
Performance Practices ◽  
Georg Philipp Telemann ◽  
French Enlightenment ◽  
Musical Rhetoric ◽  
Baroque Music ◽  
Anglo American ◽  
And Performance ◽  
Late Renaissance

“Baroque” is a style-period in music conventionally identified as the 17th century and the first half of the 18th, i.e., from Claudio Monteverdi (b. 1567–d. 1643) to J. S. Bach (b. 1685–d. 1750) and Handel (b. 1685–d. 1759). It is often divided into “early” (1600–1640), “middle” (1640–1690), and “high” (1690–1750) phases. These various chronological boundaries remain fuzzy, however, and also reflect the prejudices of German and Anglo-American scholarship that might not appeal to, say, French admirers of their musique classique from Jean-Baptiste Lully to Jean-Philippe Rameau, or Spanish devotees of the siglo de oro up to the death of Pedro Calderón de la Barca (1681). Given that many characteristics of early Baroque music can be traced to aesthetic attitudes and performance practices typical of the late Renaissance, it is common to take the beginnings of Baroque music back to 1580 or so. When the Baroque period ends is a much more problematic question, depending on where one situates the so-called Rococo and style galant (e.g., of Rameau or Georg Philipp Telemann), the Empfindsamer Stil (e.g., of C. P. E. Bach), or the pre-Classical style of, say, Giovanni Battista Pergolesi and Johann Adolf Hasse. Baroque music is often characterized by one or more of the following: harmonic (vertical) thinking, musical rhetoric and affective text expression, elaborate ornamentation, newly codified genres and forms, the emergence of functional tonality, and the rise of the virtuoso. Jean-Jacques Rousseau (in his Dictionnaire de musique, 1768), writing from the rather smug viewpoint of the French Enlightenment, claimed that “a baroque music is that in which the harmony is confused, charged with modulations and dissonances, the melody is harsh and little natural, the intonation difficult, and the movement constrained.” Modern scholars and performers would disagree, and the current entry, introducing the fundamental texts in the field and its subdivisions, seeks to make some sense of just what Baroque music might be. It does not include composer studies, which can be found separately in Oxford Bibliographies.

Das Instrumentalkonzert bei Georg Philipp Telemann

Notes ◽  
1970 ◽  
Vol 26 (4) ◽  
pp. 763
Author(s):  
William Klenz ◽  
Siegfried Kross
Keyword(s):  
Georg Philipp Telemann

Orpheus. Georg Philipp Telemann

1999 ◽  
Vol 15 (2) ◽  
pp. 331-334
Author(s):  
R. Graeme
Keyword(s):  
Georg Philipp Telemann

Georg Philipp Telemann: Briefwechsel; Samtliche erreichbare Briefe von und an Telemann

Notes ◽  
1974 ◽  
Vol 30 (3) ◽  
pp. 519
Author(s):  
Mary Peckham Day ◽  
Hans Grosse ◽  
Hans Rudolf Jung
Keyword(s):  
Georg Philipp Telemann

scholarly journals Der neumodische Liebhaber Damon (1724) Georga Philippa Telemanna: predelava dunajske pastoralne igre v moralno satiro

2020 ◽  
Vol 16 (1) ◽  
pp. 37-55
Author(s):  
Livio Marcaletti
Keyword(s):  
Georg Philipp Telemann

oleg tragedij in komedij so po Johannu Matthesonu med operne zvrsti 18. stoletja v Hamburgu sodile tudi satire (»Strafspiel«). Članek prikazuje, kako je Georg Philipp Telemann italijansko pastoralno opero I satiri in Arcadia (Dunaj 1714) preoblikoval v »Strafspiel« Damon (Hamburg 1724), satiro nezvestega ljubimca.

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