Music for a Mixed Taste

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 Music for a Mixed Taste
Style, Genre, and Meaning in
Telemann s Instrumental Works

Steven Zohn

1 2008
 1
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Library of Congress Cataloging-in-Publication Data

Zohn, Steven David, 1966
Music for a mixed taste : style, genre, and meaning
in Telemanns instrumental works /
Steven Zohn.
p. cm.
Includes bibliographical references (p. ) and index.
ISBN 978-0-19-516977-5
1. Telemann, Georg Philipp, 16811767. Instrumental music.
2. Instrumental music18th century
History and criticism. I. Title.
ML410.T26Z65 2007
784.092dc22 2007009441

Publication of this book was supported by the Dragan Plamenac

Publication Endowment Fund of the American Musicological Society.

1 3 5 7 9 8 6 4 2

Printed in the United States of America

on acid-free paper
For my parents, Judith and Harry Zohn
Die Violine wird nach Orgel-Arth tractiret /
Die Flt und Hautbois Trompeten gleich versphret /
Die Gamba schlentert mit / so wie das Bgen geht /
Nur da noch hier und da ein Triller drber steht.
Nein / nein / es ist nicht genug / da nur die Noten klingen /
Das du der Reguln Kram zu Marckte weist zu bringen.
Gieb jedem Instrument das / was es leyden kann /
So hat der Spieler Lust / du hast Vergngen dran.

The violin is treated in the manner of an organ,

The ute, oboe, and trumpet are employed similarly,
The viola da gamba ambles along like a small bass,
But for a trill here and there.
No, no, its not enough that the notes are sounded,
That you can apply the rules as if bringing wares to market.
Give each instrument that which it will permit,
The player will be pleased, as will you.
Telemann, Lebens-Lau mein Georg Philipp Telemanns
(1718 autobiography)

Die Instrumental-Sachen des Herrn Capellmeisters geben berzeuglich zu erken-

nen / da derselbe mit den Instrumenten gleicher gestalt sehr wohl bekannt seyn
msse. Er begleitet sie nemlich mit dem Brillant / welches ihre einwohnende Natur
erfordert. Er beobachtet bey den Saiten Instrumenten das Gewichte des Bogens /
die blo liegenden Thne / und dergleichen; wie auf den Blas-Instrumenten die
gebrochenen / nebst andern ihnen zukommenden Zierlichkeiten; berhaupt aber
und frnehmlich die Anmuth des Gesanges.

The instrumental works of Herr Kapellmeister [Telemann] furnish persuasive ev-

idence that he is very well acquainted with the instruments in question. That is, he
treats them with the brilliance that their inherent nature demands. He observes the
weight of the bow, the unstopped pitches, and the like with string instruments; the
breaks and other delicate aspects of wind instruments; and above all the graceful-
ness of singing.
Anonymous Hamburg reviewer, in Hamburgische Auszge aus neuen Bchern
und Nachrichten von allerhand zur Gelahrtheit gehrigen Sachen, 1728
 Preface and Acknowledgments

In 1982, a year after the tercentenary of Telemanns birth, the New Yorker maga-
zine ran a cartoon showing several billboards announcing concerts, evidently at
New York Citys Lincoln Center. A sold-out Mozart concert is advertised on the
middle billboard, but in front of it is one proclaiming ALL THE GEORG
PHILIPP TELEMANN YOU CAN STAND.1 The cartoon amusingly plays
o the common notion of the composer as a prolic purveyor of triing music.
One imagines sated audience members rolling their eyes in anticipation of con-
suming yet another trio sonata during an all-you-can-hear baroque buet. To risk
unduly extending the culinary analogy: the music provides empty calories instead
of real aural nourishment; it merely represents its era without rising above medi-
ocrity. Even those who know Telemann as a musical author of great depth and
originality, as a master of idiomatic instrumental and vocal writing, can appreci-
ate this joke. And one likes to imagine that the composer, with his keen sense of
humor, would self-deprecatingly chuckle along with us.
Much has changed during the quarter century since this cartoon was pub-
lished. Numerous critical and performing editions, scholarly studies, and per-
formances both live and recorded have gone a long way toward restoring Tele-
manns reputation to something approaching its height during the rst half of the
eighteenth century, when he was considered Germanys leading musician. Virtu-
ally all of his instrumental works are now available in print, and many can be
heard in stylish recordings. If access to his vocal music has lagged behind, there
have nevertheless been great strides on this count as well. Indeed, the time draws
near when we shall be able to make a well-informed assessment of Telemanns en-
tire compositional legacy. Yet, curiously, musicologistsespecially those outside
Germanyhave been slow to embrace him as a legitimate object of study. One
struggles, in fact, to name another composer of his historical stature who has re-
ceived so little attention from Anglo-American musicology.2 That this is the rst
book-length study on any aspect of Telemann and his music to be published in
viii Preface and Acknowledgments

English since a 1974 translation of Richard Petzoldts brief life-and-works vol-

ume seems hard to believe.3 The composers scholarly marginalization as a musical
giant in the realm of Kleinmeister is perhaps nowhere better reected than in that
traditional gatekeeper to the pantheon of musical greatness, the music-history
textbook. Only recently have such texts begun to mention Telemann as anything
more than an important contemporary and friend of Johann Sebastian Bach
and, of course, as the composer who was rst oered the position of Cantor zu
St. Thomae et Director Musices at Leipzig.4 In fact, many students learn nothing
more about Telemann than this, unless they encounter him as historys most
prolic composer, according to The Guinness Book of World Records. However much
this dubious distinction may have raised popular awareness of the composer, it
cannot have emboldened many to wade through his vast musical output.5
How and why Telemann went from being universally praised during his life-
time to being almost universally derided in the century and a half following his
death is a fascinating topic that has been treated elsewhere in detail.6 But because
the composers image continues to be shaped by many old misconceptions and
prejudices, it will be instructive for us to sample some of the critical reactions to
his musicparticularly the instrumental worksfrom the past century. One
should not assume from this brief overview, however, that the reception of Tele-
manns music since the early twentieth century has been uniformly negative or am-
bivalent. To take but two examples, Ernst Bckens 1928 characterization of Tele-
mann as the seeker and deliberate nder of new musical paths is echoed in
George Buelows 2003 assessment that Telemann was a pathnder in music, an
original, imaginative creator of musical forms and styles for the new age in which
he became a composer. . . . He was one of music historys outstanding and gifted
composers.7
Typical of the nineteenth- and early twentieth-century view of Telemann is
a passage from Hugo Riemanns 1899 genre study of the overture-suite: After
scoring up a few hundred pages of Telemann, I can only summarize my overall
impression to the eect that he generally writes smoothly, sometimes piquantly,
and here and there in the dance pieces even quite spiritedly, but is unable to con-
tinually hold ones interest because he doesnt understand how to build up inten-
sity. This is why, despite his great success during his lifetime, he has little claim to
a revival.8 Like many of his contemporaries, Riemann praises the composer on a
number of counts before oering a devastating critique aimed at justifying his
continued neglect. Another common theme in the early literature on Telemanns
music is his supposed lack of originality. Thus Frederick Niecks writing of the
characteristic Ouverture burlesque de Quixotte (55:G10) in 1906: The fancifulness
of the titles is here in most cases more striking than their signicance. . . . Tele-
 Preface and Acknowledgments ix

mann shows himself rather a ready and spirited writer than an original and pro-
found one. The amusing externalities are better hit o than the weightier inter-
nalities.9 Hans Graeser, who in 1925 wrote a dissertation on Telemanns instru-
mental chamber music, came to the conclusion that although the composers role
in the development of eighteenth-century musical style was analogous to that of
Corelli in violin music, he could not be viewed as an original artist, for he had
merely reected and synthesized the music of his time.10 And in 1933 Hans
Mersmann moderated his generally high estimation of Telemanns instrumental
music by accusing the composer of merely reecting, not synthesizing, his stylis-
tic inuences and of failing to achieve true originality despite his occasionally
brilliant experiments.11
The not-so-hidden subtext of these estimations is a comparison with the
music of J. S. Bach, one in which Telemanns perceived failure to have transcended
the musical styles of his day in forging an original, personal idiomas Bach
didis considered to mark him a supercial artist. Such writings also echo a late-
eighteenth- and nineteenth-century aesthetic that valorized individuality of ex-
pression above all else, an aesthetic fundamentally at odds with the stylistically
mixed mode of expression that prevailed in Telemanns time. Thus the com-
posers uency in all of the major compositional styles of his day came in for
heavy criticism from Alfred Einstein, whose prewar project was to determine the
nature of musical greatness:

If Bach had not been born, the leading representative of German music in the rst
half of the eighteenth century would be Georg Philipp Telemann, of Magde-
burgBachs senior by four years and his survivor by seventeen, a happy and suc-
cessful man. He far exceeded Bach in productivity, and like Bach (and later Mo-
zart)[,] he was a man that could write in all manner of styles, in the French as well
as the Italian. But when he wrote in these styles there was always a residue of imi-
tation, albeit tasteful imitation. When Bach wrote a concerto im italienischen Gusto,
it was Bachian or, as has been incorrectly said, German. For it was not his so-called
Germanism that determined Bachs style; rather it was Bachs music that deter-
mined the German style. . . . [Telemann] fused Italian, German, and French ingre-
dients into a highly agreeable and amiable synthesis. Handel, the Italian, was
much more one-sided than Telemannand much greater. And Bach did something
quite dierent: he was much more the true heir than Telemann, and what he pro-
duced was much more than a mere synthesis. Indeed, he was not only an heir, but
a revolutionary as well.12

Here Telemann comes o as a kind of baroque Papa Haydn: a happy and suc-
cessful man who wrote music that is (merely) tasteful, agreeable, and ami-
able, and that (again, merely) oers a synthesis of national styles.13 Had he
x Preface and Acknowledgments

written music that sounds Telemannian the way that Bachs sounds Bachian,
and had he been less catholic in his tastes, like Handel, the avuncular Telemann
might be tted for the mantle of greatness. Andreading a bit between the
lineshe might also have been more German. One of the ironies here is that
Telemann, more than Bach or any other composer of his time, determined the
German style. At least, this is what his contemporaries believed.
Around the middle of the twentieth century, Anglo-American scholars began
turning their attention to Telemanns instrumental works. In his 1959 study of
the baroque concerto, Arthur Hutchings oered praise for the composer that is
by turns extravagant and damningly faint. For him, Telemanns music represented
the whole history of the concerto and other forms of French and Italian con-
cert music as reected in German composers from Muat until after Quantz.14
William S. Newmans magisterial survey of the baroque sonata from the same
year includes several pages devoted to Telemann, and his conclusion bears quot-
ing here:

The customary historical evaluation of Telemann as a uent, popular, highly pro-

lic, but not very original composer seems to require no special qualication after
a review of the sonatas. If originality means, among other things, boldness of con-
cept, there is boldness in some wide melodic leaps and some out-of-the-way har-
monies. . . . If originality means introspective fantasy, there is virtually none. . . .
The strengths of Telemanns sonatas seem to lie in their uent craftsmanship, clear
lines, compelling harmony (sometimes strongly chromatic by dominants), eective
writing for the instruments, and satisfactory structural organization. The chief
weaknesses seem to lie in neutral ideas that stick too close to the scale or chord to
achieve individuality, in similarly neutral rhythmic patterns, in a somewhat indif-
ferent rhythmic organization at the phrase or period level, and in a lack of any spe-
cial textural interest. . . . Actually, the most interesting rhythmic patterns are the
borrowed ones, such as the mazurka and polonaise elements.15

Once again the issue of originality is raised: Telemanns bold adoption of

rhythmic patterns from Polish dances is downplayed as a mere borrowing. To be
fair, Newman probably lacked access to such works as the fantasias for unaccom-
panied ute and violin, where Telemanns considerable introspective fantasy is
on full display. But one has to wonder at his criticism that the sonatas lack any
special textural interest, especially because he indicates his familiarity with the
sixth of the Nouveaux quatuors (43:e4), a work of great textural complexity that has
since become one of the composers most popular works.
At the end of her 1980 book chapter on Telemanns concertos, an overview
containing many valuable insights, Pippa Drummond concluded that
 Preface and Acknowledgments xi

Telemann can no longer be classed as a baroque composer. In many ways his work
forms a link between the baroque and classical periods. The break with tradition is
not complete in that he still relies extensively on the gurative patterns and con-
trapuntal devices of the old manner. Yet his belief that melody was of supreme im-
portance, his experiments with orchestration and texture, his synthesis of popular
and learned styles, are all progressive traits. The tension between old and new
which is so characteristic of Telemann is representative of the whole transitional
era. In this respect he is one of the most typical composers of his age.16

There are few things worse, historiographically speaking, than to be labeled a

transitional gurea link between two historical periods and representative
or typical of an era in stylistic uxfor those who fall into the cracks between
epochs dened by style, culture, or politics seem destined to be marginalized.
Given that Telemann has often been viewed as straddling the baroque and classi-
cal eras and therefore easily dismissed as peripheral to mainstream musical devel-
opments in both, it is remarkable that he is barely mentioned at all in a recent and
wide-ranging study of galant music composed between 1720 and 1780, a style
and a period that have themselves traditionally been marginalized in music-
historical narratives.17 The fact of the matter is that Telemann was less a transi-
tional gure than a progressive whose music remained on the stylistic cutting edge
during most of his long career.
As this book aims to demonstrate, Telemann was not only an innovative com-
poser of uent and tasteful music, but also an originaland at times even
revolutionarycreator of concertos, sonatas, and suites, more than a few of
which rank among the eighteenth centurys nest. Researching and writing a study
of Telemanns instrumental music has therefore been a pleasurable journey of en-
lightenment. Occasionally it has also seemed an overwhelming task, given the
enormous size of the repertory, the scattered nature of sources and modern edi-
tions, and the modest body of earlier scholarship upon which to build and against
which to react. What survives of Telemanns compositions for various instrumen-
tal combinations encompasses roughly 125 overture-suites, an equal number of
concertos, 50 sonatas in four to seven parts, 130 trios, 90 solos, and 95 works
for one or more instruments without continuo. Rather than progress systemati-
cally through each genre or move across Telemanns career in strictly linear fash-
ion, I have written a series of independent yet related essays that to some extent
combines generic and chronological frameworks. After a brief prologue consid-
ering the German mixed taste and the eighteenth-century manuscript dissemi-
nation of Telemanns music, the books rst three parts explore the principal cat-
egories of overture-suite, concerto, and sonata. Chapters 1, 3, and 5 are in large
measure repertory surveys, whereas chapters 2, 4, and 6 investigate subrepertories
xii Preface and Acknowledgments

in greater depth, dealing in turn with issues of musical mimesis, imitation, and
generic amalgamation. In an eort to contextualize Telemanns music, I frequently
turn to comparable works by a variety of other eighteenth-century composers.
The most substantial of these investigations reconsider the history of particular
musical subgenres such as the overture-suite with concerto-like soloist, the con-
certo for strings without soloist, the quartet with obbligato bass, and the sonata
in concerto style. Part four of the book considers the composers Hamburg pub-
lications, rst in a detailed study of his ambitious self-publishing enterprise, and
then in a survey of the music. The books nal chapter explores the musical mean-
ings and cultural resonances of Telemanns Polish style, a mode of expression that
cuts across all the genres and periods discussed previously.
Given the enormity of Telemanns instrumental output, even a comprehensive
survey must be somewhat selective when it comes to discussing the music. Thus
not every work deserving of commentary has made the cut. Perhaps the largest
omission is Telemanns keyboard music, though more than a few works receive at-
tention here. Against those who would argue, reasonably, that a fuller considera-
tion of this music would have provided a more balanced view of Telemanns
achievement, I shall take refuge in the scholarly tradition of separating out a com-
posers keyboard works from his overall instrumental output. Also not discussed
in depth are works of doubtful authenticity, instrumental movements in vocal
works, and brief dances found in manuscript anthologies.
A word about terminology. Following eighteenth-century usage, I refer to
sonatas and suites for one and two melody instruments with continuo as solos
and trios. On the other hand, I employ the modern quartet in place of the
eighteenth-century quadro or sonata a quattro for works with three melody
instruments and continuo. My use of overture-suite to describe what is often
called an orchestral suite reects Telemanns practice of referring to such works as
an overture with suite, which in turn harks back to late-seventeenth-century
publications of instrumental suites by Lully (Ouverture avec tous les airs), Jo-
hann Sigismund Kusser (Ouvertures de thtre accompagnes de plusieurs
airs), and Philipp Heinrich Erlebach (Ouvertures begleitet mit ihren darzu
schicklichen airs). Although Telemann did sometimes employ the term ouver-
ture to refer to both the overture and following suite, he more often used for-
mulations such as Ouvertren mit ihren Nebenstcken, Ouverture, jointes
dune Suite tragi-comique, Ouvertures avec la suite comique, Ouvertren mit
ihren umfnglichen Switen, and VI Ouverturen nebst zween Folgestzen.
Because few libraries contain more than a small fraction of Telemanns instru-
mental works in modern editions, I have included as many musical examples as
practical; the small number of examples in chapter 8, relative to the amount of
 Preface and Acknowledgments xiii

music discussed, is due to the availability of many works in Brenreiters selective

critical edition, Georg Philipp Telemann: Musikalische Werke. Musical transcriptions
closely follow the original sources but silently correct errors, regularize articula-
tions, and, with a few exceptions, modernize instrument names, key signatures,
and beamings. Readers interested in the sources of quoted passages from seven-
teenth- and eighteenth-century writings will nd the original-language versions in
the notes. Unless otherwise credited, all translations are my own. I have also pro-
vided a brief glossary of terms that may be unfamiliar to nonspecialist readers.
Portions of this study originally appeared in the form of journal articles and
book chapters. Chapter 1 draws in part on Bach and the Concert en Ouverture, in
J. S. Bachs Concerted Ensemble Music: The Ouverture, Bach Perspectives 6, ed. Gregory
Butler (Chicago: University of Illinois Press, 2007), 13756. Chapter 5 includes
material rst published as When Is a Quartet Not a Quartet? Relationships Be-
tween Scoring and Genre in the German Quadro, ca. 171540, in Johann Friedrich
Fasch und sein Wirken fr Zerbst, Bericht ber die Internationale Wissenschaftliche
Konferenz am 18. und 19. April 1997 im Rahmen der 5. Internationalen Fasch-
Festtage in Zerbst, Fasch-Studien 6, ed. Konstanze Musketa and Barbara Reul
(Dessau: Anhaltische Verlagsgesellschaft, 1997), 26390. And earlier versions of
chapters 4, 6, and 7 appeared as Bach, Telemann, and the Process of Transfor-
mative Imitation in BWV 1056/2 (156/1), Journal of Musicology 17/4 (1999):
54684; The Sonate auf Concertenart and Conceptions of Genre in the Late Ba-
roque, Eighteenth-Century Music 1/2 (2004): 20547; and Telemann in the Mar-
ketplace: The Composer as Self-Publisher, Journal of the American Musicological Soci-
ety 58/2 (2005): 275356. I am grateful for permission to reprint this material,
and for the privilege to rethink and revise my earlier work.
Throughout this book, the notes bear witness to the great debt I owe earlier
writers on Telemanns instrumental music, including some of the scholars already
mentioned. But several studies warrant mention here for their special signicance.
Two 1969 dissertations by Adolf Homann (on the overture-suites) and Sieg-
fried Kross (on the concertos) include succinct but valuable studies of their rep-
ertories.18 Both have provided an important basis for subsequent research, espe-
cially as they include thematic catalogs that have only recently been superseded by
the third volume of Georg Philipp Telemann: Thematisch-Systematisches Verzeichnis seiner
Werke (henceforth TWV). A more up-to-date and substantial investigation of Tele-
manns concertos is oered by Wolfgang Hirschmanns 1986 dissertation, con-
sisting of trenchant stylistic and formal analyses of some forty works.19 Particu-
larly valuable is Hirschmanns identication of stylistic tendencies at various
points during the composers career. Finally, Jeanne Swacks unpublished 1988
dissertation on the solos for Yale University considers the music from both
xiv Preface and Acknowledgments

source-critical and analytical perspectives.20 Equally illuminating on issues of

style, chronology, and authenticity, her study helped inspire my own dissertation
on Telemanns trios and quartets.21
During the books preparation, my research and writing was greatly facilitated
by a grant from the American Philosophical Society, a National Endowment for
the Humanities Summer Stipend, and research support and a semesters leave
from Temple University. Funds to defray the books production costs came from
the Dragan Plamenac Publication Endowment Fund of the American Musico-
logical Society. I wish also to thank a number of librarians and archivists who al-
lowed me to view rare musical materials and assisted me in obtaining microlms,
photocopies, and photographs: Helmut Hell of the Staatsbibliothek zu Berlin
Preuischer Kulturbesitz, Musikabteilung mit Mendelssohn-Archiv; Oswald Bill
and Silvia Uhlemann of the Universitts- und Landesbibliothek Darmstadt; Karl
Wilhelm Geck of the Schsische LandesbibliothekStaats- und Universitts-
bibliothek Dresden; Rainer Birkendorf of the Deutsches Musikgeschichtliches
Archiv in Kassel; Barbara Linnert and Dagmar Steinfurth of the Universittsbib-
liothek Rostock; Anna Olszewska and Stepien Graz.yna of the Biblioteka Jagiel-
lonska Krakw; and Ilse Wiers of the library of the Brussels Conservatoire Royal
de Musique/Koninklijk Muziekconservatorium. At Temple University, librarian
Anne Harlow and the Interlibrary Loan sta of Samuel L. Paley Library re-
sponded promptly and with good cheer to my many requests.
It is a pleasure to express my gratitude to those friends and colleagues who
have assisted and inspired me in various ways over the years. Generously sharing
their unpublished research with me were Rebecca Harris-Warrick, Wolfgang
Hirschmann, Peter Huth, Joachim Kremer, Sarah McCleave, Ian Payne, Rudolf
Rasch, Joshua Rifkin, Stephen Rose, David Schulenberg, and Andrew Talle. Ian
Payne, whose many critical editions of Telemanns music greatly facilitated my
studies, often sent me copies before the ink had fully dried; he is also responsible
for the editorial reconstructions of the Telemann oboe concerto discussed in
chapter 4. I owe additional thanks to Ian and Wolfgang Hirschmann for helping
shape my ideas about Telemanns music through many stimulating discussions.
My colleagues at the Zentrum fr Telemann-Pege und -Forschung in Magde-
burgWolf Hobohm, Carsten Lange, Ute Poetzsch-Seban, and Brit and Ralph-
Jrgen Reipschinvited me to present my research at several scholarly confer-
ences held in conjunction with the biennial Telemann-Festtage, and provided me
with valuable advice and assistance on numerous occasions. Late in the writing
process, Rebecca Harris-Warrick, Wolfgang Hirschmann, and Stephen Rose read
drafts of selected excerpts, and Daniel Melamed and Michael Talbot made their
way through nearly the entire manuscript; all oered thoughtful comments that
 Preface and Acknowledgments xv

have immeasurably improved the nal result. I fear, however, that even such wise
counsel as this has not prevented me from committing more than my share of er-
rors in fact and interpretation.
I am also deeply appreciative of the personal and professional help I have re-
ceived from various other people. Erika Moser expertly prepared the electronic
copy of most of the musical examples. At Oxford University Press, Editor Kim
Robinson, Assistant Editor Norm Hirschy, and Production Editor Christi Stan-
forth were unfailingly ecient and enthusiastic throughout the journey toward
publication. During the projects nal stages, my ance, Jennifer, oered much-
needed love and support, not to mention a good deal of patience. Finally, I have
dedicated this book to my parents, Judith and Harry Zohn, without whose en-
couragement it could never have been completed.
This page intentionally left blank
 Contents

List of Abbreviations xix

List of Music Examples xxiii
List of Tables xxxi
List of Figures xxxiii
Prologue: Styles and Sources 3

Part I The Overture-Suites

one Acquiring a Mixed Taste: Telemann as
Great Partisan of French Music 13
two Telemanns Mimetic Art: The Characteristic
Overture-Suites 65

Part II The Concertos

three Never from the Heart? Telemanns Concertos 121
four Bachs Debt Repaid with Interest: A Case Study
of Transformative Imitation 191

Part III The Sonatas

five Something for Everyones Taste: Telemanns
Sonatas to 1725 217
six Telemann and the Sonate auf Concertenart 283
xviii Contents

Part IV The Hamburg Publications

seven Telemann in the Marketplace: The Composer
as Self-Publisher 335
eight Telemann fr Kenner und Liebhaber: The Music
of the Hamburg Publications 391

nine Telemanns Polish Style and the True Barbaric

Beauty of the Musical Other 469
Afterword 503

Glossary 509
Notes 513
Bibliography 615
Index of Telemanns Compositions 659
General Index 667
 Abbreviations

Bibliographic

BDok 13 Bach-Dokumente 1: Schriftstcke von der Hand Johann Sebastian Bachs, ed. Werner
Neumann and Hans-Joachim Schulze (Kassel: Brenreiter, 1963)
Bach-Dokumente 2: Fremdschriftliche und gedruckte Dokumente zur Lebensgeschichte
Johann Sebastian Bachs, 16851750, ed. Werner Neumann and Hans-Joachim
Schulze (Kassel: Brenreiter, 1969)
Bach-Dokumente 3: Dokumente zum Nachwirken Johann Sebastian Bachs, ed. Hans-
Joachim Schulze (Leipzig and Kassel: Brenreiter, 1972)
MGG Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopdie der Musik, ed.
Friedrich Blume, 17 vols. (Kassel: Brenreiter, 194986)
MGG II Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopdie der Musik. 2nd ed.,
ed. Ludwig Finscher (Kassel: Brenreiter, 1994)
MW Georg Philipp Telemann, Musikalische Werke (Kassel: Brenreiter, 1953)
NBA Johann Sebastian Bach, Neue Ausgabe smtlicher Werke (Kassel: Brenreiter,
1950)
NBR The New Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents, ed.
Hans T. David and Arthur Mendel, revised and enlarged by Christoph
Wol (New York: W. W. Norton, 1998)
NG The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 20 vols.
(London: Macmillan, 1980)
NG II The New Grove Dictionary of Music and Musicians, 2nd ed., ed. Stanley Sadie and
John Tyrrell, 29 vols. (London: Macmillan, 2001)

xix
xx Abbreviations

TB Georg Philipp Telemann: Briefwechsel, ed. Hans Grosse and Hans Rudolf Jung
(Leipzig: VEB Deutscher Verlag fr Musik, 1972)
TD Georg Philipp Telemann: Singen ist das Fundament zur Music in allen Dingen: Eine
Dokumentensammlung, ed. Werner Rackwitz (Leipzig: Reclam, 1981)
TWV 13 Georg Philipp Telemann: Thematisch-Systematisches Verzeichnis seiner Werke (TWV):
Instrumentalwerke, ed. Martin Ruhnke, 3 vols. (Kassel: Brenreiter,
198499)
TVWV 12 Thematisches Verzeichnis der Vokalwerke von Georg Philipp Telemann, 2nd ed., ed.
Werner Menke, 2 vols. (Frankfurt: Klostermann, 1988 and 1995)

Libraries

B-Bc Brussels, Conservatoire Royal de Musique/Koninklijk

Muziekconservatorium
D-Bds Berlin, Staatsbibliothek zu BerlinPreuischer Kulturbesitz,
Musikabteilung mit Mendelssohn-Archiv
D-Dl Dresden, Schsische LandesbibliothekStaats- und
Universittsbibliothek
D-DS Darmstadt, Universitts- und Landesbibliothek
D-HRD Arnsberg-Herdringen, Schlobibliothek (Bibliotheca Frstenbergiana)
D-KA Karlsruhe, Badische Landesbibliothek
D-Mbs Munich, Bayerische Staatsbibliothek
D-Mu Mnster, Universitts- und Landesbibliothek
D-ROu Rostock, Universittsbibliothek
D-SWl Schwerin, Landesbibliothek Mecklenburg-Vorpommern
D-WD Wiesentheid, Musiksammlung des Grafen von Schnborn-Wiesentheid
DK-Kk Copenhagen, Det Kongelige Bibliotek
US-Wc Washington, DC, Library of Congress

Secondary sources are cited as author, short title, page. Citations of thematic catalog num-
bers for Telemanns instrumental works omit the preceding TWV. This catalog (TWV)
is organized by genre and key, so that 42:a2 is the second trio in A-minor, 51:D5 is the
 Abbreviations xxi

fth solo concerto in D major, 55:h1 is the rst overture-suite in B minor, etc. By contrast,
the thematic catalog of Telemanns vocal works (TVWV) is organized primarily by genre
and secondarily by either text incipit or date of composition. Thus 1:21 is the sacred can-
tata Ach, Jesus geht zu seiner Pein (1749), whereas 1:1241 is Schae in mir, Gott, ein reines Herz (ca.
1700); 21:14 is the opera Omphale (1724), whereas 21:27 is Flavius Bertaridus (1729).
This page intentionally left blank
 Music Examples

1.1. Schae in mir, Gott, ein reines Herz, TVWV 1:1241/i, mm. 116 22
1.2. Erlebach, Ciaccona in A major for violin, viola da gamba, and continuo
from VI Sonate no. 3 (Nuremberg, 1694), mm. 115 23
1.3. Schae in mir, Gott, ein reines Herz, TVWV 1:1241/i, mm. 7380 25
1.4. Suite in D major for strings and continuo, 55:D16/i, mm. 1828 28
1.5. Suite in F major for violin, strings, and continuo, 55:F13: (a) Allemande,
mm. 14; (b) Courante, mm. 14 29
1.6. Suite in C major for 2 oboes, bassoon, strings, and continuo, 55:C4/iv,
mm. 1215 32
1.7. Suite in B minor for 2 violins, 2 oboes, 2 bassoons, strings, and
continuo, 55:h1/i, mm. 4649 33
1.8. Suite in F-sharp minor for strings and continuo, 55:s/i, mm. 2630 34
1.9. Suite in E minor for 2 utes, 2 oboes, bassoon, 2 violins, strings,
and continuo, 55:e3/i, mm. 2442 35
1.10. Suite in F minor for 2 recorders (tacet), strings, and continuo, 55:f1/iv,
mm. 18 37
1.11. Suite in B-at for 3 oboes, bassoon, strings, and continuo, 55:B10/ix,
mm. 16 37
1.12. Suite in B-at for 3 oboes, bassoon, strings, and continuo, 55:B10/iv,
mm. 14 39
1.13. Suite in D major for 3 oboes, strings, and continuo, 55:D15/viii,
mm. 17 41
1.14. Concerto in F major for violin and orchestra, 51:F4/ii, mm. 18 49

xxiii
xxiv Music Examples

1.15. Suite in A minor for recorder and strings, 55:a2/iii, mm. 511 52
1.16. Divertimento in A major for strings and continuo, 50:22/i, mm. 116 59
1.17. Divertimento in A major for strings and continuo, 50:22/ii, mm. 112 60
1.18. Concert 9 Parties for ute and/or piccolo, oboe, chalumeau,
2 violins, viola, 2 concertante contrabasses, and continuo, 50:1/i,
mm. 3641 62
2.1. Suite in B-at for strings and continuo, 55:B8/vii, mm. 1119 76
2.2. Suite in G major for strings and continuo, 55:G4/vi, mm. 112 80
2.3. Suite in C major for 3 oboes, strings, and continuo, 55:C6/v, mm. 118 82
2.4. Suite in B-at for 3 oboes, strings, and continuo, 55:B10/viii, mm. 517 85
2.5. Suite in F major for 4 horns, 2 oboes, 2 violins, and continuo,
55:F11/vi, mm. 114 91
2.6. Suite in F major for 4 horns, 2 oboes, 2 violins, and continuo,
55:F11/vii, mm. 114 92
2.7. Suite in E-at for strings and continuo, 55:Es3/v, mm. 119 97
2.8. Suite in C major for strings and continuo, 55:C5/vi, mm. 117 98
2.9. Suite in G major for strings and continuo, 55:G2/i: (a) mm. 17;
(b) mm. 1830; (c) mm. 3742 102
2.10. Suite in B-at for 2 oboes, strings, and continuo, 55:B11/ii,
mm. 3438 108
2.11. Suite in B-at for 2 oboes, strings, and continuo, 55:B11/iii, mm. 15 109
2.12. Suite in D major for 3 trumpets, tympani, strings, and continuo,
55:D22/ii, mm. 114 111
2.13. Suite in D major for 3 trumpets, timpani, strings, and continuo,
55:D22/iv 112
3.1. Concerto in G major for two violins and strings, 52:G2/i, mm. 16 126
3.2. Concerto in A major for four violins and strings, 54:A1/ii, mm. 111 128
3.3. Concerto in A minor for violin and strings, 51:a1/i, mm. 116 130
3.4. Concerto in C minor for oboe and strings, 51:c1/i, mm. 18 132
3.5. Concerto in D minor for oboe and strings, 51:d1/iii 133
 Music Examples xxv

3.6. Concerto in B-at for two violins and strings, 52:B2/i, mm. 16 134
3.7. Concerto in D minor for oboe and strings, 51:d1/i, mm. 13 135
3.8. Concerto in C minor for oboe and strings, 51:c1/ii, mm. 116 136
3.9. Concerto in E minor for oboe and strings, 51:e1/ii, mm. 2633 138
3.10. Concerto in A major for two utes and strings, 53:A1/ii, mm. 116 141
3.11. Concerto in B minor for two utes and strings, 53:h1/ii, mm. 11218 142
3.12. Concerto in B-at for strings and continuo, 43:B2/i, mm. 124 154
3.13. Sonata in A major for strings and continuo, 40:200/iv, mm. 111 156
3.14. Concerto in E-at major for strings and continuo, 43:Es1/i,
mm. 2234 157
3.15. Concerto in E-at major for strings and continuo, 43:Es1/ii,
mm. 2946 158
3.16. Concerto Polonoise in B-at for strings and continuo, 43:B3/ii,
mm. 3352 161
3.17. Sonata in C major for four violins, 40:203/ii, mm. 2637 162
3.18. Concerto in G major for four violins, 40:201/iv, mm. 116 163
3.19. Concerto in C major for four violins, 40:203/i 164
3.20. Concerto in F major for recorder and strings, 51:F1/ii, mm. 1823 171
3.21. Concerto in E minor for ute and recorder, 52:e1/iii, mm. 19 173
3.22. Concerto in E major for ute, oboe damore, viola damore, and strings,
53:E1/iii, mm. 2532 175
3.23. Concerto in D major for two utes, violin, cello, and strings, 54:D1/iii,
mm. 138 176
4.1. Sinfonia to Ich steh mit einem Fu im Grabe, BWV 156 194
4.2. Concerto in G major for oboe or ute, strings, and continuo, 51:G2/i 196
4.3. Solo in G major for ute and continuo, 41:G9/i (Essercizii musici, Solo 8),
mm. 16 199
4.4. Concerto in G major for oboe or ute, strings, and continuo, 51:G2/ii,
mm. 112 203
xxvi Music Examples

4.5. Concerto in G major for oboe or ute, strings, and continuo, 51:G2/ii,
mm. 6065 204
4.6. Concerto in G major for oboe or ute, strings, and continuo,
51:G2/iv, mm. 2629 204
4.7. Concerto in G major for oboe or ute, strings, and continuo, 51:G2/iii,
mm. 19 205
5.1. Sonata from Ach Herr, strafe mich nicht, TVWV 7:1, mm. 113, 2327 218
5.2. Concerto in A major for two scordatura violins and continuo, Anh. 42:A1/i,
mm. 1122 (violins at sounding pitch) 219
5.3. (a) Corelli, Trio in F major for two violins and continuo, op. 4, no. 9/iii,
mm. 15; (b) trio in D major for two violins and continuo, 42:D14/iv,
mm. 14 221
5.4. Fugue subjects in the early Italianate trios: (a) 42:G11/ii; (b) 42:c7/iv;
(c) 42:d9/iv; (d) 42:g15/i; (e) 42:d9/ii 223
5.5. Trio in G major for two violins and continuo, 42:G11/iii, mm. 114 224
5.6. Trio in G minor for oboe, violin, and continuo, 42:g14/iii, mm. 14 225
5.7. Trio in G minor for ute, viola da gamba, and continuo, 42:g15/ii,
mm. 13 225
5.8. Trio in D minor for two treble instruments and continuo, 42:d11/i,
mm. 113 230
5.9. Trio in D minor for two treble instruments and continuo, 42:d11/ii,
mm. 116 231
5.10. Quartet in D minor for ute, violin, bassoon/cello, and continuo, 43:d3/i,
mm. 112 235
5.11. Handel, concerto in G minor for oboe and strings, HWV 287/i,
mm. 18 237
5.12. Concerto in A minor for recorder, oboe, violin, and continuo, 43:a3/ii,
mm. 2432 238
5.13. (a) Telemann, 43:g2/iv, mm. 1012; (b) Fasch, FWV N:F4/ii,
mm. 1317; (c) Heinichen, Seibel 220/ii, mm. 1115 245
5.14. Zelenka, ZWV 181/2/i, mm. 16 246
5.15. Couperin, La Franoise, mm. 13336 249
 Music Examples xxvii

5.16. Telemann, 43:G3/i (Six quatuors ou trios no. 4), mm. 15 249
5.17. Bach, BWV 1049/i, mm. 28696 250
5.18. Niedt, Handleitung zur Variation, chapters 35 251
5.19. Gasparini, Larmonico practico al cimbalo, 1058 254
5.20. Mattheson, Grosse General-Ba-Schule, 331 256
5.21. Sonata in F minor for two violins, two violas, and continuo, 44:32/ii,
mm. 1521 260
5.22. Sonata in E minor for 2 oboes, two violins, two violas, and continuo,
50:4/i, mm. 112 262
5.23. Sonata in E minor for 2 oboes, two violins, two violas, and continuo,
50:4/ii, mm. 6574 263
5.24. Concerto in A minor for two recorders, two oboes, two violins, and continuo,
44:42/i, mm. 16 264
5.25. Concerto in B-at for three oboes, three violins, and continuo, 44:43/i,
mm. 17 265
5.26. Quatrime livre de quatuors no. 1/i, mm. 12 267
5.27. Quatrime livre de quatuors no. 1/ii, mm. 5866 268
5.28. Quatrime livre de quatuors no. 3/iv, mm. 1322 269
5.29. Quatrime livre de quatuors no. 2/i 270
5.30. Six sonates violon seul no. 3/i, mm. 118 273
5.31. Solo in B minor for ute and continuo, 41:h4/i (Musique de table,
Production 1), mm. 19 274
5.32. Kleine Cammer-Music no. 3/vii, mm. 112 275
5.33. Kleine Cammer-Music no. 4/vi 276
5.34. Six trio no. 2/i, mm. 18 279
6.1. Suite in A major for keyboard, 32:6/iii (VI Ouverturen nebst zween
Folgestzen no. 2), mm. 123 289
6.2. Fantasia in B-at for unaccompanied violin, 40:14/ii (Fantasie per il
violino senza basso no. 1), mm. 115 290
6.3. Johann Melchior Molter, Sonata 4dro in E minor for oboe, violin,
viola, and continuo, MWV IX/19/i, mm. 129 299
xxviii Music Examples

6.4. George Frideric Handel, Trio in B-at for two violins and continuo,
HWV 388/iv, mm. 126 305
6.5. Quartet in G minor for recorder, violin, viola, and continuo, 43:g4/iii:
(a) mm. 118; (b) mm. 6371 308
6.6. Quartet in A minor for recorder, oboe, violin, and continuo, 43:a3/iv:
(a) mm. 118; (b) mm. 3752 317
6.7. Quartet in D major for ute, violin, viola da gamba/cello, and continuo,
43:D1/iii (Quadri, Concerto 2), ideal ritornello 321
6.8. Quartet in A minor for ute, violin, viola da gamba/cello, and continuo,
43:a2/i (Nouveaux quatuors no. 2): (a) mm. 114; (b) mm. 4954 324
8.1. Sonates sans basse no. 5/iv, mm. 6069 394
8.2. Essercizii musici, solo 7/ii, mm. 120 396
8.3. Essercizii musici, trio 3/iii, mm. 121 398
8.4. Essercizii musici, trio 2/iii, mm. 1431, 4455 399
8.5. Solo in F minor for bassoon and continuo, 41:f1/i (Der getreue Music-Meister),
mm. 119 404
8.6. Solo in D major for unaccompanied viola da gamba, 40:1/iii (Der getreue
Music-Meister), mm. 122 407
8.7. Trio in C major for recorder and treble viol, 42:C2/ii, mm. 115 409
8.8. Quadri, Sonata 1/ii, mm. 5354 415
8.9. Quadri, Concerto 1/i, mm. 113 416
8.10. III Trietti methodichi e III scherzi, trietto 3/ii, mm. 111 420
8.11. III Trietti methodichi e III scherzi, trietto 2/ii, mm. 1315 421
8.12. Trio in G minor for oboe, violin, and continuo, 42:g8/iii 422
8.13. J. G. Pisendels ornamentation for 42:A8/i, violin 1, mm. 12, 818 424
8.14. III Trietti methodichi e III scherzi, trietto 2/i, mm. 123 426
8.15. XII Solos no. 11/ii: (a) mm. 112; (b) mm. 1924 442
8.16. Six concerts et six suites, Suite no. 5/v, mm. 111 444
8.17. Six concerts et six suites: (a) Concerto no. 6/iii, mm. 23; (b) Concerto
no. 5/ii, mm. 2829; (c) Suite no. 6/i, mm. 34 445
 Music Examples xxix

8.18. Six concerts et six suites, Concerto 2/i, mm. 712 447
8.19. Nouveaux quatuors no. 6/vi, mm. 119 457
8.20. Duet in E minor for two utes, 40:142/i, mm. 113 462
8.21. Duet in E minor for two utes, 40:142/iii, mm. 119 462
8.22. Sei duetti no. 1/iii, mm. 124 464
8.23. Sei duetti no. 2/i, mm. 14 464
9.1. Suite in D major for 2 horns or trumpets, strings, and continuo,
55:D17/ii, mm. 118 491
9.2. Sonata Polonese 3 for violin, viola, and continuo, 42:a8:
(a) movement 1, mm. 15; (b) movement 2, mm. 14 495
9.3. Concerto in C minor for oboe and strings, 51:c1/iv, mm. 122 496
9.4. Concerto in E minor for ute, recorder, and strings, 52:e1/iv, mm. 120 498
9.5. Trio in D minor for recorder, treble viol, and continuo, 42:d7/iv,
mm. 3250 500
9.6. Schweig hinknftig, albrer Tropf! from Pimpinone, act 3, mm. 15 502
This page intentionally left blank
 Tables

1.1. Overture-suite publications of German Lullists, 16821706 18

1.2. The concert en ouverture 44
2.1. Characteristic titles to Telemanns overture-suites 69
3.1. Telemanns solo concertos, ca. 170815 125
3.2. Selected publications including ripieno concertos, 16921720 144
3.3. Telemanns ripieno concertos 149
3.4. Telemann works copied in Saxony by Johann Samuel Endler and others 179
3.5. Telemann concertos and overture-suites performed with orchestral
doublings at Dresden 185
3.6. Telemanns Dresden church sinfonias 187
5.1. Telemann duets and trios excerpted in Quantzs Solfeggi 228
5.2. Telemanns trios alla francese 229
5.3. Obbligato bass quartets in Germany, ca. 171540 243
6.1. Telemanns solos auf Concertenart 311
6.2. Telemanns trios auf Concertenart 312
6.3. Telemanns quartets auf Concertenart 313
6.4. Structure of 43:a3/iv 316
6.5. Structure of 42:h1/ii 322
7.1. Telemanns self- and authorized publications, 172565 337
7.2. Telemanns subscription publications, 172548 350

xxxi
xxxii Tables

7.3. The Supplment de souscrivants for the Nouveaux quatuors 362

7.4. Telemann publications oered in the Breitkopf Verzeichni Musicalischer
Bcher sowohl zur Theorie als Praxis 388
8.1. Symmetrical arrangement of solos in the Essercizii musici 395
8.2. Movement types in the 12 Fantaisies travers. sans basse 428
8.3. Movement types in the XII Fantasie per il violino senza basso 431
8.4. Structure of 53:F1/i (Musique de table II) 437
9.1. A lexicon of musical exoticism 492
 Figures

2.1. Gregorio Lambranzi, Neue und Curieuse Theatralische Tantz-Schul (Nuremberg,

1716), part 1, plate 15 79
3.1. 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.
XVII.18.5142, copied by an anonymous scribe in Weimar, ca. 171314?;
(b) Six concerts violon concertant, op. 1 no. 2 (Frankfurt: Telemann, 1718) 147
3.2. Title page to concerto in G major for strings and continuo, 43:G8: D-DS,
Mus. ms. 1033/90, copied by Johann Balthasar Knig, Frankfurt, ca. 1716
(possessor mark H in upper left = Anton Eberhard Helmann) 151
3.3. First page of Violino 1 part to concerto in E major for strings and
continuo, 43:E2: D-DS, Mus. ms. 1033/93, copied by Anton Eberhard
Helmann, Frankfurt or Darmstadt, ca. 171621 152
5.1. Graupner, Canon allunisono, movement 3, mm. 719 (D-DS, Mus.
ms. 408) 247
5.2. Graupner, Sonata 6/ii, mm. 138 (D-DS, Mus. ms. 472/1) 247
5.3. Graupner, Sonata 10/i, mm. 925 (D-DS, Mus. ms. 472/1) 248
5.4. Frontispiece to Telemanns Sei suonatine per violino e cembalo (Frankfurt, 1718) 281
6.1. First page of the cello part to an anonymous trio for ute, violin,
and cello (D-Rou, Mus. saec. XVII.18.5167) 302
7.1. Second page of the Noms des souscrivants list from the Nouveaux
quatuors, showing the Supplment de souscrivants (Library of Congress,
Washington) 361
7.2. Title page to the Musique de table 372

xxxiii
xxxiv Figures

7.3. Detail of the list of participants at the 1730 Hamburg Brgerkapitne

celebration, engraved by Christian Fritzsch (Staatsarchiv Hamburg) 373
7.4. First page of music in the Hamburg second edition of the Six Sonates
Violon seul 375
7.5. Telemanns engraving in (a) Sonate metodiche, p. 12; (b) Continuation des
sonates mthodiques, p. 1; (c) Fugirende und veraendernde Choraele, no. 19;
(d) VI moralische Cantaten II, p. 6 376
7.6. Lettering in Essercizii musici, partbook 1: (a) p. 5 (letters engraved
freehand); (b) p. 21 (letters punched) 378
7.7. Mezzotint by Valentin Daniel Preiler (Nuremberg, 1750), after a lost
painting by Ludwig Michael Schneider (Nuremberg, Germanisches
Nationalmuseum) 385
8.1. Sonate metodiche no. 2/i, mm. 18 419
8.2. J. G. Pisendels ornamentation for 42:A8/i, violin 1 (D-Dl, Mus.
2392-Q-11) 423
9.1. Jakub Kazimierz Haur, Musicians at a Polish Inn, from Sklad abo skarbiec
znakomitych sekretw ekonomiej ziemianskiej (Krakw, 1693) 473
9.2. Sack-Pfeie, from Johann Christoph Weigel, Musicalisches Theatrum
(Nuremberg, ca. 1722) 474
9.3. Polnischer Bock, from Johann Christoph Weigel, Musicalisches Theatrum
(Nuremberg, ca. 1722) 475
9.4. Johann Beer, New and Completely Accurate Representation of the
Musical Realm, from Bellum musicum oder musicalischer Krieg
(Weienfels, 1701) 481
Music for a Mixed Taste
This page intentionally left blank
 Prologue
Styles and Sources

Telemann and the German Mixed Taste

Johann Sebastian Bachs August 1730 memorandum to the Leipzig town council,
the Short but Most Necessary Draft for a Well-Appointed Church Music, in-
cludes not only a famous description of the unfavorable performing conditions
for his music, but also a pithy description of the cosmopolitan nature of German
musical life at the time: It is, anyhow, somewhat strange that German musicians
are expected to be capable of performing at once and ex tempore all kinds of music,
whether it come from Italy or France, England or Poland.1 This was in fact noth-
ing new, for such versatility had long been expected of German performers. As
early as 1681, Johann Beer could satirize this taste for the music of other nations
in his novel Der berhmte Narren-Spital (The Famous Fools Spital), in which the nar-
rator, Hans guck in die Welt, is a court violinist required by his master to play a
ridiculous mixture of the most beautiful little pieces from the entire world, now
French, now Burgundian, now Turkish, now Italian, now from the Siebengebirge,
now Tyrolian.2 Bach did not need to point out to the town council that German
composers were also expected to master all the principal national idioms, result-
ing in a style that became known as the mixed taste. Thus Georg Muat ac-
knowledged in the dedication to his 1695 Florilegium primum that I dare not em-
ploy only a single style or method, but rather the most skillful mixture of styles
I can manage through my experience in various countries. . . . As I mix the French
manner with the German and Italian, I do not begin a war, but perhaps rather a
prelude to the unity, the dear peace, desired by all the peoples.3
By the 1710s and 1720s, such stylistic mixtures were being advocated in Ger-
man theoretical writings: Johann Mattheson noted the German tendency to
combine the Italian and French styles;4 Ernst Gottlieb Baron observed that
whereas the Italian manner is serious and the French style diverting, in Germany
one takes on both, for this nation loves variety and going from one thing, and even

3
4 Music for a Mixed Taste

one extreme, to another;5 and Johann David Heinichen considered that a happy
mixture of the Italian and French tastes would most astonish the ear, and must
win out over all other tastes of the world.6 In a 1728 issue of his periodical Der
Biedermann, the Leipzig literature professor Johann Christoph Gottsched reported
that in particular, I hear it said in praise of the above-mentioned Telemann that
he knows how to suit the taste of all amateurs. In composing his pieces he fol-
lows sometimes the Italian, sometimes the French, and often also a mixed man-
ner.7 Telemann became something of a standard-bearer for the mixed taste in
subsequent years: Johann Adolph Scheibe marveled at his ability to assimilate na-
tional styles of music without compromising his individuality as a composer, and
Mattheson praised the mixture of the French and Italian idioms in his trios.8 Al-
though Scheibe elsewhere warned against mixing styles in a single composition,
he found that it is best if diligent German part writing, Italian galanterie, and
French passion are combined in trios and quartets.9 By the early 1750s Johann
Joachim Quantz could describe the amalgamation of national styles as the Ger-
man taste:

If one has the necessary discernment to choose the best from the styles of dier-
ent countries, a mixed taste results that, without overstepping the bounds of mod-
esty, could well be called the German taste, not only because the Germans came upon
it rst, but because it has already been established at dierent places in Germany
for many years, ourishes still, and displeases in neither Italy nor France, nor in
other lands.10

The four national styles mentioned by BachItalian, French, English, and Pol-
ishwere also those recognized by Telemann as the constituent parts of the mixed
taste. In his libretto for the lost cantata Wie? ruhet ihr, versteckte Saiten?,TVWV 20:13,
performed at the opening of his winter collegium musicum concert series in
1721 and 1722, Telemann described the nature of German music in a recitative:

The attery of Italys pieces,

The unrestrained liveliness
That ows from French songs;
Britains leaping, obliging nature;
Yes, Sarmatias exquisite pleasure,
To which the notes jesting is devoted:
German diligence combines all this
To the honor of its country,
All the more to please the listener here
Through pen, mouth, and hand.11
 Prologue 5

Thus, at the outset of his career in Hamburg, the composer introduced him-
self to the citys concertgoing public by stating something of a musical manifesto.
Telemann again praised the felicitous combination of national styles in the ded-
icatory poem to his published minuet collection Zweytes sieben mal sieben und ein
Menuet, which appeared six months before Bach wrote his Short but Most Nec-
essary Draft. Here he compliments the mixed taste of Count Friedrich Carl von
Erbach (16801731), an amateur musician with whom he had long been ac-
quainted: You eortlessly combine the French liveliness, melody, and harmony;
the Italian attery, invention, and strange passages; and the British and Polish jest-
ing in a mixture lled with sweetness.12 Telemann could just as easily have been
describing his own brand of the mixed taste, marked as it is by an abiding eclec-
ticisma rondeau in the Italian style, a suite with a concerto-like soloist, a con-
certo in the Polish style, a sonata combining modern and historical idioms. Such
hybridizations do not constitute merely a mix-and-match catalog of possibilities,
for Telemann had a genius for seamlessly blending disparate elements. The result
is a variegated musical language that remains, paradoxically perhaps, simultane-
ously accessible and intellectually demanding.

Genius in the Closet

Although the following chapters are not primarily concerned with issues of chro-
nology, authenticity, and dissemination, comprehending the meanings of Tele-
manns music often requires investigating a given works genesis and reception.
The details of such investigations may be fascinating in themselves, but as Charles
Burney cautions, they must not distract one from the larger picture. In his cele-
brated travelogue of 1773, The Present State of Music in Germany, the Netherlands, and the
United Provinces, Burney reected on the dierence between writing a military his-
tory and one focused on ideas, scientic discoveries, or artworks:

If a narration of the still, but successful eorts of genius in the closet, could ren-
der a book equally entertaining with the public transactions of the eld; the life of
a philosopher, a man of science, or an artist, would be read with as much avidity,
as that of a Csar, or an Alexander.
But though the day, and hour, are carefully consigned to posterity, when towns
have been sacked, and armies defeated, yet the exact time is seldom enquired, when
discoveries the most useful to human nature have been made, or the greatest pro-
ductions of genius conceived.
He would, therefore, be thought a most contemptible biographer, who, in the
life of a musician, should circumstantially relate the year, the day, the hour when,
6 Music for a Mixed Taste

and place where, a particular sonata was composed, though by its excellence, it
should bid fair for delighting the lovers of music, as long as the present system of
harmony shall submit.
And yet an historian will be read with a kind of savage satisfaction, who in the
course of events, tells us, when Kouli-kan, or any other tyrant, made dispositions
for a battle, in which such carnage ensued, as will make humanity shudder with
horror, as long as the recital of it shall blacken the annals of mankind.13

Little seems to have changed from Burneys time to ours, though relating the
story of a sonatas genesis is no longer considered such a pointless act. We shall
not, in any case, concern ourselves with the details of particular works here; in-
stead, let us open the closets door a crack to consider how Telemanns instru-
mental music has come down to us.
The eld of Telemann studies was relatively slow to embrace source-critical re-
search, in part because for years the monumental undertaking of achieving basic
bibliographic control over the composers output took precedence, and in part
because very few autograph sources for the instrumental music survive. Aside
from Telemanns composing scores to eighteen concertos, overture-suites, and
symphonies, we have only scribal copies for the many instrumental works he left
unpublished.14 Why this is so remains a mystery, and unfortunately the nonvocal
portion of Telemanns 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 per-
sonally. The bulk of them belonged to the Darmstadt and Dresden Hofkapellen,
or to musicians employed by those courts, and in recent years much progress has
been made in determining their chronology though studies of copying hands and
paper types.15 Indeed, the situation is much improved over the days when schol-
ars such as Hans Graeser, Horst Bttner, Adolf Homann, and Siegfried Kross
lamented that a chronology of Telemanns instrumental works was practically out
of reach.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 Telemanns authorized
publications from Frankfurt and most of his self-published editions from Ham-
burg; these last, engraved by the composer, have the status of autograph fair
copies, and many are precisely datable. Although Telemanns earliest instrumental
works, the sausage symphonies (Bratensymphonien) he wrote for town musicians
at Zellerfeld between 1693 and 1697,17 have not been traced, it appears that the
extant instrumental works represent most or all of the stations in his career: Hil-
desheim (16971701), Leipzig (170105), Sorau (170508), Eisenach (1708
12), Frankfurt (171221), and Hamburg (172167).
 Prologue 7

Starting with his Frankfurt years, Telemann maintained a long relationship

with the Darmstadt Hofkapelle maintained by Ernst Ludwig (16671739) and
Ludwig VIII (16911768), Landgraves of Hessen. Under the leadership of
Christoph Graupner, this organization performed Telemanns instrumental music
with great frequency during the 1720s and 1730s. The surviving portion of the
courts music collection is now owned by the Universitts- und Landesbibliothek
Darmstadt, where there are some 350 manuscripts containing instrumental
works by Telemann. The earliest layer of these sources dates from before 1720,
with many manuscripts appearing to have been sent by the composer from Frank-
furt (occasionally one nds among them corrections or even an entire part in his
hand). Telemann was probably well acquainted with most of the Hofkapelle mu-
sicians, who played under him in performances at Frankfurt during April and
May 1716. Despite the richness of the Darmstadt collection, it is likely that
much has been lost. For example, in 1729 the wind player Johann Michael Bhm,
who had served at Darmstadt since 1711 and became Telemanns brother-in-law
in 1714, suddenly left the court for a position at the Wrttemberg court in
Stuttgart. Although Bhm had been a valued member of the Hofkapelle, direct-
ing some of the instrumental music and receiving a high salary (in 1718 he was
the fourth-highest-paid member), he claimed following his departure that the
Landgrave had repeatedly ignored his requests for temporary leaves, and that he
could no longer support his family because his salary was so desperately in arrears.
To the charges that he had stolen music and instruments belonging to the court,
Bhm responded that he had taken only his own Telemann things, of which
there were nearly as many as the violinist Johann Samuel Endler owned.18 Today
just over a hundred manuscripts of Telemanns instrumental music in Endlers hand
are at Darmstadt. Bhms manuscripts, which like those of other musicians had
been placed at the Darmstadt Hofkapelles disposal, have not been identied.19
The second largest manuscript collection of Telemanns instrumental music,
numbering just over 150 items, is preserved at the Schsische Landesbibliothek
Staats- und Universittsbibliothek in Dresden. Under the Saxon Electors Fried-
rich August I (August the Strong, r. 16941733) and Friedrich August II (r.
173363), the opulence of the Dresden Hofkapelle was nearly unrivalled in all
of Europe. An ardent Francophile, Friedrich August I restructured the Hofka-
pelle along French lines during the rst decade of the eighteenth century. In ad-
dition to creating a six-part string ensemble supplemented with utes, oboes, and
bassoons, he assembled a French ballet and brought French comdiens to the court.
The Versailles-trained Belgian Jean-Baptiste Volumier (Woulmyer) was engaged
as dancing master in 1709 and soon became Konzertmeister. The elector ensured
that Hofkapelle members received a cosmopolitan musical education: several
8 Music for a Mixed Taste

chamber musicians accompanied him on trips to Paris (1714), Italy (171617),

and Vienna (1718). Italian music was represented at Dresden by the operas of
court composers (including Giovanni Alberto Ristori and the Kapellmeisters Jo-
hann David Heinichen and Antonio Lotti) and through frequent performances
of Vivaldis instrumental works. The inuence of the Italian style heightened with
the installation of Johann Georg Pisendel as Konzertmeister in 1728, the acces-
sion to the throne of Friedrich August II in 1733, and the arrival at court of the
Italian-trained Oberkapellmeister Johann Adolph Hasse in the following year. It
was also at this time that the mixed taste crystallized at Dresden. The skill of the
Hofkapelles musicians was a source of wonder to the teenaged Quantz, who rst
heard the ensemble in March 1716:

The royal orchestra was already in full bloom at this time. By virtue of its smooth,
French manner of performance, introduced by the then Konzertmeister Volumier,
it was already dierent from many other orchestras. Under the leadership of the
succeeding Konzertmeister, Pisendel, who introduced a mixed taste, its execution
gradually reached a high level of renement. In all my subsequent travels, I have heard
none better. At that time it boasted many famous instrumentalists, including Pisendel
and [Francesco Maria] Veracini on the violin, Pantaleon Hebenstreit on the panta-
leon, Sylvius Leopold Weiss on the lute and theorbo, [Johann Christian] Richter on
the oboe, [and] Pierre Gabriel Buardin on the transverse ute, not to mention the
good cellists, bassoonists, horn players, and double bassists.20

All of these musicians, including Quantz, were personally known to Telemann.

In fact, the composer very nearly joined the Dresden Hofkapelle in 1711, when
Friedrich August I tried to lure him away from Eisenach.21 Instead, the composer
settled the following year in Frankfurt. But Telemanns music was already being
performed at Dresden by 171011, and the surviving manuscripts reveal that
performances of his music continued there into the 1750s. Aside from perform-
ance material prepared by court copyists, the bulk of the Knigliche Privat-
Musikaliensammlung (Royal Music Collection) was probably the property of
musicians, who were responsible for developing their own repertory.22 As a result,
many manuscripts must have left the collection when players took other court po-
sitions or died. A large quantity of the Telemann works were evidently owned by
Pisendel, who maintained a warm friendship with the composer over several
decades; the violinists personal collection joined the courts in 1765.
Next to Darmstadt and Dresden, the most signicant collection of Telemanns
instrumental music is that assembled by Crown Prince Friedrich Ludwig of
Wrttemberg-Stuttgart between 1716 and 1731. Now in Rostock, the princes
manuscripts include some three dozen Telemann sources.23 Two dozen more
 Prologue 9

sources, once belonging to the Schwerin Hofkapelle, are now at the Landesbib-
liothek Mecklenburg-Vorpommern in Schwerin. Most are in the hands of musi-
cians from the town of Altona (now a suburb of Hamburg), and appear to have
traveled to Schwerin in 1730 with the newly installed court organist, Peter Johann
Fick.24 Although the copies of Telemann instrumental works preserved at the
Staatsbibliothek zu BerlinPreuischer Kulturbesitz are mostly late or periph-
eral sources, they have been supplemented recently by manuscripts from the
archive of the Sing-Akademie zu Berlin. Among the holdings of the archive are
previously unknown chamber works, including a set of ute duets.
It is also worth considering what has been lost, in addition to Michael Bhms
extensive collection. A 1743 inventory of the holdings of the Zerbst Hofkapelle
under Johann Friedrich Fasch shows it to have been especially rich in Telemanns
music, with no fewer than forty-three overture-suites, twenty-three concertos, and
twenty-four sonatas.25 Some of this music may have come with Fasch from Prague,
where he served the Bohemian count Wenzel von Morzin (16761737) as
Kapellmeister in 172122. Unfortunately, little or no instrumental music by
Telemann is preserved in Sorau, Eisenach, Frankfurt, and Hamburg. Nor do we
have any record of the music that he sent to Bayreuth as Kapellmeister in absen-
tia from 1726.26
Finally, a number of manuscripts transmitting Telemanns music are attributed
to Melante, the composers anagrammatic pseudonym. He began referring to
himself in this way no later than 1712, and seems to have ceased after 1733.27 To
judge from the composing scores and scribal copies at Berlin, Darmstadt, Dres-
den, and Frankfurt, Melante was in use mainly during the Frankfurt years. In
adopting this pseudonym, Telemann was participating in a German fashion for
pen names: the dancing master Johann Leonard Rost styled himself Meletaon,
the poet Christian Friedrich Hunold published under the name Menantes, and
the poet and amateur musician Johann Sigismund Scholze was known as Sper-
ontes. This fashion seems to have emulated a seventeenth-century French tradi-
tion of representing prominent members of society as characters in novels, their
identities concealed by pastoral names. It is also reminiscent of Jean de La
Bruyres 1688 Caractres, literary portraits with classicizing pseudonyms.28 Al-
ready by the second half of the eighteenth century, many writers on music were
unaware that Telemann and Melante were one and the same. When, in 1899,
Alfred Moat published his edition of the violin sonata 41:a1 (from the Six
sonates violon seul)apparently the rst publication of a multimovement instru-
mental work by Telemann in well over a centuryhe entitled it Sonate von
Georgio Melande (ca. 17001750).29
This page intentionally left blank
 Part I
The Overture-Suites
This page intentionally left blank
 Chapter 1
Acquiring a Mixed Taste
Telemann as Great Partisan of French Music

Writing to Telemann in January 1753, Johann Joachim Quantz expressed plea-

sure at the older composers approval of his recently published Versuch einer Anweis-
ung die Flte traversiere zu spielen: since you yourself declare that what you take excep-
tion to is of no consequence, I am pleased, at all events, that I have diered from
your principles only in tries. One of Telemanns few tries (mentioned in a
letter that has yet to surface) concerned a brief passage in the Versuch on French
overtures. With more than the requisite grace, Quantz responded to Telemanns
criticisms:

At the place where I extol Handel and Telemann for having surpassed Lully in writ-
ing overtures (in other [kinds of] pieces this same [superiority] is self-evident) I
take overtures in [a] broader sense. I also perceive no reason why I should intro-
duce a distinction here and establish true French overtures, since their invention de-
rives from the French. Nevertheless, I will yield on this point, if you, honorable Sir,
will resolve to give a genuinely precise explanation of true French overtures. I will
never allow myself to be persuaded, however, that Telemann and Handel have not
made innitely better overtures than Lully. You know yourself what a lazy writer
and sluggish hero Lully was in learned and fugal music.1

In the Versuch, Quantz had contented himself with providing a few points
about the French overtures style and noting that Lully has provided good mod-
els for it; but some German composers, among others especially Handel and
Telemann, have far surpassed him. . . . Since the overture produces such a good
eect, however, it is a pity that it is no longer in vogue in Germany.2 He now
considered Telemann to be splitting stylistic hairs by insisting, apparently, on a
distinction between overtures composed by the French (true French overtures)
and those by German imitators, who were more uent in learned and fugal
music. (One might accuse Quantz of being slightly disingenuous on this point,
for earlier in his letter he had referred to Telemanns trios in the true French

13
14 The Overture-Suites

style without dening his terms.) 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 genres unfolding almost from its birth
during the 1680s and 1690s, and knew as well as anyone how it had moved be-
yond the Lullian archetype during succeeding decades. True French overtures
may therefore have encompassed not only the works of Lully and his French suc-
cessors, but also those by German Lullists such as Benedict Anton Auf-
schnaiter, Philipp Heinrich Erlebach, Johann Caspar Ferdinand Fischer, Johann
Sigismund Kusser, Rupert Ignaz Mayr, Georg Muat, and Johann Abraham
Schmierer, all of whom published collections of overture-suites before 1700.3
But for Quantz, as for most of his readership in the 1750s, such music no longer
laid claim to special recognition.
As a self-styled grand partisan de la musique Franaise,4 Telemann cultivated
an interest in the French style from his teens through old age, an interest reected
in numerous suites, sonatas, concertos, cantatas, and operas. The fact that his fate
de la gloire came during his eight-month visit to Paris in 173738the composers
only documented trip outside Germanyfurther underscores his Gallic sympa-
thies, as does his advocacy of French recitative in a fascinating correspondence
with Carl Heinrich Graun during the 1750s.5 Telemanns involvement with the
French style is most vividly documented by his overture-suites, a repertory that
also oers some unusually rich expressions of the mixed taste. This blend of sty-
listic purity and heterogeneity undoubtedly helps explains the musics great pop-
ularity among the composers contemporaries, for in this sense it could hardly be
more German in expression.

Telemann as Lullist

Let us begin to approach Telemanns overture-suitesand his instrumental works

generallyfrom just before the start of his career as a professional composer.
While a student at the Andreanum Gymnasium in Hildesheim (16971701),
he made frequent visits to the courts at Hanover and Brunswick-Wolfenbttel,
where he was able to absorb the French, Italian, and theatrical styles of com-
position and to familiarize himself with various instruments. He recounted
these visits and his early compositional models in the autobiographies of 1718
and 1740:

I took the works of the new German and Italian masters as my models, nding the
most pleasant taste in their style, which was at once inventive, singing, and well
 One Acquiring a Mixed Taste 15

crafted. I am still of the opinion that a young man proceeds better if he examines
works in the current fashion than if he seeks to emulate those by older composers,
who are able enough in counterpoint but devoid of invention or write fteen to
twenty obbligato voices. . . .
At that time I often had the good fortune to hear the Kapellen at Hanover and
Wolfenbttel, regarding the rst of which one must confess:
Here is the best seed of Frances science,
Growing into a large tree and the ripest fruit.
Here Apollo himself feels the lively songs power
And, half ashamed, must ee with his lyre.
And regarding the second:
Venice may no longer rejoice in its theaters,
For Brunswick tears from it the pillars of honor.
And because here both voice and instrument ourish equally,
This place may be considered a little Italy.
I thus became acquainted with the French style from the former, with the Ital-
ian and theatrical styles from the latter, and from both I learned the diverse natures
of various instruments, which I spared no eort to master myself. To this day I am
still learning how necessary and benecial it is to be able to dierentiate the es-
sential elements of these styles, and I believe that no one can be uent and felici-
tous in invention without it.6
[At Hildesheim] I chose to study the works of Steani, Rosenmller, Corelli, and
Caldara as models for my future church and instrumental compositions, both of
which types occupied me daily. The two neighboring Kapellen at Hanover and
Brunswick, which I visited during special celebrations, during all fairs, and at sev-
eral other times, provided me with the opportunity to become better acquainted
with and learn to distinguish between the French style (at the former court), the
theatrical style (at the latter court), and the Italian style (at both courts).7

The court of Brunswick-Wolfenbttel had employed several notable compos-

ers in the two decades preceding Telemanns Gymnasium years, among them the
Kapellmeisters Johann Rosenmller and Johann Theile and the opera Kapell-
meister Kusser. The theatrical style could be sampled not only at Wolfenbttel,
where the court opera maintained an exclusively Italian repertory (following pro-
ductions during the 1680s of Lullys Proserpine, Psych, and Thse), but also at the
new public opera house at Brunswicks Hagenmarkt, one purpose of which was
to provide entertainment during the trade fairs attended by Telemann.8 During
the late 1690s the Brunswick opera presented both Italian and German works,
with many of the German librettos provided by the court poet, Friedrich Chris-
tian Bressand, and Italian librettos often translated into German. Telemann might
have heard such operas as Steanis Henrico Leone (Hertzog Heinrich der Lwe; 1697
16 The Overture-Suites

and 1699), La superbia dAlessandro (Der hochmthige Alexander; 1699), Orlando generoso
(Der grossmthige Roland; 1697 and 1698), and La libert contenta (Der in seiner Freyheit
vergngte Alcibiades; 1700); Carlo Francesco Pollarolos Il Pastore dAnfriso (Der Schfer
an dem Fluss Amphriso; 1697 and 1699) and Ottone (1697); Reinhard Keisers Or-
pheus (1698; revised in 1699) and Arcadia, oder Die kniglische Schferey (1699); and
Endimione (1700) by Georg Caspar Schrmann, conductor of the Brunswick
Opera. Among the special celebrations Telemann possibly witnessed were the
Trken-Ballet und Bauern- oder Hirten-Masquerade (Brunswick, Carnival 1697) and the
ballets Tempel der Tugend und Ehre (1697) and Die sich erfreuende Jahreszeiten (1700),
performed at Wolfenbttel for the birthday of Duke Anton Ulrich.9
The Francophile Hanover court also boasted a new opera house, but this was
closed for years following the death in January 1698 of Elector Ernst August.10
Nor would the teenaged Telemann have met the Kapellmeister Steani, who was
absent from the court on diplomatic service during the years around 1700. Yet
Hanovers musical life remained rich, thanks to such musicians as the matre des
concerts Jean-Baptiste Farinelly (Farinel; 16501725 or 1726) and his pupil and
eventual successor, Francesco Venturini (ca. 16751745). In all, twenty-three in-
strumentalists were employed by the Hanover court in 1698; of the ten string
players and four oboists, a large majority were of French origin.11 Lullys music
was indeed favored at Hanover: a 1765 court inventory lists scores to seventeen
operas, and a bookshop in the city sold dances from the dramatic works in man-
uscript.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. Lullian in style, but scored for strings in four rather
than ve parts, the suites appears to have been composed by the French violinist
Stephan Valoix for court ballet performances during the 1680s.13 Twelve more
anonymous overture-suites, copied by the Hanover oboist Mr. Barre in 1689,
may contain works by Farinelly.14 Babel also transcribed numerous movements
from Lullys stage works for harpsichord or instrumental trio. After leaving
Hanover, he published two sets of Trios de dierents autheurs in Amsterdam (1697
and 1700), both dominated by Lullys music. Babels two undated manuscripts of
trios contain, in addition to many movements by Lully, extensive excerpts from
Marin Maraiss Pices en trio (1692) and Michel de La Barres Premier Livre des trio
(1694).15 These and similar works may therefore have been performed at Han-
over during the last years of the seventeenth century.
The French instrumental style could also have become familiar to Telemann
during his Gymnasium years through the many Amsterdam editions of overture-
suites assembled from instrumental movements in Lullys operas, as well as
 One Acquiring a Mixed Taste 17

through overture-suites composed ab initio by German composers. The Lully

compilations began appearing in 1682, when Jean Philip Heus published his
rst two collections entitled Ouverture avec tous les airs, consisting of excerpts from
Cadmus ed Hermione and Perse. Over the next thirty years Heus, Antoine Pointel,
and Estienne Roger issued suites of seventeen to thirty-two movements each, in
most cases reducing the texture to four parts by omitting Lullys quinte line and
suppressing indications for wind instruments.16 German musicians also fash-
ioned their own overture-suites from the full-score editions of Lullys operas is-
sued by Christophe Ballard and Henri di Baussen. At the Dresden court, for ex-
ample, a number of such compilations were performed with winds and a
ve-part string ensemble (in the Italianate conguration of two violins, two vi-
olas, and bass).17 Appearing in print during the quarter century between 1682
and 1706 were collections of overture-suites for four- or ve-part strings (and
occasionally winds) by Kusser, Mayr, Erlebach, J. C. F. Fischer, Aufschnaiter,
Muat, Schmierer, Fux, Johann Fischer, and Steani, a lineup that probably in-
cluded some of the new German masters whose works Telemann studied at
Hildesheim and, no doubt, immediately afterward as a university student in
Leipzig (170105).18 Indeed, almost half the publications listed in Table 1.1
appeared during Telemanns Gymnasium years. Such music speaks to the enthu-
siastic cultivation of the French instrumental style at many German courts dur-
ing the late seventeenth century. Around 1690 Johann Beer, Konzertmeister at
Weissenfels, observed that just as French music is a special art, so it requires
special admirers. Their suites sound well during meals. . . . And whoever is an ad-
mirer of them can presently derive great satisfaction from such compositions at
many German courts.19
After arriving at Leipzig University in 1701, Telemann gained further expo-
sure to the French style though visits to the Berlin court, where the Belgian danc-
ing master Jean-Baptiste Volumier had introduced the French manner of per-
formance;20 it was Volumier, in fact, who later directed performances of Lullys
overture-suites at the Dresden court. Telemann may also have traveled from
Leipzig to Dresden, for he noted in his 1718 autobiography the approval of the
virtuosos in Dresden, who combined Italian delicacy with French liveliness, as if
to join the two at their midpoint. . . . I must admit that this approval of theirs,
with which they honored my works, has aided me considerably in my subsequent
progress.21
If the young composer had not written his own overture-suites by the start
of his university studies, he would soon have the opportunity to do so, for he
founded a collegium musicum (precisely when is unknown) that gave public
18 The Overture-Suites

Table 1.1 Overture-suite publications of German Lullists, 16821706

Composer Publication

Johann Sigismund Kusser
Rupert Ignaz Mayr
Philipp Heinrich Erlebach
Johann Caspar Ferdinand Fischer
Benedict Anton Aufschnaiter
Georg Muat
Georg Muat
Johann Abraham Schmierer
Johann Fischer
Johann Sigismund Kusser
Johann Joseph Fux
Johann Fischer
Agostino Steani
Johann Fischer
Composition de musique, suivant la mthode franoise, contenant six
ouvertures de thtre accompagnes de plusieurs airs (Stuttgart,
1682)
Pythagorische Schmids-Fncklein, bestehend in unterschidlichen Arien,
Sonatinen, Ouverturen (Augsburg, 1692)
VI Ouvertures begleitet mit ihren darzu schicklichen airs, nach franzs-
ischer Art und Manier eingerichtet (Nuremberg, 1693)
Le Journal de printems consistant en airs, & balets 5 parties, & les
trompettes plaisir (Augsburg, 1695)
Concors discordia, amori e timori (Nuremberg, 1695)
Suavioris harmoniae instrumentalis hyporchematicae orilegium primum
(Augsburg, 1695)
Suavioris harmoniae instrumentalis hyporchematic orilegium secundum
(Passau, 1698)
Zodiaci musici, in XII partitas balleticas (Augsburg, 1698)
Neu-verfertigtes musicalisches Divertissement, in sechs sehr anmuthig- und
Gehr-vergngenden Ouverturen, Entre, Air, Gavotten, Sarabanden,
Chaconnen, Rondeau, Menueten, Trio Bouren, &c. bestehend (Augs-
burg, 1700)
Apollon enjo, contenant six ouvertures de thtre accompagnes de
plusieurs airs; Festin de muses, contenant six ouvertures de thtre
accompagnes de plusieurs airs; La cicala della cetra dEunomio
(all Stuttgart, 1700)
Concentus musico-instrumentalis, enthaltend sieben Partiten und zwar,
vier Ouverturen, zwei Sinfonien, eine Serenade (Vienna, 1701)
Tafel-Musik bestehend in verscheidenen Ouverturen, Chaconnen, lustigen
Suiten, auch einem Anhang von Pollnischen Dntzen 4. & 3.
Instrumentis (Hamburg, 1702)
Sonate da camera tre (Amsterdam, ca. 1705)
Musicalische Frsten Lust, bestehend anfnglich in unterschiedenen schnen
Ouverturen, Chaconnen, lustigen Suiten und einen curiosen Anhang
Polnischer Tntze mit 3 und 4 Instrumenten (Lbeck, 1706)

concerts and, from 1704, provided music for Leipzigs Neue Kirche. In his 1718
autobiography he described the still ourishing ensemble:

Although it consists of nothing but students, occasionally numbering as many as

forty, this collegium is nonetheless very pleasant to listen to, and one could not eas-
ily nd an instrumentnot to speak of the mostly good singersthat it does not
include. 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 ensembles 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] Bhm
on the oboe, ute, and recorder; Mr. [Salomo] Bendler and [Martin] Petzold in
Wolfenbttel and Hamburg as tremendous basses and actors. Among those who
are presently members, the ensembles director, Mr. [Johann Gottfried] Vogler, is a
lively composer and strong violinist; Mr. [Johann Gottfried] Riemenschneider, al-
ready admired in the Hamburg theater, is a pleasant bass; and Mr. Schneider is one
of the best contraltos.22

Unclear from Telemanns account is whether the collegium could muster forty
instrumentalists and singers in 17015. But Gottfried Heinrich Stlzel noted
that this was occasionally the case under Telemanns successor, Melchior Ho-
mann: At that time [170710], such an ensemble [Chor] was heard in the Leipzig
Neue Kirche only on high feast days and during the trade fair.23 In 1716 the
Leipzig chronicler Christoph Ernst Sicul claimed that under Homann the col-
legium had performed two evening concerts each week with fty to sixty musi-
cians.24 The precise makeup of the collegium cannot be established, but Johann
Kuhnaus 1709 complaint of the inadequacy of the Leipzig civic musicians (four
Stadtpfeifer, three Kunstgeiger, and an apprentice) for performing orchestral music
implies that Homanns ensemble included more than a dozen string players: it
is hard to see how a string band, which is so agreeable, can be assembled, because
throughout Europe and here too a string band requires many players: at least eight
persons on the two violin parts, and furthermore violas two on a part and violoni,
cellos, colascioni, timpani, and more, and these people are tied up in the Neue
Kirche.25
Although we have no concrete evidence that Telemann wrote overture-suites
for his collegium, Johann Friedrich Faschs recollection of his student days in
Leipzig suggests as much. The playful deception Fasch describes here probably
took place between Telemanns June 1705 departure for the court of Count Bal-
.
thasar Erdmann von Promnitz at Sorau (now Zary) in Upper Silesia and his own
enrollment at the university in autumn 1708:

Because Telemanns Ouverturen were well-known, I was at last bold enough to take a
stab at writing such a work. I oered it under his name at a rehearsal of the rst-
form students collegium musicum, and much to my joy, they believed that it was
by him. On this occasion I cannot avoid publicly confessing that at that time I
learned most everything from the beautiful works of my most esteemed and dear-
est friend, Herr Kapellmeister Telemann, for I constantly took them as my model,
especially the Ouverturen. When the Swedes departed, I enrolled at the university
20 The Overture-Suites

and started a collegium musicum that met in my quarters on Sundays following

church, and which gradually increased in size to twenty students.26

However likely it may be that Telemann began composing overture-suites at

Hildesheim or Leipzig, he does not mention such works in his autobiographies
until the passages recounting his years at Sorau (17058):

Indeed, here I really began to be prolic for the rst time, and that which I had
done in Leipzig with vocal works I set out to do here with instrumental music, es-
pecially with Ouverturen, for His Highness the Count had recently returned from
France and therefore loved them. I got hold of works by Lully, Campra, and other
good composers, and although I had just acquired a considerable taste of this style
in Hanover, I now studied it more closely and completely devoted myself to it, not
without good success. This has, moreover, remained my inclination in subsequent
periods, so that I have been able to produce up to 200 Ouverturen from my pen.
Contributing greatly to my productivity and growth at that time was undoubtedly
my marital love for my late wife. For one considers that love enlivens the spirits.27

In the briefer 1740 version of this account Telemann attributed his musical
motivation to the dazzling nature of this newly and lavishly equipped court
and now claimed that he produced about 200 Ouvertren in two years.28 Both
accounts seem to provide startling evidence for what has been lost, for if we take
Telemanns initial word for it that he composed 200 overture-suites between
1705 and 1718, and if we further assume that he produced additional works at
a steady, if perhaps slower, pace during the following two decades at Frankfurt
and Hamburg, then we must now possess only a small fraction of what once ex-
isted. On the other hand, the round gure of 200 could easily be exaggerated, and
Ouverturen may refer either to suites in all scorings or just to French overtures.
Whatever the case, it seems unlikely that Telemanns total output of overture-
suites amounted to the 600 pieces with which he is sometimes credited.29
Before considering the music of Telemanns overture-suites, it will be instruc-
tive to turn to one of his earliest extant vocal works, the Whitsun cantata Schae
in mir, Gott, ein reines Herz, TVWV 1:1241, a Hildesheim or Leipzig composition
that reveals much about the young composers stylistic orientation.30 The cantata
opens with one of the most striking movements in Telemanns early vocal music:
a choral chaconne in which voices and strings present a series of variations to a
text based on Psalm 51:110. Although choral chaconnes are far from unknown
in the sacred cantata repertory of the time, few works begin with such move-
ments. In this respect, the closest analogs to Schae in mir, Gott, ein reines Herz are
 One Acquiring a Mixed Taste 21

J. S. Bachs later cantatas Weinen, klagen, sorgen, zagen, BWV 12 (1714; later adapted
as the Crucixus segment in the Credo of the Mass in B Minor) and Jesu, der du
meine Seele, BWV 78 (1724). Telemanns chaconne consists of twelve strict state-
ments of an eight-measure ostinato that is nothing more than a descending G-
major scalemuch the simplest bass pattern among Telemanns chaconnes and
passacailles in all scorings. As Example 1.1 shows, the movement owes a debt to
the French theatrical chaconne in its ve-part string complement of violins in
unison, three violas, and bass notated in G2, C1, C3, C4, and F4 clefs. This
conguration, apparently unique in Telemanns output, is employed in overture-
suites by Muat and J. C. F. Fischer; Erlebach, following Lullys practice, notates
the same instruments in G1, C1, C2, C3, and F4 clefs. Telemanns grouping to-
gether 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 rhyth-
mic accelerando from quarter-note to sixteenth-note motion, and a section in the
parallel mode. The absence of these features, together with the strict ostinato bass
and combination of variation with rondeau structure (in which the violins me-
lodic refrain, given varied accompaniments by the inner voices, alternates irregu-
larly with variation couplets), points strongly to the related traditions of the Ger-
man sacred concerto and organ variation.31
Telemanns chaconne is therefore only supercially French in style, and is in
fact more closely allied to roughly contemporaneous German chaconnes and pas-
sacailles such as those in Heinrich Ignaz Franz von Bibers Sonatae a Violino Solo
(Salzburg, 1681), Dieterich Buxtehudes VII Suonate due (Hamburg, 1696), and
Johann Pachelbels Musicalische Ergtzung (Nuremberg, 1695). Especially close in
conception is the ciaccona in the third of Erlebachs VI Sonate violino e viola da
gamba col suo basso continuo (Nuremberg, 1694), the beginning of which is shown in
Example 1.2. As for vocal antecedents, the soprano aria Mein Freund ist mein
und ich bin dein from the wedding cantata Meine Freundin, du bist schn by Johann
Christoph Bach (16421703) is remarkably similar to Telemanns chorus in
being a variation-rondeau hybrid over a strict ostinato bass, with three violas and
bass supporting guration in the violin part; both composers alternate division
variations with refrains and couplets in longer note values.
Just how thoroughly the French theatrical style penetrated Telemanns later
chaconnes becomes apparent when we survey his instrumental ensemble music,
where we nd surprisingly few examples of the chaconne and passacaille (the key-
board suites contain none). Besides the burlesque Lilliputsche Chaconne in the
22 The Overture-Suites

example 1.1. Schae in mir, Gott, ein reines Herz, TVWV 1:1241/i, mm. 116
Giaconna

23

Violino in
unisono

Viola 1
23
Viola 2 23
Viola 3
23
Organ
3
2

6 7 5 6
3 4

6 6 6 5

12








6 5 6 5 6

violin duet 40:108, the chaconnes or passacailles in the solo suite 41:Es1, the trio
42:d6, and the quartet 43:e4 all fall squarely within the French tradition. The
same is true of the eleven chaconnes (44:1; 50:2; 55:D4, f1, F6, G3, G7, G9, g9,
a5, h1) and four passacailles (55:D18, D23, e4, g8) found among Telemanns
overture-suites, concertos, and divertimentos.32 Of these, ve (44:1; 55:D18, f1,
 One Acquiring a Mixed Taste 23

example 1.2. Erlebach, Ciaccona in A major for violin, viola da gamba, and continuo
from VI Sonate no. 3 (Nuremberg, 1694), mm. 115

3Ciaccona
Violin 4

3
Viola da gamba 4

Continuo
43
6 6 7 6 7 6

6




7 6 6 6

11





7 6 7 6 7 6

g9, h1) recall Schae in mir, Gott, ein reines Herz through their rondeau structures. But
none harks back to the seventeenth-century variation tradition that so strongly in-
forms the cantata chorus.
If the style of Telemanns vocal chaconne illustrates his early response to the
French and German traditions, aspects of the movements scoring and manuscript
transmission hold clues to its original performance contexts. The sole source for
Schae in mir, Gott, ein reines Herz is a set of fourteen manuscript parts copied by 1725
(the date of a performance recorded on the title page) by ten dierent scribes, in-
cluding Johann Caspar Dietel (d. 1760), organist and cantor at Calbitz and, from
1719, at Falkenhain (both near Wurzen).33 The work apparently belonged to
an annual cycle of sixty-three Telemann cantatas sold by Dietel in March 1723
to Johann Ulisch, cantor at the Frstenschule in Grimma. Such a large number of
copying hands, together with the presence of a seemingly unnecessary duplicate
alto concertist part, suggests that the manuscript may have been assembled from
two or more incomplete sets of parts. Of particular interest is a note at the top
24 The Overture-Suites

of both violin parts indicating that six instruments should play the violin line
(Violino in unisono 6 Fach zu bestellen). This extraordinary directive appears
to have only one parallel among Telemann cantata sources: a set of parts to Kommt,
die Tafel ist gedeckt, TVWV 1:1006, also copied by Dietel and several anonymous
scribes. Here the violin line is to be realized by six to eight players.34 One natu-
rally wonders whether anyone in small Saxon towns such as Calbitz, Falkenhain,
and Grimma could have mustered an ensemble including, for Schae in mir, Gott, ein
reines Herz, a minimum of six violins, three violas, cello and/or bass, and organ in
addition to six vocalists (four concertists with soprano and bass ripienists). Such
a string complement is comparable to that available at the well-outtted court
Kapellen at Berlin, Darmstadt, Dresden, and Stuttgart during the rst two
decades of the eighteenth century.35 And it closely approximates that desired, but
presumably rarely attained, by Bach in Leipzig in 1730.36 German sacred cantatas
were usually performed with small ensembles, and in fact a large majority of the
Telemann cantata manuscripts stemming from Dietel and the Grimma cantors
provide only single parts for each instrument.37 Of course, it is possible that Di-
etel, who moonlighted as a music dealer, obtained the two cantatas only to sell
them to other cantors, and that neither he nor Ulisch ever performed them with
such heavy string doublings (the presence of only two violin parts in the Schae in
mir, Gott, ein reines Herz set suggests as much). But if so, then where did the scor-
ing indications for six to eight violins originate?
The most likely answer is Leipzig, Dietels undoubted source for many of the
Telemann cantatas he sold to Ulisch in 1723, and the city in which two of his
sons (including Bachs pupil and copyist Johann Ludwig Dietel) later attended the
Thomasschule.38 There Telemanns collegium musicum, under either the com-
poser or his successors, could presumably have performed Schae in mir, Gott, ein
reines Herz and Kommt, die Tafel ist gedeckt with the indicated string doublings at the
Neue Kirche. The fact that the continuo organ part to Kommt, die Tafel ist gedeckt
bears Telemanns namea rarity in the Grimma collectionmay be a further
indication of the manuscripts Leipzig connection, for this is the instrument
(along with violin) that Telemann is most likely to have played during Neue
Kirche services.
Finally, let us return briey to the chaconnes Gallic scoring. Other than in the
opening and closing measures of the movement, which function as framing ri-
tornellos, the violas seem oddly underutilized: they normally drop out during im-
itative passages, and in more homophonic passages they strictly double the voices,
sometimes allowing them to begin a couplet or refrain alone. Moreover, in the last
four of these homophonic passages, the vocal parts are curiously devoid of
melody and function essentially as parties de remplissage (see Example 1.3). The eect
 One Acquiring a Mixed Taste 25

example 1.3. Schae in mir, Gott, ein reines Herz, TVWV 1:1241/i, mm. 7380

23
73

Violino in
unisono
Canto Ripieno, 2
Canto,
Viola 1
3
23
und nimm dei - nem hei - li - gen
Alto,
Viola 2

Tenor,
Viola 3
23
und nimm

dei - nem

Bass,
Basso Capella
23 und nimm dei -

nem

hei - li - gen Geist

Organ
3
2
und nimm dei - nem

6 7 6 7 6

77

Geist nicht von mir nicht von mir

hei - li - gen Geist

nicht von

mir

dei - nem hei

- li - gen Geist nicht von

mir



hei

- li - gen Geist

nicht von mir

und nimm

7 6 7 6 7 6

here of concentrating much of the melodic and rhythmic interest in the violin
part at the expense of the vocal partsespecially pronounced during the two
couplets featuring eighth-note divisionsleads to the suspicion that the move-
ment has not come down to us in its original form. That is, it might have begun
life as a work for ve-part strings. To arrange the chaconne for chorus, Telemann
would have assigned the viola lines to soprano, alto, and tenor, then added the
vocal bass line, which is for the most part closely tied to the continuo. This hy-
pothetical scenario explains both the violas odd role and the often accompani-
mental nature of the vocal lines. If the chorus did indeed originate as a purely in-
strumental movement, perhaps as part of an overture-suite, then it must have
been among Telemanns earliest works for instrumental ensemble.
As for the overture-suites that survive intact, at least a handful appear to date
from the rst decade of the eighteenth century. But here one must proceed with
26 The Overture-Suites

caution, for in the absence of manuscript sources datable to before about 1712,
any such determination must rely heavily on stylistic criteria.39 And if style is
often an unreliable guide in matters of chronology and authenticity, it is partic-
ularly so in the case of the overture-suite, a genre that was to some degree retro-
spective for much of its history. Yet, in Germany during the rst two decades of
the eighteenth century, the overture-suite was gradually transformed from a col-
lection of brief, theatrical movements (whether adapted from a stage work or
freshly composed) into a concert piece of greater dimensions and stylization. The
practice, frequently encountered in the works of Lully and the German Lullists,
of writing bipartite overtures concluding with a fast, lightly imitative section gave
way to a standard slowfastslow organization in which the second section was
expanded in length and became more contrapuntally rigorous, often resulting in
a fully worked out fugue. Movements following the overture were also subject to
a process of expansion, doubtless in part because they were no longer conceived
as accompaniment for dancing. A larger palette of coloristic and textural eects
became available through the more frequent deployment of concertante instru-
ments, including not only string trios and the trio des hautbois or French wind trio
of two oboes and bassoon, but also recorders, utes, horns, and trumpets.40 What
Telemann would later call the true French style was further diluted by mixed-
taste explorations of the Italian, English, Polish, and other national styles, most
notably through the use of ritornello forms and slow Italianate arias in place
of French airs.
Some of the earliest eighteenth-century German descriptions of the French
overture bear witness to its late seventeenth-century conguration. Martin Hein-
rich Fuhrmann, writing in 1706, speaks of the Ouverteur (apparently meaning
an overture-suite) as a French sonata commonly beginning in duple meter, con-
tinuing fugally in a fast triple meter, and nally concluding with a ciacona.41 Jo-
hann Mattheson noted in 1713 that the second part of the overture consists of
brilliant themes created by the composers free invention, and may be either a reg-
ular or irregular fugue, and often only a simple yet lively imitation. Most French
overtures conclude after the Allegro, or second part, with another brief Lente-
ment or serious section; however, it appears that this fashion will nd few adher-
ents.42 Although Friedrich Erhardt Niedt had written in his 1706 Handleitung zur
Variation that overtures conclude with a serious section resembling the rst,
Matthesons 1721 second edition of the treatise emends the denition to note
that the conclusion is optional [arbitrair], and nowadays most overtures end with
the fast section, without special ceremony.43 Matthesons and Fuhrmans de-
scriptions of bipartite overtures are to some degree borne out by German over-
ture-suites published during the 1690s: all ve of the overtures in Muats Flori-
 One Acquiring a Mixed Taste 27

legium primum (1695) are in two parts, as are a majority of overtures in the Flori-
legium secundum (1698) and J. C. F. Fischers Journal du printems (1695); two-part
overtures are also found in such collections as Schmierers Zodiaci musici (1698)
and Erlebachs VI Ouvertures (1693). J. S. Bachs keyboard suite in F major, BWV
820, a work thought to have been composed shortly after the turn of the eigh-
teenth century, also begins with a two-part overture.
Only two of Telemanns extant overtures are bipartite: those beginning 55:D4
and the C-major keyboard suite, 32:11. Yet several overture-suites display other
hallmarks of the Lullian styleand a corresponding absence of Italianate ele-
mentsthat suggest their origins before 1715. One of these characteristics is an
overture with a second section that commences in a closely imitative texture
(Matthesons simple yet lively imitation) but is otherwise predominantly ho-
mophonic (55:C1, C2, D16, F2 [= 44:6], f1, G9, a7, B9, h1, h3). Not only are
these second sections less consistently fugal than most others by Telemann, but
they also tend to be signicantly shorter: several (55:C2, D16, F2 [= 44:6], B9,
h1, h3) are a scant twenty to thirty measures in length, comparable to those in
many seventeenth-century overtures by Lully and his followers. Observe in Ex-
ample 1.4, showing the beginning of a fast section, that the imitative opening
gives way to an essentially homophonic texture in which the brief imitative sub-
ject is conned to the outer voices. Notice also the scoring with two viola parts,
found in only three of Telemanns overture-suites (55:D16, G7, G9). This in it-
self suggests a composition date of no later than 1715, for after the so-called
franzsischer Jahrgang of sacred cantatas for 171415half of which include two
viola partsTelemann appears consistently to have adopted a four-part string
scoring in his instrumental and vocal works. Another archaic scoring is found in
55:C1, where the combination of three violins and bass recalls the seventeenth-
century German ensemble suite. Here the unusually compressed range of the vi-
olin parts (db) makes them performable with oboes or utes. Also likely in-
dicating an early origin is the practice in several works of notating the second part
(sometimes labeled Haute Contre) in C1 clef, and the third part in C2 clef
(55:C4, d1, e3, F3, G5, G9, a3).44
If other archaic stylistic features of the overture-suites prove less reliable as
guides to chronology, they nevertheless document Telemanns participation in
seventeenth-century traditions. Among these are the petite reprise (Brandle of
55:D9 and Les Augures of 55:G5) and menuets with a characteristic rhythmic
pattern consisting of an iamb followed by a trochee (a 122-1 pattern over six
beats).45 The iamb-trochee pattern, common in late seventeenth-century menu-
ets, is found in the dance step of Jean Favier and in works by Lully, Campra,
Michel-Richard de Lalande, and Andr Danican Philidor.46 What might be
28 The Overture-Suites

example 1.4. Suite in D major for strings and continuo, 55:D16/i, mm. 1828

C
18

Violin 1

Violin 2 C
Viola 1 C
Viola 2 C
Continuo

C


22

25

termed Favier-type menuets are found in thirteen of Telemanns overture-suites,

including several of those discussed in the previous paragraph.47 There are other
old-fashioned dance types as well, including the allemande (55:C4, F13, f1),
amener (55:C2), branle (55:D9, G2, A1), courante (seventeen examples), and
galliard (55:D23, A1). Although the allemande and courante remained xtures in
the eighteenth-century keyboard suite (as in Telemanns own 32:1215 and 32:
1718), they became increasingly uncommon in German ensemble music, where
 One Acquiring a Mixed Taste 29

the sarabande, gigue, and Galanterien such as the bourre, gavotte, loure, menuet,
and passepied predominate. The allemande, in fact, appears only occasionally in
overture-suites published during the 1690s. Among later works, Graupners
eighty-odd overture-suites contain only four courantes and no allemandes, just as
many by Fasch include no examples of either dance, and the eight overture-suites
by Johann Bernhard and Johann Sebastian Bach yield two courantes and no alle-
mandes.48 Some of Telemanns older dance types are easily heard as direct con-
tinuations of seventeenth-century tradition, while others (particularly the bran-
les and galliards) may represent historicizing invocations of the past. The
courantes mostly avoid the owing eighths of the Italian corrente in favor of the
dotted rhythms of the French dance, and several (55:C4, C7, c1, G2, G9, Anh.
55:A1, h1) hark back to seventeenth-century examples through frequent hemio-
las eecting metrical shifts between 3/2 and 6/4 or 3/4. Another of Telemanns
nods to the past occurs in 55:F13, where an allemande and courante are paired in
the manner of a variation suite (Example 1.5). Yet these two movements, essen-
tially the same dance in contrasting meters, cannot be understood merely as pure

example 1.5. Suite in F major for violin, strings, and continuo, 55:F13: (a) Allemande,
mm. 14; (b) Courante, mm. 14
(a)

(b)
Violin Solo,

[Oboe 1],

43

Violin 1

[Oboe 2],

Violin 2
43
3
4

Viola

43


Continuo

5 6 4 6 5 6 5 3
2 4
30 The Overture-Suites

representations of the true French or archaic German styles, for the concer-
tante violin part introduced for the repeat of each binary half comes from the
world of the Italian concerto. In a similar mixture of the old (French) and new
(Italian), the allemande and Favier-type menuet of 55:C4 give way to a concerto-
style concluding movement.

Tradition versus Innovation

On the face of it, few instrumental genres of the early eighteenth century seem
to have been so strictly governed by convention as the overture-suite. Both the
overture and the accompanying dances followed prescribed forms and individu-
ally, if not collectively, conveyed a relatively circumscribed range of aects. One
might consider that the genres balance of contrast (within the overture and be-
tween the dances) and predictability (of aect and form) was at once its greatest
strength and ultimate undoing. Writing in 1739, Mattheson lauded the overtures
uplifting rhetoric of alternating aects:

When listening to the rst part of a good overture, I feel a special elevation of the
spirit. The second part on the other hand expands minds with great joy; and if a
serious ending follows, then everything is brought together to a normal restful con-
clusion. It seems to me that this is a pleasantly alternating movement that an ora-
tor could scarcely surpass. Anyone who is paying attention can see in the face of
an attentive listener what he perceives in his heart.49

Yet by this time both the overture and overture-suite had begun to outstay out
their welcome. We have already seen Quantz lament the overtures virtual disap-
pearance by the 1750s, and as early as 1740 Scheibe tempered his praise for it
with an explanation of why many musical connoisseurs . . . regard overtures as
antiquated and ridiculous pieces:

One could accuse [the rst section] of causing every overture to begin in the same
manner. Thus a certain variety is lacking that is otherwise constantly necessary in
composition, if all works are not to sound of a piece. This is why, when one has
not heard any overtures for a long time and an entirely new work is nally played,
it nevertheless seems to the ears as if one had heard it long ago. And this only re-
sults in an overly precise, restricted uniformity, which is in fact a fundamental part
of the overtures style. Perhaps this very great similarity that the beginnings of all
overtures have with one another has contributed signicantly to their no longer
being as popular as they used to be.50
 One Acquiring a Mixed Taste 31

Like other successful composers of overture-suites, Telemann transcended the

genres shortcomings through the strength of his invention. But no one else seems
to have been so willing to stretch and even explode its conventions. If the jerky,
dotted rhythms (rhythmes saccads or sautillants) of the overtures slow sections are
chiey responsible for the spirits elevation (Mattheson), this did not prevent
Telemann from occasionally upstaging them with other types of introductory
gestures (55:D18), or even doing away with them altogether (44:8 = 55:F5,
44:14 = 55:F18). At the other extreme, the convention of embellishing the outer
voices with thirty-second-note tirades is taken to nearly parodistic heights in
55:C6; in the Entre of 55:C4, one of only a few such movements to imitate
the archaic overtures slowfast bipartite structure, Telemann elevates the humble
tirade to thematic status during a brief fugato (Example 1.6). Elsewhere, diatoni-
cally or chromatically descending bass lines render the beginnings of several
minor-mode overtures darkly expressive, almost lament-like (55:c3, c4, e7, f1,
s1). And unexpected opening gestures occasionally confound the expectation of
harmonic stability at the start of an overtures slow section: both 55:d2 and e10
have o-tonic beginnings (V42 and V6/iv chords, respectively), while a number of
concluding sections deect the tonics return following the fugal second section
(55:d3, e3, F9 = 44:10, a5, B9, B13, h1).51 The latter eect, illustrated in Ex-
ample 1.7, is endorsed by Scheibe:

It is also very pleasant if one lets the second, fugal section collapse immediately
into the concluding section through a certain gure called eeing from the cadence
(which I have already described elsewhere), thereby surprising the listener and plac-
ing him in a state of astonishment [Verwunderung]. One may also choose to achieve
this aim more surely through [replacing] the pitch from which one had ed at the
cadence [with] a very distant, and often very strange, dissonant chord that one then
endeavors cleverly to resolve by progression to the tonic key, or to its fth.52

Given the apparent rarity of such harmonic Verwunderung in overture-suites by

other composers (one example is Johann Bernhard Bachs overture-suite in E
minor), one wonders if Scheibe was thinking specically of Telemanns works.
Rather more possibilities for overstepping the boundaries of convention were
oered by the overtures second section, where Telemann ordinarily writes fugues
or fugatos that vary in the degree of their contrapuntal rigor. With few exceptions
(55:c3, D10, D15, g6, B2), fugal imitation proceeds in strict order from the top
voice down to the bottom. The subject is most often stated by all four voices, but
three-part imitation may result from pairing the viola and bass parts (55:Es2, e8,
F10, G4), and two-part imitation by restricting the subject to the two outer
32 The Overture-Suites

example 1.6. Suite in C major for 2 oboes, bassoon, strings, and continuo, 55:C4/iv,
mm. 1215
2. Vistement

12

c


Oboe 1 and 2,

Violin 1

Violin 2 c

Viola

c

Bassoon and

Continuo
c


14

voices (55:D11, E2, e2, B5).53 Although episodes tend to be motivically inde-
pendent of the subject, there are cases in which virtually all episodic material de-
rives from the opening point of imitation (55:C4, C7, c3, D10, D11, D13, Es4).
In keeping with the brevity and lightheartedly galant nature of many subjects,
learned devices play little role in the contrapuntal discourse, but there are the oc-
casional stretto (55:d2, Es4, e2, G8) and canon (55:c2, Es4).54
Some of Telemanns more interesting departures from this paradigm nd him
dispensing entirely with fugal imitation. The homophonic second section of 55:
D9, for example, resembles nothing so much as a fast sinfonia movement. Simi-
larly devoid of imitation is the second section of 55:s1, one of about twenty ex-
amples that adopt the rhythmic characteristics of the giga or gigue (Example 1.8).
Here there are several other strikingly unconventional features, including initial
chromatic motion in the bass (F
E
E) that echoes the opening sections descend-
ing lines; a rhythmically and harmonically halting subject built upon this bass;
and two trios for low-lying violins with viola bassetto (not shown in the example).
In combination with the darkly expressive slow sections, these features produce a
kind of chiaroscuro eect totally at odds with Matthesons description of the
French overture as elevating and joyful. Equally foreign to the overtures standard
 One Acquiring a Mixed Taste 33

example 1.7. Suite in B minor for 2 violins, 2 oboes, 2 bassoons, strings, and continuo,
55:h1/i, mm. 4649

C
46

Oboe 1

Oboe 2
C
C
Violin 1 Solo
Violin 2 Solo C
Violin 2 Ripieno C

Viola
C
Continuo
C
Lentement


48
C [Tutti]

C


C
C
C

C
C
7

aective vocabulary are several movements referencing the pastoral style. Two pas-
toral topics make unexpected appearances in the second section of 55:g2: the si-
ciliana (mm. 3441) and the peasant dance, featuring typically excessive melodic
and rhythmic repetition, wide leaps, and drone accompaniments (mm. 5060).
Pomp is more thoroughly replaced by pastoral in the overture to 55:F7, where the
rst and third sections feature a rustic melody supported by paired quarter notes
and slow harmonic rhythm; the ensuing fugal subject is suggestive of a horn sig-
nal and gives way to various other fanfare-like gestures evocative of the hunt.
34 The Overture-Suites

example 1.8. Suite in F-sharp minor for strings and continuo, 55:s/i, mm. 2630

Violin 1

46
26

Violin 2 46

Viola 46

Continuo

46

By the early Frankfurt period, Telemann began to introduce ritornello form

into the overtures second section. This would seem a logical extension and for-
malization of the common practice of alternating between strings (fugal subject
entries) and concertante winds (episodes), and perhaps inevitable given the pop-
ularity of the solo concerto in Germany from about 1710. Possibly the earliest
such work is 55:e3, featuring a homophonic ritornello largely given over to Ital-
ianate Fortspinnung, and pairs of concertante utes, oboes, and violins (Example
1.9). Each pair of soloists is introduced in turn but, surprisingly, plays only
French dotted rhythms instead of the expected display guration. Here the
mixed taste operates simultaneously on multiple levels, establishing the section as
a gallicized concerto within an Italianate French overture. A more thorough en-
croachment of ritornello form upon the overture occurs in 55:B11, apparently
written toward the end of the Frankfurt period. Here only the rst tutti statement
begins fugally, and the subject consists of broken-chord guration suggestive of
the concerto. (This was a second thought: the beginning of a more conventional
fugal exposition is crossed out in Telemanns composing score at Dresden).55 Be-
ginning with the double-motto entrance of the concertante oboesa further
signier of the concertoany residual sense of Frenchness evaporates, and the
section proceeds as a concerto-allegro. Similar to the B-at overture is that of 55:
D4, with fugal ritornellos and pairs of concertante violins and oboes. Remark-
ably, the overtures rst section hints at the Italianate orientation of what follows
when its sautillant rhythms are interrupted by tremolo chords over a dominant
pedal. Without parallel in Telemanns overture-suites is the manner in which the
movement concludes: with a ritornello abruptly halting on a dominant seventh
chord, resolved only in the rst measure of the following menuet I. It is tempting
to seek an extramusical explanation for this run-on eect: Could the overture-
menuet complex originally have introduced a theatrical work? If so, might the-
atrical action also lie behind the suites odd concluding movement (Air serieuse-
 One Acquiring a Mixed Taste 35

example 1.9. Suite in E minor for 2 utes, 2 oboes, bassoon, 2 violins, strings, and con-
tinuo, 55:e3/i, mm. 2442

43
24
Dessus Premier,
Dessus pour l'Accomplissement,
Hautbois 1 and 2,
Flutes traversieres 1 and 2

Hautecontre 43
Taille 43
3
Basse pour les Hautbois
Basse pour le Clavessin 4


6 # 6 # 6 6

28

# 6 # 6 #
6 # 6 6

[]
Hautbois 1 and 2

33



[]






Basse pour les Hautbois

6
Tutti

Violons concert

38

Basse pour le Clavessin

6 # 6 # #
36 The Overture-Suites

ment), in which a siciliana alternates with a bourre/rigaudon? We shall take up

the relationship of Telemanns overture-suites to the theater more fully in chapter 2.
Movements seemingly imported from the Italian concerto also occasionally
displace French dance types following the overture. Among the most aective
slow movements is the Avec douceur of 55:g2, essentially a da capoform aria
in which the rst violin sings a double motto upon its rst entrance. Similar in
conception, though more richly realized, is the aria-like Air lItalien of 55:a2
(see below). Less common are concerto-allegro movements such as the conclud-
ing Air italien of 55:C4, a ritornelloda capo structure highlighting two oboes
and bassoon as soloists. Not only is the movements form Italien (and strikingly
so: both the A and B sections commence with double mottoes), but the strings
material seems almost parodistically concerto-like as well, with the violins play-
ing mostly rushing scalar gures in unison. In most of these aspects, the move-
ment adumbrates the extraordinary Combattans of 55:B10, to which we shall
turn in the next chapter.
On the whole, however, the mixed taste plays a limited role in Telemanns suite
movements, most of which provide relatively undiluted expressions of their re-
spective national styles. Yet some of the most eective dances are marked by in-
tensications or exaggerations of an essential element of their type. Two examples
may suce here. To the extent that the sarabande is the most serious of dances
(Walther describes it as gravittisch or solemn),56 the example in 55:f1 can only
be described as tragic in aect, for the combination of descending chromatic mo-
tion, suspensions, and expressively wide melodic leaps transports it to the realm
of the lament (Example 1.10). The passepied, by contrast, achieves its lively eect
in part by subtly disrupting the listeners sense of meter through hemiolas. In the
concluding dance of 55:B10, as in several other passepieds (55:D23, Es2, e8, F2
= 44:6, F13), hemiolas are notated as double measures of 3/4 within the con-
text of 3/8. Here Telemann follows the practice of French composers such as
Franois Couperin.57 But in this particular dance, the listeners perception of
meter is confounded from the outset with an incomplete measure in 3/4, leading
to rapid alternations of 3/4 and 3/8 (Example 1.11).
One of the least progressive aspects of Telemanns suite movements is form,
for the vast majority of dances have binary or rondeau structures. More galant
types such as the bourre, gavotte, gigue, menuet, passepied, and rigaudon may
adopt either formal template, while allemandes, courantes, loures, and sarabandes
are almost invariably binary (55:C4 furnishes a rare example of a sarabande en ron-
deau). Rounded binary forms are in the distinct minority but become more com-
mon and substantial in works apparently composed during the late Frankfurt or
 One Acquiring a Mixed Taste 37

example 1.10. Suite in F minor for 2 recorders (tacet), strings, and continuo, 55:f1/iv,
mm. 18

Sarabande

Violin 1

43
Violin 2 43
Viola 43
Continuo
3
4

example 1.11. Suite in B-at for 3 oboes, bassoon, strings, and continuo, 55:B10/ix,
mm. 16

38
Passepied I

Oboe 1

38
Oboe 2
Oboe 3 38

3
8


Bassoon

Violin 1

38
38

Violin 2

Viola 3
8

Continuo
38
6

6
38 The Overture-Suites

Hamburg period, such as the three-oboe suites 55:C6, D15, and B10; occasion-
ally the double return of tonic and opening material is indicated by a da capo.58
Bourres, gavottes, menuets, passepieds, and rigaudons are often paired alternative-
ment to create a large-scale ternary structure. But the menuets of 55:C4, c1, and
G5 and the rigaudon of 55:a3 are all ve-part forms in which the rst dance al-
ternates with two others. This rondeau-like structure, to which Telemann later re-
turned in scherzos 24 of the A-major divertimento, 50:22, is not unlike the
larger alternativement complex of dances concluding the First Brandenburg Con-
certo, BWV 1046 (MenuetTrioMenuetPolonaiseMenuetTrioMenuet).
Aside from the Air serieusement of 55:D4, mentioned earlier, several suite
movements take on interesting compound structures. Capriccio-like alternations
of contrasting material are found in Invention III of 55:A7 and in characteris-
tic movements of 55:C5, D22, and B5 (see chapter 2). Run-on eects occur in
the Air en sarabande of 55:G1, where a sarabande unexpectedly gives way to
what resembles an overture fast section in ritornello form. And alternativement pairs
of dissimilar movement types are found in the Plainte-Galliard of 55:D23 and
the Plainte-Presto of 55:B13. These last two patterns are also represented in
characteristic movements of 55:B5.
Many of the non-French dance types reference Britain, perhaps not surprising
given Hamburgs close trading ties and proximity to England (though at least a
few of these dances appear to have been written at Frankfurt). Most numerous
are movements entitled Angloise (55:C7, D13, E1, s1, g1, A3, a3) and
Horn[e]pipe (55:D2, d3, e3, g2, a3, B10), and there are single examples of the
Irlandoise (55:d2) and Ecossaise (55:D19), the latter including obligatory
Lombard or Scotch snap (reverse-dotted) rhythms and a suitably pentatonic
melodic contour. Syncopation, hemiola, and overall rhythmic liveliness often play
important roles in conveying rusticity and otherness in these country dances, as
do occasional barbaric eects such as passages in octaves and the 71 octave
leap at cadences in the D-minor hornpipe.59 Metric displacement animates the
hornpipes of 55:e3 and B10, both of which initially emphasize the second beats
in 3/4 and 3/2. Delightfully disorienting in this respect is the B-at movement,
where the half note in the top voice is rst heard as a downbeat and then, start-
ing in measure 4, as a syncopation (Example 1.12). Most of these eects are
combined in the lusty A-minor hornpipe, where rustic drones producing crude
harmonies unexpectedly interrupt the musical ow. The exotic may also take the
form of dances representing Turkish, Russian, or Polish music, examples of
which are discussed in chapters 2 and 9. But even courtly dance types are some-
times defamiliarized through the introduction of foreign elements. For ex-
ample, the pastoral style, in its most courtly-idyllic mode, inects the second
bourre of 55:g5 and the second gavotte of 55:A5. Uniquely among Telemanns
 One Acquiring a Mixed Taste 39

example 1.12. Suite in B-at for 3 oboes, bassoon, strings, and continuo, 55:B10/iv,
mm. 14
Hornpipe
3
Oboe 1 2
Oboe 2 23
Oboe 3 23

Bassoon
3
2
Violin 1
3
2

Violin 2 23
3
Viola
2

Continuo
23

sarabandes, that of 55:D12 includes bolero rhythms evocative of castanets, an

apparent reference to the dances Latin American and Spanish roots (the sara-
bande of 55:C6 is titled Espagniol, even though the music lacks any sense of
exoticism).
One aspect of Telemanns overture-suites that sets them apart from those of
other composers is the myriad scorings they encompass. Nearly half are for
strings alone, but there are substantial numbers for one soloist and strings; for the
classic combination of strings with two oboes, utes, or recorders, often ex-
panded to a wind trio with bassoon (accounting for about twenty works); and for
strings with three to six concertante instruments (winds, strings, brass, or a com-
bination of these). Particularly interesting are Telemanns approaches to scoring
in several overture-suites with three or four concertante wind instruments. In
55:F3, an attractive work for pairs of oboes and horns with strings, the horns
unusual prominence suggests that the parts were written for virtuoso players. In-
deed, Telemann often treats the three instrumental groups (strings, winds, and
brass) as equally important; unexpectedly, it is the horns, not the oboes, that have
independent lines in the lovely sarabande. As in 55:F11 (for two oboes, four
horns, and strings), the slow section of the overture includes triadic horn fanfares
over the standard sautillant rhythms. Similar three-way antiphony (recorders, oboes,
strings) informs several movements of 55:a4, including the slow section of the
overture.
40 The Overture-Suites

Among Telemanns most colorfully scored overture-suites are ve works for

three oboes and strings (55:C6, D15, d3, g4, B10). They may be considered here
as a group, even though stylistic dierences suggest they were composed over a
period of some years.60 Much the simplest in terms of texture is 55:d3, where the
concertato writing often involves straightforward alternations of material be-
tween oboes and strings. In 55:C6 and g4 the two groups are treated more or less
interchangeably, with especially eective antiphonal writing in the lively Harle-
quinade and Bourre en Trompette of the C-major suite, and in the witty Les
Irresoluts and Gasconnade of the G-minor suite. The antiphonal technique is
handled with complete uency throughout the suites in D major and B-at major,
which may be the latest of the ve works. Note in Example 1.13 that the D-major
Rejouissance opens with a ve-measure passage that is immediately repeated in
the dominant, but with the instrumental alternations reversed. Typical of these
works is the varying length here of antiphonal blocks of material.
Each of the overtures takes a dierent approach to distributing material among
the seven instrumental parts. Often the oboes take the lead in concertato ex-
changes, as in the rst and second sections of 55:C6 and B10 and the second sec-
tions of 55:D15 and d3. The three fugatos (55:C6, D15, d3) all treat the winds
as independent contrapuntal voices to a greater degree than suites with only two
oboes, with the D-minor overture presenting the subject in a predominantly ho-
mophonic texture culminating in a quasi-stretto eect. The D-major fugato com-
mences with separate oboe and string expositions, and the antiphonal alternation
of material between the two groups remains a structural principle throughout.
Dierent formal and textural processes are at work in the second sections of
55:g4 and B10. In the G-minor overture, the oboes function as concerto soloists
(they enter with a modied double motto), and the strings provide a lightly imi-
tative ritornello. The French-style gigue of the B-at overture completely replaces
imitation between individual voices with antiphonal exchanges between the two
instrumental groupsa marvelously variegated texture in which some of the ma-
terial is presented in seven parts.
No less varied than the overtures are the second dances in the ve menuet
pairs. The G-minor pair provides a wry commentary upon the principle of inter-
changeable oboe and string choirs by ipping the rst dance upside down in the
second: melody now becomes accompaniment (a bassetto provided by the violins
and viola), and accompaniment becomes melody (rst oboe). Three other dances
display contrasting approaches to bassetto accompaniment: quasi-canonic imita-
tion (violins in 55:C6), four-part harmony (violins, presumably divisi, in 55:
D15), and broken chords (alternating between violins and viola in 55:B10).
Slightly subversive in this respect is the reversed scoring of the D-minor menuet
II, where oboes in unison provide a bassetto accompaniment for the violins.
 One Acquiring a Mixed Taste 41

example 1.13. Suite in D major for 3 oboes, strings, and continuo, 55:D15/viii, mm.
17

Rjouissance
Oboe 1

43


Oboe 2 43
Oboe 3
3
4

Violin 1
3
4
Violin 2 43

Viola
3
4
Continuo
43

The Concert en ouverture and Concerto en suite

Telemanns incorporation of Italianate elements into the overture-suite is not lim-

ited to the selected movements discussed earlier but is further reected in works
highlighting one instrument in the manner of a concerto soloist. These represent
one of his most important and inuential contributions to the German mixed
taste. Such suites by Telemann and others commence with either an overture in-
cluding a fast section in ritornello form or a full-blown concerto-allegro move-
42 The Overture-Suites

ment. The former variety survives in greater numbers, exemplied by Bachs B-

minor overture-suite for ute and strings, BWV 1067, and Telemanns A-minor
overture-suite for recorder and strings, 55:a2, two of the most frequently per-
formed overture-suites in modern times. Part of these two works appeal no
doubt centers on their nely calibrated tension between style and scoring, a sub-
tle generic friction in which the detached suavity of the French suite and the as-
sertive display of the Italian concerto rub together in several movements. This dy-
namic, also present to some degree in the overture-suite in D major for strings,
BWV 1068, and in certain of the works discussed earlier, is of course absent in
most overture-suites, where concertante instruments tend to be highlighted an-
tiphonally rather than as virtuosic concerto soloists. Although the special prop-
erties of the B-minor and A-minor suites, in particular, have long been recog-
nized, the compositional tradition to which they belong has remained very much
in the background; the tacit assumption seems to have been that these works
uniquely transcend the norms of their type.
In fact, few eighteenth-century composers besides Bach and Telemann dealt in
such concerto-suite hybrids, and only one writer of the time has left us a pre-
scription for how these works ought to proceed. In analyzing the fast section of
Handels overture to Rinaldo (1711) which includes several passages for a solo vi-
olin, Mattheson matter-of-factly observed that it is an Italianized Ouverture, be-
cause no Frenchman may introduce such passages or soli in his Ouvertures.61 It
would therefore appear that soloistic writing was incompatible with the true
French style. Conrming this view is Scheibe, who has the most to say regarding
the advantages and drawbacks of introducing concertante instruments into the
French overture. Writing early in his career, he warned that the improper handling
of solo passages could undermine a suites French identity through excessive (Ital-
ianate) virtuosity: If there are concertante voices [in an overture], such as oboes
or recorders [Flauten], then they may be heard alone from time to time, with the
violins or a bassoon providing the bass. If there is a concertante violin, no Ital-
ianate concerto gurations must be introduced; rather, one must adhere strictly
to the French style.62 In his later discussion of the Concertouverture in Der
critische Musikus, worth quoting here at some length, Scheibe repeatedly stresses that
concertante instruments in an overture-suite must not substitute Italianate
bravado for Gallic order. He names Fasch and, especially, Telemann as excelling in
such works:

With regard to the concertante instruments, one easily observes their free, playful,
and jocular singing in places where they are prominent. It is not their numbers that
must stand out; rather, it is the varied entrance, the lively and natural parsing of the
 One Acquiring a Mixed Taste 43

harmonys principal chord, and the cheerful, more or less owing modulation of
the concertante voices that give the Concertouverture a true beauty and the requisite
re. Of course, one must at the same time be mindful of the instruments nature.
But one must also avoid proceeding in a manner that is as concerto-like, long-
winded, and forceful as would be appropriate in a proper concerto. Here there is a
certain balance to maintain, so that one does not overshadow the true disposition
and nature of the Ouverture and lapse from a French style of writing into an Italian
one, and consequently render the style of such a piece confused and disorderly.
A Concertouverture with a concertante violin must therefore be distinguishable in
its elaboration from an ordinary violin concerto; the same goes for overtures with
other concertante instruments. In particular, such overtures are most pleasing if,
during their course, a pair of oboes and a bassoon alternate now and then as a har-
monizing trio. [These instruments] must not, however, work very hard, but pro-
ceed together in clear harmony or simply imitate each other; the rest of the in-
struments then alternate with them. . . .
Among the Germans, Telemann and Fasch have distinguished themselves most of
all in this type of Ouverture. The rst in particular has made such works best known
in Germany, and has thereby so distinguished himself that one may rightly say, with-
out being accused of attery, that as an emulator of the French he has nally sur-
passed these foreigners in their own national music. And who is unaware that France
itself has granted him this praise, and that consequently no true connoisseur of
music disputes his great strength in the composition of French musical works, es-
pecially as there is no type of such music that he does not understand and know
how to practice, and in which he has not long ago left its originators far behind.63

The term Concertouverture may have been coined by Johann Philipp Eisel,
who used it two years earlier to describe an overture-suite with a concertante in-
strument. Again, Telemanns works are held up as exemplary: One employs [the
viola] in harmonious concertos not only as a mere middle voice, in order to ll
in the alto or tenor [parts], but also as a concertante voice, of which the concer-
tos and Concert-Ouverturen of the famous Kapellmeister Telemann give ample evi-
dence.64 Following Scheibe and Eisel, then, the term Concertouverture may be
applied broadly to any overture-suite with at least one concertante string or wind
part, which is to say that it describes a great manyperhaps even a majorityof
works written during the 1720s and 1730s. Furthermore, we may infer from
Scheibes strongly worded disapproval of concerto-like Concertouverturen that con-
fused and disorderly works such as BWV 106768 and 55:a2 were not uncom-
mon around 1730. Because my concern here is with this soloistic subset of over-
ture-suites, I shall eschew Eisels and Scheibes general term (and the modern
Konzertsuite) in favor of concert en ouverture, an eighteenth-century for-
mulation found on a manuscript copy of Telemanns overture-suite for violin and
44 The Overture-Suites

strings, 55:E3.65 For the purposes of the following discussion, a concert en ouverture
may be understood as an overture-suite in which a single soloist assumes a con-
certante role in the overture and in most, if not all, subsequent movements. I shall
refer to similar works commencing with a concerto-allegro movement by the term
concerto en suite, the bilingual title of Johann Melchior Molters suite in A
major for violin and strings, MWV VI/Anh. 1.66 Although considered here to
be suites, all other surviving examples of this type are in fact called concerto in
their manuscript sources.
Even during their apparent heyday in the 1720s and 1730s, the concert en ou-
verture and concerto en suite seem to have found relatively few adherents. As Table
1.2 shows, Telemann was easily the most prolic composer of the former type.
Though the surviving repertory is slight, there are indications that such works
were familiar in many parts of Germany: beyond Saxony and Thuringia, repre-
sented by Johann Bernhard Bach, Johann Sebastian Bach, and Johann Friedrich

Table 1.2 The concert en ouverture

Composer Work Soloist(s) Comments

Anonymous 55:A4 Vn Unattributed

55:A8 Vn Unattributed at D-Mu; attributed to
Telemann at D-SWl
J. B. Bach Suite in g Vn D-B, Mus. ms. Bach St 320
J. S. Bach BWV 1067 Fl/vn
BWV 1068 [Vn] Soloistic violin 1 part
J. M. Doemming Suite in F Vn D-Mu, Rheda Ms. 172 (dated 1733)
J. F. Fasch FWV K:A1 Vn
Telemann 55:D1 Ob, tpt, 2 vn Musique de table
55:D6 Va da gamba
55:D14 Vn
55:Es2 Fl pastorelle
55:E3 Vn
55:e1 2 , 2 vn Musique de table
55:e10 Ob/
55:F13 Vn
55:G6 Vn
55:G7 Vn, 2 ob
55:g7 Vn
55:g8 2 vn
55:A7 Vn
55:a2 Rec
55:B1 2 ob, 2 vn Musique de table
55:h4 Vn
 One Acquiring a Mixed Taste 45

Fasch, examples were composed by Telemann in Frankfurt and Hamburg (with

many performed at Darmstadt) and by Johannes Martin Doemming in Hagen-
Hohenlimburg;67 the origins of two concerts en ouverture evidently misattributed to
Telemann (55:A4 and A8) are unknown.68 To be sure, a certain number of works
have been lost, including four overture-suites by the violinist Johann Christian
Hertel (16991754) entitled Ouverture alla Concerto or Ouverture alla
Concertino (another interesting hybrid title) and scored for Violino Concer-
tato or Violino Principale with strings.69 Still, it is unlikely that concerts en ou-
verture were ever composed in great numbers. Nor is the corpus of extant concer-
tos en suite large, consisting of three examples by Telemann (43:g3, 51:F4, and
54:F1) and one apiece by Fasch (FWV L:B3), Johann David Heinichen (Seibel
213), and Molter.70 Additionally, Bachs First Brandenburg Concerto, BWV
1046, is at least related to the genre through its concluding alternativement complex
of dances.
The earliest of these mixed-taste works appear to date from the second decade
of the eighteenth century. A prototype for some examples may have been Fran-
cesco Venturinis twelve Concerti da camera, op. 1 (Amsterdam, ca. 1713). Featuring
concertante writing for oboe, violin, or a pair of oboes with bassoon, these works
follow an ouverture or concerto with a series of dances, arias, and character-
istic pieces. As we have seen, Handel included a concertante violin in the overture
to Rinaldo (1711), and Telemann appears to have introduced violin soloists into
his overtures around the same time, as in 55:c4 (Violino Primo Concertat[o])
and 55:D4 (two violins concert[ant]); in a scoring that recalls BWV 1068, the
overture to 55:B13 includes a concerto-like episode for rst violin. But the idea
of writing for a soloist throughout an overture-suite may also have been a natu-
ral outgrowth of the inclusion in many conventionally scored works of one or
two solo movements following the overture. Sebastian Bodinuss A-major over-
ture-suite for ute or violin and strings is typical in this respect: the soloist is con-
certato only in a orid Adagio (soloist and continuo) and in a single couplet of the
Ciacone; it doubles the rst violin in the overture, entre, and concluding pair
of bourres.71 Faschs overture-suite FWV K:G2 also contains one movement
highlighting a solo violin, and Telemann writes soloistically for the rst violin in
one or more dance movements of 55:g3, A5, B13, and h3.
Before examining the concert en ouverture in some detail, let us consider Tele-
manns three concertos en suite, each of which oers a dierent perspective on the
type. The earliest and slightest among them is the Concerto di camera for
recorder soloist, two violins that are often in unison, and continuo, 43:g3, a work
that has been mistaken for a quartet owing to its four-movement scheme and lack
of a viola part. The thin scoring, while unusual, allies the piece with several of
46 The Overture-Suites

Telemanns concertos discussed in chapter 6. Noteworthy from a structural point

of view is the combination of ritornello and rounded-binary forms in the rst
two movements, an untitled allegro and siciliana that are further linked to each
other (and to the following bourre) by an initial 151 melodic descent, bring-
ing to mind the archaic variation suite tradition.72
The more ambitious 54:F1 is eectively a cross between the overture-suite and
the concerto con molti istromenti, Vivaldis title for RV 558, including eleven con-
certante instruments. This and similar works by Vivaldi were presumably the in-
spiration for concertos (en suite) by Heinichen, Fasch, and other composers asso-
ciated with the Dresden court. Telemanns scoring, as given on the title page to a
manuscript set of parts at Schwerin, is very much in the same tradition: oboe dou-
bling on recorder, two chalumeaux, two horns, two concertante violins, two con-
certante cellos, strings, and continuo. However, both of the surviving sources for
the work transmit arrangements: at Schwerin, Peter Johann Fick omitted the
chalumeaux and replaced the second concertante cello with bassoon; and at Dres-
den, Johann Georg Pisendel appears to have arranged the lost chalumeau parts for
oboes, transferred the recorder part to oboe, altered details of instrumentation in
several movements, and moved the menuet to the end of the suite.73 Furthermore,
neither of these arranged versions transmits the complete work, for the second
menuet is fragmentary at Schwerin, and both this music and the pair of bourres
are completely lacking at Dresden.
The opening Vivace, with solo passages for oboe, violin, and horns, is in a type
of ritornelloda capo form familiar from Telemanns Hamburg concertos: after a
third ritornello conrms a modulation to the mediant (m. 128), a nal episode
commencing immediately in the tonic turns out to be a nonmodulating version
of the rst episode, which is followed by the complete ritornello to conclude the
movement. The iiiI progression recalls da capo form, while the nal episode-
ritornello complex has the eect of a sonata-form recapitulation. What is more,
Telemanns directive Si replical Concerto precedente after the following
Scherzando creates the kind of large-scale da capo structure found in the
Musique de table and keyboard fantasies (see chapter 8). This brief, rounded-binary
Scherzando is not so much jocular as a light and unpretentious foil to the
Vivace, though one might hear as mock-serious its canonic trio passages for
recorder/oboe and concertante violin over pizzicato bass. Subsequent move-
ments, apart from the menuet, feature dierent combinations of soloists: cellos
in the rst bourre, paired with violins in the second; cellos again in the loure;
and horns in the gigue, an alla caccia movement thoroughly interwoven with mo-
tives recalling horn signals.
Worthy of more extended consideration is 51:F4, next to the First Branden-
 One Acquiring a Mixed Taste 47

burg Concerto the most impressive example of the concerto en suite. Despite the
fortunate survival of a composing score at Dresden, the works genesis has been
the subject of much speculation. Arnold Schering, who edited the suite in 1906
(making it the rst orchestral work by Telemann to appear in a modern edition),
placed 51:F4 late in the composers career on the basis of its transitional style;
Scherings view was later lent support by Gnter Fleischhauer, who found the
handwriting in the score characteristic of the elderly Telemann. Wolf Hobohm
subsequently based his dating of the suite to the 1730s on watermark evidence
(inaccurate, as it turned out), on Telemanns use of Lombard rhythms and the
Telemannscher Bogen (a bass gure invented by Telemann), and on a possible
link of the second movement (Corsicana. Un poco grave) with the 1736 Corsican re-
bellion against Genoese rule, which led to the short-lived reign of Theodore I (the
German adventurer Theodor von Neuhof, who unsuccessfully tried to regain the
throne in 1738 and 1743).74 Undermining such slender evidence is Hobohms
own observation that the composers handwriting is equally indicative of the
1730s, 1740s, and 1750s. Indeed, Manfred Fechner views Telemanns script as
that of a hurried, rather than elderly, composer. That the composer was in fact
well into his sixties when he composed the suite is suggested by the watermark
studies of Wisso Weiss, who has noted that the scores Bohemian paper was also
used by Telemann for the 1749 St. John Passion, TVWV 5:34.75 Although such
evidence is not free of ambiguity (the paper type in question had been available
for decades), it does align well with the musics progressive style. If, as seems
probable, the suite was intended as a vehicle for Pisendel and the Dresden court
orchestra, then we may reasonably place its composition within the decade pre-
ceding the violinists death in 1755, a period during which Telemann and Pisendel
are known to have been in close correspondence.76 From this correspondence it
emerges that Pisendel supplied Telemann with music paper, possibly that found
in the suite and Passion manuscripts (Bohemian paper was frequently used at the
Dresden court). In a letter of 16 April 1749, the violinist told his friend, I will
derive great pleasure if I should see that the already supplied paper is taken up
and used for the greater good of music by Herr Kapellmeister Telemann, [who]
in this respect [is] above all others most skillful and incomparable.77
A number of the rst movements stylistic features signicantly depart from
Telemanns compositional idiom of the 1730s. For example, the very active pairs
of utes, oboes, and horns are granted a large measure of autonomy from the
strings and from each other, each taking turns as secondary soloists. This is an or-
chestral eect more redolent of midcentury operas and symphonies than late-
baroque concertos and suites.78 In one especially colorful passage during the sec-
ond solo episode (mm. 12428), the utes and solo violin form a close, three-part
48 The Overture-Suites

canon at the unison based upon a motive from the ritornello. Not only do the ri-
tornellos and episodes exhibit all the galant stylistic traits of Telemanns earlier
Hamburg worksextreme thematic and motivic variety; drum basses and slow
harmonic rhythm; and modish triplet, alla zoppa (syncopated), and Lombard
rhythmsbut there are also passages bringing to mind the midcentury empnd-
samer Stil, most notably a IV7/iiii6 progression that swiftly undermines the tonic
in the movements fanfare-like opening measures, and a chromatically inected
cantabile theme introduced at measure 15.79 Although all three ritornellos pres-
ent the material in complete form, the last two develop certain motives through
techniques of extension or reorchestration. Without parallel in Telemanns con-
certo-allegro movements is the indication that a cadenza se piace should be in-
serted following a tonic six-four chord near the movements end (m. 193).
Equally extraordinary is the following Corsicana, which suggests a folk idiom
through its irregular scansion, melodic and rhythmic repetition, and simplied
harmonic motion. The angular, eight-measure melody of the movements rst
half, given in Example 1.14, thoroughly undermines the notated meter of 3/2,
rst with a four-beat melodic unit divided in half harmonically. One therefore
hears the melodys rst three and a half measures as containing two two-measure
phrases in 2/2 or 4/4, separated by a one-measure ller (notated m. 223). A
sense of triple meter is established only in measures 46, where a sequential unit
starts on the third quarter note of each measure (following an extra beat in the
rst half of m. 4). But here the halved rhythmic values and changes of harmony
across the bar lines give the impression of two-measure units in 3/4. This pat-
tern is broken in measures 78, which scan as three measures of 2/2 or 4/4. The
solo violin emerges in the movements second half, where it plays rapid gurations
to the accompaniment of pizzicato string chordsa colorful scoring that miti-
gates the static eect of the slow harmonic rhythm and aimless tonal progres-
sions. Twice the opening melody interrupts the ddling of the soloist, who is now
assigned the ller measure.
Following the Corsicana are two movements that explore dierent aspects
of musical humor. The portrait of Allegrezza is not only full of cheerfulness,
but also a bit silly. Part of the fun is the soloists unexpected subjugation to the
winds in the movements trio, where the ute, oboes, and horns engage in a lively
Harmoniemusik conversation, comically nishing each others thoughts. The ac-
companiment to all this chatter is a bassetto bass, provided alternately by the
soloist and rst violin. Silliness is combined with mock seriousness in the ensu-
ing scherzo, a Polish-style rondeau that we shall consider further in chapter 9.
Concluding the suite are three dances: an untitled giga en rondeau that is also alla
 One Acquiring a Mixed Taste 49

example 1.14. Concerto in F major for violin and orchestra, 51:F4/ii, mm. 18

23
Corsicana. Un poco grave

Flutes 1 and 2

3

che taccono la 1. volta, e s[uo]nano la 2.

Oboes 1 and 2
2
3

che suonano la 1. volta, e taccono la 2.

Violin solo

Violin 1
2
23
La 2da volta si suona piano.

Violin 2
Viola
3
2

23
Continuo


4















7

50 The Overture-Suites

caccia; a Polacca bearing the dances characteristic rhythms and allowing for the
two trombe di caccia (horns) to be replaced with trombe ordinaria piccola
(trumpets), now with the accompaniment of timpani; and a Minuetto, also em-
ploying timpani. As is common in the concert en ouverture, the last two movements
include alternativement trios featuring the soloist playing divisions of the rst vio-
lins melody; both sets of divisions are particularly ne, with those in the menuet
including examples of written-out rubato.
To judge from the extant sources, Telemann was not only the most prolic com-
poser of concerts en ouverture, but very possibly also the rst. And considering how
inuential his overture-suites were during the eighteenth century, it would hardly
be surprising if the works by other composers in Table 1.2 owed their inspiration
to him, at least indirectly.80 Perhaps the earliest among Telemanns concerted suites
are 55:C2 and G7; the latter, noted earlier for its archaic ve-part string scoring,
is also unusual for including three concertante instruments, though it is the violin
that assumes the role of principal soloist. At the opposite end chronologically are
the three Musique de table suites (55:e1, B1, D1) and 55:A7. The A-major work, fea-
turing the galant rhythmic language typical of Telemann in the 1730s, is distin-
guished by several unconventional features: the title Invention for each of the six
movements following the overture, disguising dances such as the rigaudon,
passepied, gavotte, and giga; a capriccio-like movement (Invention III) alternat-
ing slow and fast sections; and a rational but wide-ranging key scheme (A majorD
majorF-sharp minorB minorE majorA minorA major).81
Some norms for the genre, insofar as the modest repertory allows us to gener-
alize, may be established by an overview of Telemanns works. First, and most ob-
viously, the violin was the instrument of choice for the solo role. (The heavy rep-
resentation of concerts en ouverture with violin soloist in Dresden sources suggests
that such works resonated with the courtsand especially Pisendelsleanings
toward the mixed taste.) Wind instruments make a few appearances in Table 1.2,
but as will be discussed later, some of the works in question are likely arrange-
ments of more conventionally scored overture-suites. Other than in the fast sec-
tion of the overture, usually in ritornello form with two to four episodes, the
soloist is often featured during the second dance in each of two or three alterna-
tivement pairs, where it either plays divisions of the rst violins melody or takes
the leading role in a duet or trio texture; this is also the pattern in the suites by
Johann Bernhard Bach and Doemming.82 In rondeau forms, the soloist is usually
featured in the episodes. Apparently reecting the relative modernity of the con-
cert en ouverture as a generic oshoot is the paucity of older dance types such as the
allemande and courante, which turn up only in 55:D6 and F13. On the other
hand, the presence of a soloist seems in many works to have foreclosed the pos-
 One Acquiring a Mixed Taste 51

sibility of including characteristic movements, which are more common in Tele-

manns overture-suites without a soloist.
Aside from BWV 1067, the locus classicus for the concert en ouverture is the justly
celebrated 55:a2. Unlike Bach, Telemann displays his soloist in every movement,
following the overture with Galanterien (paired menuets, passepieds, and polon-
aises), dance-like characteristic pieces (Les Plaisirs and Rejouissance), and an
aria-like slow movement in ritornelloda capo form (Air lItalien: Largo. Gra-
cieusementAllegro). In this last movement, the many punctuating rests and
deceptive cadences in the recorders ornamental melody suggest both breathless-
ness and unfullled desire, operatic emotions nding momentary release in the
twittering Allegro, functioning as the forms B section (Example 1.15). Note-
worthy, too, is the recorders remarkably varied accompaniment, alternating be-
tween continuo, simple chordal accompaniment provided by strings (with or
without continuo), and unison violins with continuo (not shown in the example).
Elsewhere, as in the overtures episodes, Les Plaisirs, and the second passepied,
Telemann writes for the attractive duet texture of recorder with violin bassetto.
Although none of the suites other movements project such a serious aect as the
Air lItalien, there is nevertheless the tragic descending bass of the overtures
opening (mm. 110), later echoed in the fast section by descending chromatic
lines (mm. 8991 and 12933). One is of course tempted to imagine Bachs con-
tact with 55:a2, given its similar scoring to BWV 1067 and inclusion of paired
polonaises (a dance not otherwise found in the works listed in Table 1.2). But it
is unclear whether Telemanns suite circulated widely: its only eighteenth-century
source is a score copied at the Darmstadt court around 1725, probably not long
after the work was composed. Might it therefore have been intended for the
recorder virtuoso Michael Bhm, Telemanns brother-in-law and a highly regarded
member of the Darmstadt Hofkapelle until 1729?
Another work now frequently heard in concerts and on recordings is the suite
in D major for viola da gamba and strings, 55:D6, also likely dating to the late
Frankfurt or early Hamburg years. If Telemanns recorder suite emphasizes the
soloists facility in the Italian concerto style, this one seems consciously to exploit
the gambas association with French music by adopting an unusually Gallic idiom,
particularly in the sarabande, courante, and gigue; Scheibe no doubt would have
approved, some Italianate passagework in the overture notwithstanding. But dur-
ing the eighteenth century, the best-known examples of the concert en ouverture may
have been those published in the Musique de table. Despite scorings resembling more
conventional overture-suites with multiple concertante instruments, these works
are aligned with the concert en ouverture through their concerto-like handling of the
soloists in each movement.83 In 55:D1 Telemann comes closest to dissolving the
52 The Overture-Suites

example 1.15. Suite in A minor for recorder and strings, 55:a2/iii, mm. 511


5
Recorder c
c
Violin 1
p

Violin 2 c
p
Viola c

c
p

Continuo

10







 One Acquiring a Mixed Taste 53

barrier between suite and concerto by following the overture with a bourre and
giga in ritornelloda capo form (Air. Tempo giusto and Air. Allegro), a
passepied en rondeau (Air. Vivace), and what is essentially a fast concerto move-
ment in ritornello-da capo form lacking any dance associations whatsoever (Air.
Presto). These suites will warrant a closer look in chapter 8.
Measured against the practices of Telemann and others, BWV 1067 will
strike us as unusual in several respects. Unconventional is the limited use to which
Bach puts his soloist, for although the ute plays in each movement, only four of
six dances following the overture have concertato parts. There is, furthermore,
only one alternativement dance pair instead of the usual two or three. Of the other
works listed in Table 1.2, just three (FWV K:A1, 55:D6, and 55:h4) fail to in-
clude a solo part in every movement (or alternativement movement pair), and only
one of these (FWV K:A1) allows the soloist to remain mute, as it were, for longer
than one movement. Following his overture, Bach holds the soloist in check for
almost all of the rondeau and the entirety of the sarabande. The absence of solo
writing in Bachs menuet is particularly striking, for the conventions of the concert
en ouverture would seem to dictate the inclusion of a second menuet featuring the
soloist. This is the case with all thirteen of Telemanns works to include the dance,
as it is with Doemmings suite. It is perhaps less surprising that Bach writes ex-
clusively for the tutti in his sarabande, given that this dance normally lacks an al-
ternativement partner. All ve of Telemanns sarabandes (55:D6, D14, Es2, E3, g8)
nevertheless feature the soloist(s) in some way.
Whereas Bachs overture, second bourre, and polonaise-double fully exploit
the presence of a concertato instrument, the rondeau and Battinerie feature tex-
tures in which the ute is closely tied to the violin 1 line. The only solo writing
in the rondeau, in fact, comes more than midway through the movement in a brief
passage (mm. 32 through 362) where the texture is suddenly reduced to three
parts: ute, violin 1, and violin 2. The emergence here of the soloist is incongru-
ous, even musically unmotivated, and indeed there is no reason Bach could not
have scored the passage more conventionally for violins 1 and 2 with viola. This
may, in fact, have been the movements original reading; for if Bach had been con-
cerned from the outset with including a soloist in his rondeau, it would have been
more natural to have the concertante instrument dominate the episodes, as is al-
most invariably the case with rondeau movements in concerts en ouverture.84 Similarly,
for much of the Battinerie the ute is closely shadowed by violin 1, which even
overshadows the soloist at times (mm. 69 and 2831). It is as if Bach has cre-
ated two parts from one, especially because only one brief passage toward the end
of the movement (mm. 3337) takes real advantage of the ve-part scoring. Per-
54 The Overture-Suites

haps, then, an early version of the Battinerie was also scored for four-part
strings. The implications of this line of argument are clear enough: BWV 1067
could have been assembled in part from movements originally lacking a concer-
tante instrument, two of which (the rondeau and Battinerie) Bach revised to ac-
commodate one.85
The idea of arranging an overture-suite to include a concertante part may have
been relatively widespread during the eighteenth century. As is well-known, two
midcentury copies of BWV 1068 in the hand of Christian Friedrich Penzel
rechristen Bachs Violino 1 as Violino Concertato and include a new violin
1 part that doubles violin 2 during the overture and following air, the two move-
ments featuring soloistic writing.86 The anonymous copyist of the Berlin set of
parts to 55:D6 took a similar approach when he created a ute part that doubles
the rst violin almost continuously but replaces the violin in the minore section of
the sarabande and alternates with it (dividing up a single musical line) in the
bourre. Two other Telemann concerts en ouverture with wind soloists appear to be
arrangementsprobably not by the composerof works for string ensemble. In
55:E2 the oboe damore doubles violin 1 or, as in the fast section of the overture,
all three upper string parts in turn. Oddly, it does not play at all in the second
rigaudon, where the running eighth notes in violin 1 might have been turned into
a wind solo. Another work for oboe and strings, 55:C2, resembles the Bodinus
suite in following an overture lacking solo episodes with a slow movement for
soloist and continuo, then making little subsequent use of the soloist.87
Three works listed in Table 1.255:Es2, e10, and g8seem to bear witness
to a rather more sophisticated arranging process. Both the te pastorelle
(recorder) soloist in the E-at suite and the concertante oboe/ute in the E-
minor suite have independent solo writing in the overture but are often tied to the
violin 1 line during the following dances.88 In a number of movements (includ-
ing the E-at Menuet I, Passepied II, and Gigue; and the E-minor Carillon,
Menuet I, and Gigue) the soloist either doubles violin 1 or alternates with it.
Elsewhere in these two suites there is evidence of the rewriting of ripieno string
parts to accommodate the addition of a soloist.89 In both works, the most solois-
tic writing outside of the overture movements occurs in alternativement dances
scored for soloist and continuo (the E-at Bourre II and the E-minor Rigaudon
II). The G-minor suite is unique among concerts en ouverture in having only three real
parts throughout: two solo violins, doubled in tutti passages by ripieno violins,
and continuo. Although both the overture and Passacaglia contain soloistic writ-
ing, elsewhere the two lead violins seem underemployed, often repeating (in the
sarabande) or echoing (in the Eccho) music played by the tutti. This unusual
scoring, when considered alongside the unusually prominent role assumed by the
 One Acquiring a Mixed Taste 55

second violin throughout, suggests that the work may be an orchestral arrange-
ment of a trio.90 It also seems possible that 55:E3, ironically the suite with a solo
violin part including the title Concert en Ouverture, was also originally for
four-part strings: the overture awkwardly incorporates the soloist into a fugal tex-
ture (there is no sense of ritornello form), and the following dance movements
are all in four real parts, with violins 1 and 2 often doubling each other when the
soloist has an independent line.
Two unusual features of FWV K:A1 raise doubts as to whether its present
form reects Faschs original conception of the piece. First, the Violino Concer-
tino doubles the Violino 1mo for much of the work, receiving solos only in the
overture, Gavotte I, and Air. Andante (the suite also includes another air, a sec-
ond gavotte, a bourre, and three menuets). Stranger still, the solo passage in the
gavotte occurs in the wrong dance of this alternativement pair, for without excep-
tion, concertante instruments in other concerts en ouverture assert themselves only in
the second of paired dances. Given that Pisendel did not hesitate to recompose
the solo violin part in the Air of Faschs overture-suite FWV K:G2, we should
not be surprised if the A-major suite was also subjected to an arranging process
at the Dresden court.
A further possible instance of arrangement in BWV 1067 deserves mention
here. It has been proposed that the putative violin soloist in an early, A-minor ver-
sion of the piece would have played the polonaise in unison with violin 1.91 In-
deed, Bach may have taken the solo part up an octave in the B-minor version solely
to avoid two pitches in measure 12 (c
and b) that lie below the utes compass.
But might not the octave doubling have been designed, in both versions, to con-
vey its own musical meaningperhaps a rustic eect characteristic of the Polish
style? One thinks, for instance, of the Polish fourth movement of 52:e1, in
which the ute and recorder soloists double violin 1 at the octave in each state-
ment of the rondeau refrain and are themselves heard in octaves during the third
and nal solo episode. Alternatively, Bachs octave doubling might have been in-
tended simply to distinguish the soloist from the full ensemble, as is apparently
the case in the rst menuet of 55:D4, where the Violon 1 concert frequently
doubles Dessus and Hautbois 1 at the octave.
That the concert en ouverture and concerto en suite seem to have enjoyed briefer
and less widespread popularity than other hybrid genres such as the Sonate auf Con-
certenart (the subject of chapter 6) is hardly surprising, for they were essentially
generic dead ends, simultaneously choking o the suites programmatic potential
and diluting the French style through what seemed, at least to those in sympathy
with Scheibes view, like gratuitous displays of virtuosity. Indeed, by the early
1730s Telemann appears virtually to have exhausted the possibilities oered by
56 The Overture-Suites

the concert en ouverture, and his Musique de table suites may be viewed from this per-
spective as late attempts at reinvigorating the genre; the later 51:F4 is, as we have
seen, exceptional in many respects. Bachs connement of soloistic writing in
BWV 1067 and 1068 to selected movements might therefore be due in part to
his acknowledgement of the genres intrinsic limitations.

The Overture-Suite in Retrospect

So far as the surviving sources allow us to determine, Telemann stopped com-

posing overture-suites in the late 1730s or early 1740s, around the time that such
works were beginning to pass out of fashion. Yet a parcel of nine composing
scores at Berlin documents his return to the genre toward the end of his life. We
owe the survival of this musicincluding ve overture-suites (55:D2123, F16,
and g9), a C-major Sinfonia melodica (50:2), and three divertimenti in E-at,
A major, and B-at (50:2123)to the composers grandson, Georg Michael
Telemann (17481831), who appears to have assembled the parcel from separate
manuscripts he inherited in 1767.92 Why Georg Michael owned these works is
unclear, for practically without exception all of the music he inherited was vocal.
Perhaps he felt a special attachment to them, as they were composed while he was
a teenager living in his grandfathers household. Additional instrumental works
belonging to Telemanns estate probably went to other heirs or were auctioned o
in 1769; a published announcement of the upcoming auction, dominated by
vocal music (but excluding church cantatas) noted that also available is an ap-
pendix of several old [and] for the most part incomplete things, for example from
German operas, concertos, ouverturen, etc., mostly for gambas.93
As his title page to the parcel reveals, Georg Michael had some diculty with
classifying the nine works by genre:

three
two
Six Five Ouvertrs, a Sinfonias, and
mostly
three Divertimenti, which in the hand
of the late Telemann, which he composed in the 86th
year of his life for His Highness the Landgrave of
Darmstadt, Ludwig VIII.

In fact, all of the works belong to the overture-suite tradition, even though the
sinfonia and divertimenti replace the overture with dierent kinds of introduc-
 One Acquiring a Mixed Taste 57

tory movements. Some of the suites might indeed have been composed during
Telemanns eighty-sixth year (176667), but at least some date from slightly ear-
lier: the composer dated the score to 55:D23 1763, and a set of copyists parts
to 55:D21 now at Darmstadt bears the inscription par moi Telemann Anno
1765. These dates are in keeping with the paper of the parcel, which is of a type
Telemann used in the St. Luke Passion of 1764 and the St. John Passion of
1765.94 To varying degrees, all of the scores reveal the elderly composers physical
inrmity. But none bears witness to any diminished powers of musical invention.
In keeping with Georg Michaels title page, four of the works (50:2 and 23;
55:D21 and F16) are inscribed to Ludwig VIII, Landgrave of Hesse-Darmstadt.
Further evidence that all nine works were intended for the Landgrave is provided
by an accompanying leaf containing a fragmentary, undated draft letter in Tele-
manns hand. The addressee is an unnamed Darmstadt Kapellmeister, probably
Johann Samuel Endler (who died in April 1762) or his successor Wilhelm Gott-
fried Enderle:

I was prepared to let my pen rest for a while, for in composing the music I last dis-
patched (the rst part of which I sent along with a local merchant, Herr Schmidt,
who is well-known out there), I became conscious of a quite noticeable decline in
my vision. However, a newspaper fell into my hands, where I read: His Highness
the Landgrave of Darmstadt, Ludwig VIII, will celebrate his name day on 25 Au-
gust. Almost immediately I became lled with enthusiasm and made a draft of the
enclosed works.95

Since the reverse of this leaf contains a sketch of the movement order for
50:21, it is likely that the parcel contains a mixture of the works Telemann had
last dispatched and those written for Ludwig VIIIs name day. The composers
reference to his failing eyesight echoes his comment with weak [blden] eyes on
the autograph scores to the 1760 cantata on the death of King George II of En-
gland, Lieber Knig, du bist tot, TVWV 4:15, and the 1762 St. Matthew Passion,
TVWV 5:47.96
Much of the music in the parcel is, as one might expect, retrospective in na-
ture. Notably backward-glancing are 55:D23, F16, and g9, with their lineups of
courtly dances culminating in a chaconne (g9), tempte (F16), or passacaille (the
penultimate movement of D23). Especially archaic in the 1760s were such dances
as the courante (F16), galliard (D23 and 50:22), and branle (50:21); Telemanns
inclusion of them alongside somewhat less old-fashioned movements may have
been a deliberate attempt to historicize the suite and, perhaps, his own contribu-
tions to its story. He retains his long-standing preference for the loure (50:2;
55:D21, D22, F16, and g9)the F-major suite even includes a rare alternating
58 The Overture-Suites

pair of the dancesand for suites with an extramusical program (50:21 and
55:D22, considered in the following chapter). But there are also signs that Tele-
mann did some reconceptualizing of the genre while composing these works; that
he now viewed stylistic conventions with fresh, if weaker, eyes. Besides a tendency
toward greater rhythmic variety in the overtures (including healthy doses of galant
triplets), there is the unorthodox tonal plan of 55:D21, with movements in B
minor/major, G major, and D minor; an imaginative use of pizzicato in the
Carillon of the same suite; the treble-dominated scorings of the sinfonia and
the string divertimenti 50:2223 (largely in an orchestral trio texture with violins
in unison); the unlikely alternativement pair of a plainte and galliard in 55:D23; the
Harmoniemusik scoring in the second menuets of D21 and D23; the ve-measure
bass pattern of the passacaille in D23 (Telemanns other passacailles and cha-
connes all have patterns with an even number of measures); and the miniature
Chaconnette of 50:2.
Telemanns familiarity with Darmstadt taste may explain why he opened his
sinfonia and divertimenti with movements in ritornello or sonata form, for many
of Endlers suites also do away with the French overture.97 The ritornello-form
movements at the start of 50:2 and 50:21 recall the concerto en suite by high-
lighting wind instruments in two solo episodes, whereas the Presto of 50:22 and
the Allegro assai of 50:23 invoke the midcentury symphonic style while provid-
ing the clearest instances of sonata form in Telemanns instrumental music. Note
in Example 1.16 the opening theme of repeated half notes alternating with
disjunct quarter notes, a rhetoric of contrast that characterizes the movements
material as a whole and lends it a sense of Empndsamkeit. Before this theme pro-
vides the basis for the development section (but not for the recapitulation!), the
dominant arrival in measure 20 is immediately undermined by an unexpected
shift to the parallel minor. The gigue-like Allegro assai of 50:23 is less concerned
with rhythmic and aective contrast (at least in its exposition) and more with for-
mal clarity: a new piano theme in the pastoral mode coincides with the arrival in
the dominant, and the recapitulation encompasses a full-scale recapitulation of
the opening period.
The six dances that follow both of these movements oer an engaging mix-
ture of the old and the new. Telemann labels them Scherzo and provides sup-
plementary tempo or expression markings. In 50:22, the rondeau-form scherzo 1
(Gagliardement) is lled with aective contrasts of harmony and dynamic
level, particularly at the sudden, empndsam shift to the subdominant to start the
rst episode (Example 1.17). Scherzos 24 are, as Telemanns note on the score
observes, a trio of alternating Danze Poloniche performed in the order 23
242. These invoke both the seventeenth-century Tanz-Nachtanz and French
 One Acquiring a Mixed Taste 59

example 1.16. Divertimento in A major for strings and continuo, 50:22/i, mm. 116

Presto
Violin 1





Violin 2



Viola

Continuo

12

15







60 The Overture-Suites

example 1.17. Divertimento in A major for strings and continuo, 50:22/ii, mm. 112

Gagliardemente
Violin 1

38

Violin 2

38

Viola 38



3
Continuo
8


7



p

p

p [ ]

p

[ ]

double traditions by presenting three dierent versions of the same dance: scherzo
3 is a triple-meter version or proportio of scherzo 2, and scherzo 4 (Pol[nische]
Sarras) is a variation of scherzo 3.98 The work concludes with a forlana (scherzo
5) alternating with a duple-meter trio (scherzo 6). Unusual dance pairings are
also found in 50:23, where scherzos 1 and 2 are alternating menuets, the rst
originally in Tempo di Minuetto Tedesca and the second in Tempo di Min-
uetto Francese. These indications were crossed out, however, and replaced by
Vivace and Moderato. Hence the German menuet is to played faster than
the French one, though little appears to separate the two stylistically. In scherzo
4, alternating with the bourre-like scherzo 3, the bass line is divided to allow a
tenor-register duet between the second violins/violas and Violoncelli. Before
concluding with the jesting scherzo 6 (Arlechinoso; originally Giocoso),
Telemann again glances toward the past in scherzo 5, a Salta[rello] (according
to the cancelled original title) with the compound meter and dotted rhythms
characteristic of the dance.
We turn nally to another late orchestral work surviving in a composing score,
the Concert 9 Parties, 50:1, with the singularly eccentric instrumentation of
ute (ordinary, or that at the octave [i.e. piccolo], or the two combined), alto
chalumeau, oboe, two violins almost entirely in unison, viola, two concertante
 One Acquiring a Mixed Taste 61

contrabasses, and continuo.99 The work is in fact a three-movement symphony, as

indicated by the original title that Telemann crossed out before he began com-
posing: Grillen-Symphonie in the Italian, French, English, Scottish, and Polish
styles. Although this title was rejected, along with the jumble of national idioms,
it helps explain the musics curiously tongue-in-cheek style (Grillen, as used in this
sense, are whims). Preceding the symphony in the manuscript is Telemanns com-
posing score of the cantata Der May, TVWV 20:40, a setting of Karl Wilhelm
Ramlers Der May: Eine musicalische Idyll, rst published in 1758. Thus the cantata
and symphony may be dated to between 1758 and 1766, when the Hamburg Un-
terhaltungen noted that [Telemanns] cantata Der May must already be known to
our readers.100
In the works rst movement, a ritornelloda capo form, the three winds and
double basses are treated as soloists on equal terms, quickly trading motives back
and forth. Such rapid-re exchanges between the darkest and brightest voices of
the orchestra, in particular the scampering gures of the double basses, brings to
mind a similar comedic eect in the scherzo to Beethovens Fifth Symphony (Ex-
ample 1.18). The second movements title, Tndelnd (dallying or triing), as-
sures us that the disturbingly abrupt contrasts of dynamic level and descending
chromatic lines are not to be taken too seriously. Apart from the punctuating
wind chords, the scoring here is for orchestral string trio (the double basses have
no independent lines). The nale returns us to concertante writing in a through-
composed trio for the three winds and double basses; surrounding this is a bi-
nary dance in the rustic mode, the second half of which emphasizes the musics
uncouthness by commencing in the subdominant just after a modulation to the
dominant. Whether or not Telemann intended this work to satirize the symphony
of the 1750s and 1760s (in chapter 8 we shall nd him criticizing the rage of
ordinary symphonies), it is clear that his sense of humor remained intact as he
entered his eighties.
With this concert and the roughly contemporary suites and divertimenti at
Berlin, we reach the end of a six-decade arc spanning almost the entirety of Tele-
manns career. Our survey of his overture-suites composed between 1700 and
1765 has revealed an extraordinary diversity of approaches to the genre. Stylisti-
cally, this large repertory reects everything from the Lullian overture and suite
of the late seventeenth century, to the Vivaldian solo concerto of the early eigh-
teenth century, to the north German symphony of the mid-eighteenth century.
Yet no matter what their reference point, Telemanns overture-suites invariably
bear the stamp of originality. What is more, they appear to have played an im-
portant role in transforming the genre from a compilation of brief theatrical
pieces into concert music of greater dimensions and richer scoring. Certainly no
62 The Overture-Suites

example 1.18. Concert 9 Parties for ute and/or piccolo, oboe, chalumeau, 2 vio-
lins, viola, 2 concertante contrabasses, and continuo, 50:1/i, mm. 3641

c
36
Flute and/or
Piccolo

Oboe c


Chalumeau c

c
Contrabass 1

c

Contrabass 2


c
Violins 1 and 2



Viola c
c

Continuo

38













 One Acquiring a Mixed Taste 63

40

other composer did so much to make the overture-suite an important locus of the
German mixed taste. The rigor with which Telemann incorporated concerto ele-
ments into such pieces, in particular, is characteristic of his abiding interest in
generic amalgamation; we shall see him engaging in similar blending with the
Sonate auf Concertenart in chapter 6. Equally characteristic is his propensity to cri-
tique convention more broadly in the service of expanding the musics expressive
range. Such critiques often reveal much about both music and composer, as when
Telemann seems to comment upon the pasts relationship to the present in his lat-
est overture-suites. Textless narratives were especially well suited to the genre, and
the composer exploited this potential more fully than any of his contemporaries.
It is to these storiesboth musical and otherwisethat we now turn.
This page intentionally left blank
 Chapter 2
Telemanns Mimetic Art
The Characteristic Overture-Suites

In the preface to the libretto for his 1727 Hamburg opera Calypso,TVWV 21:19,
a work described as something of an attempt at the improvement of theatrical
music in German, according to the Italian model, Telemann reected on musics
expressive power to provoke pleasure in the listener:

The greatest pleasure one takes in vocal music results from the unity of ideas stem-
ming simultaneously from words and sounds. If these ideas are separated, half of
the eect is lost; and if they are inconsistently joined together, the overall essence
is incomplete. It is, furthermore, more than probable that the pleasure we feel from
the most moving sounds of instrumental music arises in part from certain ideas
that we attach to the same, from emotion, and from our imagination, through
which these sounds are expressed. And if one wished to claim, for the sake of ar-
gument, that opera arias would be heard with pleasure even if we could not under-
stand the words at all, it is impossible that recitative, which is completely incapable
of arousing such ideas, could achieve such plaisir, for it is, strictly speaking, more a
speaking in musical tones than singing.1

Despite his invocation of Italian opera, the composer reveals himself here
as a sympathizer with French rationalist thought. For in oering that music, in
order to please, must have an intelligible meaning deriving from a text, he pro-
vides an early German parallel to the neoclassic aesthetic of musical expression
articulated by such writers as Jean-Baptiste Du Bos (Rexions critiques sur la posie
et sur la peinture, 1719) and Charles Batteux (Les beaux arts rduits un mme principe,
1746).2 Although it would seem that, for Telemann, ones pleasurable response
to instrumental music occurs outside of any mimetic frameworkhe makes no
reference to the imitation of nature through tone painting, for examplehis im-
plication is that such music imitates ones own expression of passion, or emo-
tion. The certain ideas that we attach to such music, moreover, may be under-
stood as elucidating texts, whether they are silent interpretations, a dramatic

65
66 The Overture-Suites

context, or programmatic titles. Further, in compartmentalizing musics eects

on the listener, Telemann falls in line with the main aesthetic trends of the eigh-
teenth century. Compare his notion of pleasure to Jean Pierre de Crousazs sim-
ilar denition of beauty (Trait du beau, 1715) as the relation between objects,
or the feelings they arouse, and our ideas, or to Thomas Twinings reduction of
musics power (Two Dissertations, on Poetical, and Musical, Imitation, 1789) to three
distinct eects;upon the ear, the passions, and the imagination: in other words, it
may be considered as simply delighting the sense, as raising emotions, or as raising
ideas.3
But there are limits to Telemanns rationalism: he adopts an emotionalist stance
in recognizing the sensual pleasure of arias with unintelligible texts (recitative,
lacking a singing quality or melody to serve as a vehicle for natural expression,
would be meaningless without its verbal sense), and in implying that vocal and in-
strumental music have an equivalent expressive value.4 Indeed, Telemanns obser-
vation that instrumental music both stimulates and derives from the intellect,
emotions, and imagination foreshadows Johann Matthesons simpler formulation
that since instrumental music is nothing other than a tone-language or sound-
speech, its real intention must be to arouse a certain emotion.5 Certainly Tele-
manns contemporaries celebrated his music for its emotional eect: in 1728 two
anonymous Hamburg musicians observed that Handel [composes] music but
Telemann composes music and aects.6
Here it is worth pausing to consider a likely catalyst in the formation of Tele-
manns views on expressivity in instrumental music: Johann Kuhnaus Musicalische
Vorstellung einiger Biblischer Historien, six multimovement keyboard sonatas depicting
stories in the Old Testament. This collection was published in Leipzig in 1700,
just a year before the arrival there of the twenty-year-old Telemann, whose close
contact with Kuhnau and his music surely extended to the so-called biblical
sonatas.7 Each work is preceded by a title, a substantial commentary on the story,
and a sentence-long program for every movement; in the musical notation, both
title and program are given in Italian, with phrases of the latter sometimes ap-
pearing beside specic passages in the manner of Vivaldis Four Seasons. Kuhnaus
imaginative and occasionally brilliant music encompasses a broad range of styles
and aects, and in this sense it cannot have failed to impress the young Telemann.
Of particular interest to us here is the collections preface, in which the composer
expounds at some length on the eect of words on musics intelligibility. After
admitting that many movements in his sonatas would seem questionable to some
people if the words were not there to guide them as to my intentions, he observes
that vocal music has a particularly strong eect on listeners because the words
 T wo Telemanns Mimetic Art 67

play a great or even the principal part in moving them.8 Untexted music, how-
ever, does have some representational potential:

In my opinion, one rst introduces a certain aect, or tries to draw the listener him-
self into the intended aect. Next, additional material derived from nature or art
will be presented. This last may be achieved in such a way that the listener soon per-
ceives the composers intention, even though it was not indicated by words, for ex-
ample when one wishes to imitate the song of birds, such as that of the cuckoo and
nightingale, or the ringing of bells, the cannons bang, or similarly one instrument
on another, such as the trumpets or kettle-drums on the keyboard. Or else one aims
at an analogy and arranges the musical materials in such a way that they may be
compared with the imagined subject matter by the mediation of some third con-
cept. Here words are indeed necessary if the sounding harmony is not to fare at
least as poorly as mutes, whose language can be understood only by extremely few.9

Instrumental music, then, cannot narrate beyond evocations of other untexted

sounds; it remains mute without an explicating text. After explaining how he has
musically represented Goliaths snorting and thumping, the Philistines ight,
Jacobs mixed emotions, and Gideons misgivings, Kuhnau again engages in spe-
cial pleading when he requests from his audience a sympathetic interpreta-
tion. . . . For just as words occasionally need further interpretation, even though
they are, after all, the most apt means by which a speaker can make others under-
stand his thoughts, so the musician will be pardoned if he explains in words the
dim concept conveyed to another.10 Kuhnau did in fact provide a second layer of
textual explication for Sonata 4, the program of which references (but does not
fully quote) two verses from the chorale Ach Herr mich armen Snder (O Lord,
This Poor Sinner). He must have judged that quoting the chorale melody in the
sonatas rst two movements would be insucient to convey his intentions; one
also needed to be reminded of the accompanying words. Yet in Sonata 1 he seems
to have assumed that listeners would recognize the chorale melody Aus Tiefer
Noth (Out of Deep Need) and connect it, without any verbal prompting, to the
trembling of the Israelites, and their prayer to God at the sight of Goliath.
Despite the considerable thought Kuhnau gave to the musical exegesis of
these biblical stories, he was not above poking fun at his project. The year 1700
also saw the publication of his satirical novel Der musicalische Quack-Salber (The
Musical Quack), a book that Telemann is likely to have known. In one scene, the
charlatan Caraa claims to have composed an Emotions Sonata depicting one
mans joy, sadness, repugnance, rage, pleasure, gravity, and earnestness. He boasts
that when performing the piece on violin, beautiful and intelligent women
68 The Overture-Suites

nearly dance for joy, twitch with anger, and, at the appearance of stirring
and graceful triplets depicting pleasure at pleasant parties, kiss him amor-
ously as he plays.11 By comically exaggerating the aective power of textless music
in this scene, Kuhnau reinforces his point about instrumental musics narrative
limitations.
Regardless of whether Telemann regarded Kuhnaus biblical sonatas as a pos-
itive or negative example, he too ventured into the eld of what eighteenth-
century writers called characteristic music.12 Indeed, his own aesthetic stance
toward musical expression is consonant with his many overture-suites and suite
movements that imitate or represent something extramusical. Telemanns enthu-
siasm for musical mimesis in the overture-suite makes him something of a cu-
riosity among his German contemporaries, for whereas composers such as Jo-
hann Sebastian Bach and Johann Friedrich Fasch freely mixed social dance types
(for example, the branle, courante, and menuet) with those associated more with
the theater (sarabande, gigue, canarie, chaconne, passacaille, and airs and ron-
deaus evocative of opera and ballet), they wrote relatively few characteristic
movements.13 Titles such as Les Potes, Les Pasans, Balet pour les Ama-
zones (Muat, Florilegium secundum, 1698), Air La Rejouissance, Air La
Plainte, Air Le Sommeil (Erlebach, Six ouvertures, 1693), Air des Combat-
tans (J. C. F. Fischer, Le journal du printems, 1695), Les Vents, Les Cavalliers
& Dames, and Entre de Pallas, Junon & Venus (Kusser, Apollon enjo, 1700)
became less common after 1700 as the overture-suite increasingly moved toward
concert music and away from its theatrical origins. (Muats Florilegium secundum
suites originated as ballet music, and there is evidence that at least some of
Kussers Apollon enjo goes back to the theater as well.)14 Telemanns characteris-
tic overture-suites not only run counter to this tendency, but more fully realize
the genres mimetic potential than anything written previously. In their expres-
sion of an unprecedentedly broad range of subjects, they adumbrate the charac-
teristic symphony of the late eighteenth and early nineteenth centuries. And to
a greater extent than any of Telemanns other instrumental works, they reveal
him as a man of the theater, avid reader, humorist, and keen observer of the
physical and political world.

Characteristic Titles

As is the case with Vivaldis concertos and Haydns symphonies, many of Tele-
manns most popular overture-suites bear titles characterizing the entire work. And
 T wo Telemanns Mimetic Art 69

as with Haydns symphonies, few of these sobriquets appear to have stemmed

from the composer himself. Of the eighteen characteristic suites listed in Table
2.1, only 55:D22 survives in Telemanns own hand.15 The seven titles in the hand
of the unidentied Darmstadt Copyist E, including that of the probably inau-
thentic suite La Putain, may almost certainly be attributed to scribal whim: earlier
Darmstadt sources for 55:C5, D5, D13, and G4 in other copying hands lack
characteristic titles altogether, and only the titles for 55:e8 and G4 make any dis-
cernible reference to the suites contents.16 In the cases of 55:C3, Es3, F11, and
G2, only some of the extant sources bear titles, and it is clear that the latter two
works received their epithets after the fact of copying: George Christoph Balchs
theatrically suggestive title for 55:F11 (can the work really have been danced to
at Dresden?) was added to a manuscript apparently sent by Telemann to Dresden
from Hamburg, and Johann Georg Pisendel added the words La Bizarre to a
manuscript of 55:G2 copied by another Dresden court scribe. As for the C-major
suite, the fact that the sources are in such wide disagreement over its title (water

Table 2.1 Characteristic titles to Telemanns overture-suites

TWV 55: Title(s) Copying hand(s)
C3 Wasser-Ouverture; Ouverture 7, qui rprsente Leau avec ses Various
divinits et le commerce de la mere; Hamburger Ebb und
Fluht; Musica maritima
C5 La Bouonne Darmstadt Copyist E
D5 La Galante Darmstadt Copyist E
D13 La Gaillarde Darmstadt Copyist E
D22 Ouverture, jointes dune suite tragi-comique Telemann
Es3 La Lyra Unidentied
e8 LOmphale Darmstadt Copyist E
F7 Ouverture la pastorelle J. S. Endler (Darmstadt)
F10 Ouverture la burlesque J. S. Endler (Darmstadt)
F11 Ouverture en Pantomie G. S. Balch (Dresden)
G2 La Bizarre J. G. Pisendel (Dresden)
G4 Ouverture des nations ancien[ne]s et modernes Darmstadt Copyist E
G8 La Querelleuse Darmstadt Copyist E
G10 Ouverture burlesque de Quixotte; Don Quixote Ouverture Various
burlesque; Quixotte
G12 Ouverture avec la suite burlesque J. S. Endler (Darmstadt)
Anh. G1 La Putain Darmstadt Copyist E
g2 La Changeante J. S. Endler (Darmstadt)
B8 Ouverture burlesque Unidentied
70 The Overture-Suites

overture; overture in 7 parts, which represents the water with its divinities and
sea commerce; Hamburg tides or Hamburg ebb and ow; maritime music)
suggests that none of them in particular was sanctioned by Telemann.17 This work
and the Ouverture burlesque de Quixotte appear to have been the most widely traveled
overture-suites Telemann left unpublished: both are transmitted in at least eight
eighteenth-century manuscripts, a very high number when one considers that most
such works owe their survival to only one or two sources. The advertisement of
these suites by characteristic titles in the 1765 Breitkopf thematic catalog, and
lost sources at The Hague, Zerbst, and perhaps Ulm further testify to their wide-
spread and long-lived popularity.18
Whether or not their titles are authentic, a number of the overture-suites are
aptly named. As an occasional work with aquatic movement titles, 55:C3 has
earned the right to be known as Telemanns water music. The copyist who gave
55:Es3 its title obviously did so with reference to the movement La Vielle,
which evokes the hurdy-gurdy. The qualier in the title to 55:F7 no doubt de-
scribes the works pastoral overture, discussed in the previous chapter. La Change-
ante (55:g2) probably refers to the fact that each movement is in a dierent key
(G minorG majorB minorE minor/E majorC majorF majorB-at major
G minor), and that the third section of the overture is in G major rather than G
minor. This work is one of only four Telemann overture-suites to depart from the
overall tonic or prevailing mode for more than a movement or two (the others are
55:D21, A7 and B6). Pisendels title for 55:G2 applies to a parodistic overture,
just as the burlesque titles (55:F10, G10, G12, and B8) allude to the musics
comical, satirical, or theatrical qualities. Two of these last suites, 55:G10 and B8,
take as their respective subjects Cervantess satirical novel Don Quijote and the Ital-
ian commedia dellarte. In both 55:F10 and G12, the unusual brevity and con-
secutive numbering of six Airs following the overture suggest a balletic origin
for the music.19 All four burlesque titles have some claim to being authentic,
given that Telemann used similar formulations for suites in other scorings. For ex-
ample, in the index to his journal Der getreue Music-Meister, he identies the key-
board suite 32:2 as an Ouverture burlesque and the characteristic violin duet
40:108 as an Intrada, nebst burlesquer Suite. The overture with suite formu-
lation in the title to 55:G12 (Ouverture avec la Suite burlesque), found else-
where among Telemanns works, may be a further indicator of its authenticity.
These and a few other cases aside, however, it appears that Telemann usually
refrained from giving his overture-suites characteristic titles. His disinclination to do
so on the composing scores of 50:21 and 55:B11, both consisting almost entirely
of characteristic movements linked by a narrative or common theme, speaks for
 T wo Telemanns Mimetic Art 71

itself in this regard, as does his generic title Introduzzione, tr for an overture-
suite in trio scoring that furnishes character portraits of historical and mytholog-
ical women (42:C1, from Der getreue Music-Meister). When Telemann did christen
overture-suites or individual movements with characteristic titles, he seems gen-
erally to have given more thought as to the musics expressive content than, for ex-
ample, some of the French clavecinistes or Georg Muat, who admitted naming the
overture-suites of his Florilegium primum (1695) according to a state of mind.20
This much is indicated by the comparatively low count of movements with rela-
tively unevocative titles such as those in 55:C1 (La Complaisance, LIndigna-
tion), e7 (Le Contentement ), and B3 (La Discrtion, La Grimace, La
Doute), and by Telemanns careful sketching out of the movements titles and
order in the autograph scores to 50:21, 55:D22, and 55:B11. In this light, we
might suppose that Telemann was in sympathy with the sentiments of German
writers such as Ernst Gottlieb Baron, who decried the feckless naming of move-
ments in French instrumental music.21 That German composers of overture-
suites were often guilty of the same crime is attested by Scheibe:

If a composer axes his suites [i.e., dances] to a preceding Ouverture, he must in

each case express the names placed over them so that they receive no other shape
[Gestalt] or arrangement than that betting their character. Nothing is more fatu-
ous than insipid composers giving their movements names only when they have al-
ready nished them, without concerning themselves seriously with their nature and
qualities. Such a bungler doesnt know what he wishes to do. And how often has it
happened that a movement expressing nothing at all is given a name? A composer
must already know what he wants to compose before he puts his pen to paper.
Whoever wishes to start reecting upon what his movements really could be after
their completion commits such foolishness that he certainly deserves to be mocked.
I have seen more than one such hero go so far as to ask his copyist how he should
name the so-called suites in his wretched Ouverturen.What splendid insight into the
nature of musical works must these simpletons not possess?22

In France, characteristic titles were apt to be modied or added long after the
music had been composed. Three ensemble sonatas written by Franois Couperin
around 1692 changed identities when published in 1726: La Pucelle became
La Franoise, La Visionnaire became LEspagnole, and LAstre became
La Piemontoise. In 1734 Jean Franois Dandrieu updated older, untitled
dances by republishing them with titles: a gavotte was christened La Galante,
and a sarabande was now La Constante.23 Nor were Italian composers exempt
from adopting a cavalier attitude toward the titling of their works. Vivaldi, for
72 The Overture-Suites

one, seems on occasion to have added a characteristic title to a plain concerto

after the music was partly or even fully notated.24 Of course, copyists might also
take it upon themselves to add or change characteristic movement titles without
the composers assent, as was apparently the case at Darmstadt. Instructive in this
respect is Telemanns overture-suite, 55:a7, a G-minor lute arrangement of which
(39:2) replaces the titles Rejouissance and Harlequinade with Eronterie
and Paysans (Pollonisse in the keyboard arrangement, 36:49). Thus one per-
sons rejoicing becomes anothers erontery, and buoons, peasants, and Poles are
set dancing to the same tune. Cases such as this one remind us that a composers
intentions can be impossible to reconstruct once other hands have intervened in
the musics transmission.

Staging the Overture-Suite

It is a truism that, arrangements of balletic and operatic music by Lully, Cam-

pra, Muat, and a few other composers excepted, the overture-suite was by
denition music for playing and listening rather than for dancing. For most
eighteenth-century composers, such a statement requires little or no quali-
cation. But in Telemanns case, it is far from self-evident that the stylized dances
in his suites were not conceived of as dance music, but must be understood
[within the context] of a developing middle-class musical culture as autono-
mous music for the public concert hall, or that the world of drama, with its
passionate, enigmatic uctuations, is foreign to the orchestral suite.25 Although
there can be little doubt that the majority of Telemanns overture-suites were
written as courtly Tafelmusiken or as concert music for various private and public
occasions, the possible theatrical origins of others should not be discounted
(the burlesque suites 55:F10 and G12 have already been mentioned, as has
55:D4 in the previous chapter). For example, 55:B6 gives every indication of
being an arrangement, probably not by the composer, of arias from a vocal
work.26 Several individual suite movements may also derive from theatrical
scores. The lengthy and exceptionally ne chaconne of 55:f1 is the only move-
ment in the suite to add recorders to the string ensemble, and this scoring, to-
gether with the title given to the work in its only source (Ouverture / / 2.
Violons / Taille / & / La Chaconne / / 2 Flutes / avec / Basse . . .), sug-
gests that the chaconne did not originally belong to the suite. Might it have orig-
inated as part of a theatrical work? The allemande of the same suite and the con-
cluding Mercure of 55:B3 are all of twelve measures long, placing them
 T wo Telemanns Mimetic Art 73

among the shortest movements in Telemanns overture-suites.27 Were they con-

ceived as music to accompany brief stage action?
In the cases of three overture-suites, an operatic connection is demonstrable:
three or more movements of LOmphale, 55:e8 (Bourre, Les Jeux, and Les
Magiciens), were drawn from the lost Omphale, TVWV 21:14 (Hamburg,
1724);28 the rst movement of the Ouverture des nations anciennes et modernes, 55:G4,
served as the overture to Der geduldige Socrates, TVWV 21:9 (Hamburg, 1721); and
the overture of 55:D10 introduced Sieg der Schnheit, TVWV 21:10 (Hamburg,
1722; as Gensericus, Brunswick, 1725 and 1732). It stands to reason, in view of
how much of Telemanns operatic output has been lost, that other overtures and
dances intended for the stage live on, so far unidentied, among his overture-
suites. The likelihood of such survivals is underscored by the entres in Tele-
manns scherzhaftes Singe-Spiele Der neumodische Liebhaber Damon, TVWV 21:8
(Hamburg, 1724; as Die Satyren in Arcadien, Leipzig, 1719), from which one could
fashion a fairly typical suite including an entre grave, sarabande, gavotte, gigue,
passacaille, loure, and chaconne. Some overture-suites, of course, may preserve
dances from other types of theatrical or social events. Where, indeed, is the bal-
let music that Telemann must have composed for various occasions during his
long career?
This question reminds us that Telemann found himself in close proximity to
many of Germanys most prominent dancing masters during the rst decade of
his career. Resident in Leipzig during the composers years at the university were
Johann Pasch (16531710), Pantaleon Hebenstreit (16671750), Samuel
Rudolph Behr (b. 1670), and Gottfried Taubert (b. 1679). Telemann could not
easily have remained ignorant of their activities, nor could they of his. Behr is
known to have choreographed divertissements for productions at the Leipzig
Opera,29 and Hebenstreit was later to become Telemanns colleague at the Eise-
nach court, where the two struck up a long-lasting friendship. Additionally, the
Flemish violinist and dancing master Jean-Baptiste Volumier (c. 16701728)
must have become known to Telemann during the young composers four trips to
Berlin between 1702 and 1706; the two nearly became colleagues at Dresden in
1711 and would have renewed their acquaintance at the court in 1719. It is also
worth noting that the dance treatises of Pasch, Behr, and Taubert were published
in Leipzig and Frankfurt (170317) while Telemann lived in these cities. Might
Telemann have provided music for some of Paschs weekly balls in Leipzig, with
their comic pantomimes?30 Could Behr have choreographed the divertissements
in Telemanns Leipzig operas? To what extent did Hebenstreit and Telemann col-
laborate on ballets at Eisenach? And did Telemann provide ballet music to the
74 The Overture-Suites

Darmstadt and Dresden courts, where, as Louis Bonin observed in 1712, Land-
grave Ernst Ludwig and Elector Friedrich August I were well practiced in the art
of French dancing?31
One of Telemanns ballet scores from the 1710s has in fact survived as the Mu-
sicalisch-Chorgraphisches Hochzeit-Divertissement, TVWV 11:21, a pamphlet engraved
in Frankfurt by Benjamin Kenckel around 1718.32 In this wedding divertissement
attributed to G. P. T., vocal soloists and a chorus sing texts, perhaps by Tele-
mann, to a French overture and ensuing suite of brief binary dances (a sarabande,
menuet, rigaudon, gigue, loure, bourre, passepied, and chaconne). Following the
overture, in which a trio of soloists alternates with the chorus during the second
section, each of the suite movements is presented according to the following se-
quence: recitativedance (solo voice, rst poetic stanza)dance (chorus, rst or
second poetic stanza). The concluding chaconne is sung by the chorus alone. Al-
though dancing is mentioned only in the pamphlets title, one presumes that each
movement of the suite was both danced to and sung. Certainly the German trea-
tises mentioned above make it clear that dancing played a signicant role in wed-
ding celebrations of the time. We are fortunate, in any case, that the pamphlet
tells us as much as it does about the divertissements rst performance, for it
seems to have been intended as little more than a souvenir of the event, to be ap-
preciated in private settings for its social cachet. The pamphlets ephemeral na-
ture, along with economic considerations, probably explains why the dances are
printed in only two parts (melody and ungured bass) and no music is given for
the overture, chaconne, and recitatives. But the complete poetic text would have
been essential both as a guide to the performance and a means of conveying the
events essence to those who had not attended. And because the pamphlet was ap-
parently not designed for consumption by the wider public, there would have
been little need for a formal title page listing the composer and publisher.33
Returning to Telemanns overture-suites, three may be singled out for their
overtly theatrical nature. These are all constructed from dances that Taubert
would no doubt place under the rubric crotesque or comique, meaning bur-
lesque, silly, bizarre, extravagant, fantastic, capricious, or pleasantly ridiculous.34
The Ouverture burlesque 55:B8 is populated with stock character types from the
commedia dellarte: Scaramouche, Harlequin, Columbine, Pierrot, and Mezze-
tino; only a pair of menuets oers a respite from the buoonery.35 One measure
of the enduring popularity of these and other burlesque characters on the stages
of Germany, Italy, and France is their presence in a full quarter of the dances Gre-
gorio Lambranzi illustrates and describes in his Neue und Curieuse Theatralische Tantz-
Schul of 1716.36 None of Telemanns dances is in the noble style, and indeed, as
Lambranzi notes:
 T wo Telemanns Mimetic Art 75

The lively and burlesque types . . . such as Scaramouch, Harlequin and the like,
must be expressed in the eccentric style of dancing; and with, of course, ridiculous
and comic positions suited to the peculiar characteristics of each. Hence it would
be quite out of place for a Scaramouch, Harlequin, or Purricinello to dance a
Menuet, Courante, Sarabande, or Entre, since each has his own droll and quaint pas.Thus
Scaramouch dances his long, unformed, and heavy imitations such as the pas de
scaramouche. . . . For [such characters] no pas, gure, or costume can be used other
than that usually employed on the Italian stage; nevertheless each dancer should be
allowed full play to his powers of invention.37

The exaggeratedly large steps of the pas de Scaramouche, vividly illustrated by

Lambranzi and described by Behr as very long and sprawling,38 are reected in
Telemanns dance by a half notequarter note rhythmic pattern in 6/4, appar-
ently his preferred method of representing lumbering or limping motion (as in
Les Cyclopes of 55:e3, Le Galope de Rosinante of 55:G10, and Les Boi-
teux of 55:B5).39 For Columbine, Telemann frivolously breaks up a two-measure
phrase between rst and second violins, a visual joke that could easily be amplied
by the physical movements of dancers. Pierrots music is theatrical insofar as it
seems to represent ridiculous physical motion and general foolishness though in-
congruous pauses, rhythmic displacements, echo eects, and abrupt contrasts of
texture, dynamic level, and register. Mezzetin en turc is a rustic dance in ABA
form, with local Turkish color supplied via incessant pedal tones, repetitive
melodic and rhythmic gures, ornamental slides, a Lydian sharped fourth, and
a Mixolydian atted seventh (Example 2.1).
Also alluding to a popular ballet subject are two characteristic works repre-
senting various nations, the Ouverture des nations anciennes et modernes, 55:G4, and the
untitled 55:B5. Their conceptions are reminiscent of nothing so much as Muats
Florilegium secundum suite Nobilis Juventus (Noble Youth), which includes dances for
characters from Spain (entre), Holland (air), England (gigue), Italy (gavotte),
and France (menuet). As we learn from the index to the Florilegium secundum, in-
spiration for Nobilis Juventus was taken from the manner and fashion of various
peoples; composed and danced in the year 1691. Muats parade of nations,
in turn, recalls an earlier ballet by Johann Heinrich Schmelzer in which ve
gavottes illustrate the Germans, Styrians, English, Bavarians, and French. It also
brings to mind Lullys comdie-ballet Le Bourgeois gentilhomme (1670), with its act 4 in-
termde consisting of a Turkish ceremony and act 5 ballet des nations with
entres for Spaniards, Italians, and French. Another well-known French example,
postdating Muats ballet/suite but likely familiar to Telemann, is Andr Cam-
pras opra-ballet LEurope galante (1697), in which four entres present portraits of
love in France, Spain, Italy, and Turkey. Additionally, several seventeenth-century
76 The Overture-Suites

example 2.1. Suite in B-at for strings and continuo, 55:B8/vii, mm. 1119
11

Violin 1

c
Violin 2 c
Viola c
Continuo

c


16

Venetian operas include balli portraying peoples from the four corners of the
world: Lincostanza trionfante, overo Il Theseo (1658, music by Pietro Andrea Ziani), Il
Dario ravivato (1675, composer unknown), and Primislao primo r di Boemia (1698,
music by Tomaso Albinoni).40
Theatrical representations of foreign peoples remained popular in Germany
during the early eighteenth century, at least to judge from published dance trea-
tises: Lambranzi illustrated dances for Roman, Venetian, Swiss, Dutch, English,
Turkish, African, and Gypsy characters; Behr described a dance for a Muscovite;
and Bonin observed that there are entres for all kinds of nationsfor example,
for the four corners of the world or for other diverse peoplesthat involve an
act, scene, or an entire opera. One may also perform them in a chamber or other
location, as circumstances dictate.41 Some German court festivals also featured
representations of foreign peoples, such as that held during carnival 1697 at the
Dresden court, where the pageant included processions of masked Mongols, Ro-
mans, Germans, Indians, Portuguese, Poles, Swiss, and Moors. The state visit to
the Dresden court of King Frederik IV of Denmark in May and June 1709 in-
spired, among many other entertainments, a procession and Carrousel of the
Four Nations of the World (Europe, Asia, Africa, and America).42
Telemanns nations suites could hardly be more theatrical in spirit, whether
or not they originated as music for ballets, operatic divertissements, or special oc-
 T wo Telemanns Mimetic Art 77

casions.43 Following their overtures, the suites share an organizing principle: three
or four movements illustrating foreign peoples are framed by a pair of menuets
and a concluding characteristic dance lacking national associations. In 55:G4, the
last dance is for Les vieilles femmes (the old women); in 55:B5, Les Boiteux
(the lame ones) and Les Cour[r]eurs (the runners) form a comic alternativement
pair. The B-at suite oers the more musically vivid representations of the two.
Les Turcs is characterized by the same rustic eects as Mezzetin en turc,
though here the increased rhythmic variety is more suggestive of physical motion.
Each half of Les Suisses commences with a slowed-down version (Grave) of
the ensuing two measures, inviting the listener to imagine some kind of panto-
mimic movement (perhaps a representation of drunkenness, since French farces
of the time often portray Swiss characters as intoxicated). Les Moscovites is a
Slavic sonnerie in which a three-note ostinato (123), apparently representing the
Kremlin bells, supports a relentlessly syncopated melody featuring the sharped
fourth and atted seventh.44 And Les Portugais, in the relative minor, is a com-
pound movement in which a sarabande-like dance (Grave) gives way to one re-
sembling a bourre or rigaudon (Viste). The fast section of the suites overture
might also be considered comically theatrical, from the halting opening of its
gigue-like subject (compare the similar, but darker, eect in 55:s1; Example 1.8)
to the odd three-against-four rhythm of its episodes.
To the theatrical trope of foreign music and dance the Ouverture des nations an-
ciennes et modernes adds an aesthetic one: it enacts the querelle over the relative merits
of the French/ancient and Italian/modern styles that had raged in French writ-
ings on music since shortly after the death of Lully. Thus Les Allemands (a pair
of marches), Les Sudois (a sarabande and a bourre), and Les Danois (two
airs) all follow an ancienne dance with a moderne one. The ancient world is one in
which rhythms are dottedone of the most common markers of the French
styleand tempos slow or moderate, a monochromatic depiction of yesteryear
that brings to mind the Hollywood lm clich of representing the recent past
through black-and-white images. For Telemann, and perhaps for a dancing-mas-
ter collaborator, the past was not only a foreign country, but also the object of
faded memories musically and bodily expressed through jerky, slow-motion
movements. The colorful modern world, by contrast, features faster tempos and
more varied rhythms, including syncopated gures for the Swedes and Italianate
passagework for the Danes. Upbeat and uptempo, it is the modern world that
seems victorious in this round of the querelle. Yet there is no attempt here or in the
ancient dances at color of the localized sort, none of the barbaric eects of
Mezzetin en turc, Les Turcs, and Les Moscovites; nor does the music ex-
hibit any stylistic or formal oddities in the manner of Pierrot or Les Suisses.
78 The Overture-Suites

Why, one is tempted to ask, do the Germans (if they are not to be understood as
militaristic Prussians) march instead of dance an allemande and the Swedes per-
form a sarabande and bourre?
To pose such a question is not necessarily to accuse Telemann of arbitrarily
axing national rubrics to his dances, for it may well be that the music was never
meant to bear the full expressive burden of its characteristic titles; that the story
was intended to spring to life equally through the visual and aural components of
ballet. In other words, linking the dances to create larger composite forms that are
not so dierent from those of Les Portugais and Les BoiteuxLes Cour-
reurs may have served musically to underscore sudden dramatic progressions or
scene changes through contrasts of tempo, meter, rhythm, and aect. And al-
though it is true that compound movements are occasionally found in overture-
suites that one supposes were intended as concert music (see the previous chap-
ter), it is telling that Telemanns operatic dances exhibit compound forms with
particular frequency. For example, the pyramid of leaves and owers in the rst
scene of Der neumodische Liebhaber Damon is erected by shepherds and shepherdesses
to the accompaniment of a sarabande-gigue pair; the fauns in act 2, scene 12 of
the same opera dance a gavotte in alternation with a loure, much like the bour-
re-passepied pair from Omphale; and Les Magiciens in Omphale perform a dance
with two tempo changes.
Ironically, the suites noncomposite, nonideological conclusion, Les vieilles
femmes, is also musically the most evocative movement. This may be because the
stock burlesque characters to which it alludes oer less visual appeal than exotic
national characters; hence the representational burden falls more heavily on the
music itself. The image conjured by Telemanns music is that of two confused old
women wandering aimlessly onstage, not unlike those in Figure 2.1, a grotesque
tableau from Lambranzis treatise. The caption at the bottom of the plate reads:

Here two old women enter and dance, half walking, half shaking, as far out on the
stage as possible. When they are at the very front they scratch themselves on the
belly and behind, spin around, and reverse toward the back of the stage, making the
same gestures when they arrive there. This backwards and forwards motion con-
tinues until the end of the rst air. Meanwhile, a youth comes on the scene, sees
the old women, and laughs at them. And when the womens air has ended, he takes
each in turn by the hand and drags them by the arm until his air has been danced
two or three times. Note that this dance consists of two airs, the rst slow and the
second lively or fast.45

Telemanns old women, as portrayed in Example 2.2, dance a strange gavotte

in which the chromatic melodic line, consisting entirely of sighing pairs of quar-
 T wo Telemanns Mimetic Art 79

figure 2.1. Gregorio Lambranzi, Neue und Curieuse Theatralische Tantz-Schul (Nuremberg,
1716), part 1, plate 15
80 The Overture-Suites

example 2.2. Suite in G major for strings and continuo, 55:G4/vi, mm. 112
Les vieilles femmes

Violin 1

c
Violin 2
c
Viola c
Continuo

c
6 b 6 # 4 6
b 2

6








6 b # 6 #
b

# # 6 6 6 6 # 6
5

ter notes, twice descends an octave in the dances rst half, then alternately rises
and falls in the second half. Feigned chromatic canons between the rst violin and
bass (mm. 810 and 2022) provide a high-burlesque gravitas and lead to pas-
sages in which the music loses what little sense of melodic and harmonic direc-
tion it possessed before unexpectedly slipping into a cadence (mm. 1220 and
2430) and retracing the downward trajectory of the dances opening. This is, to
be sure, an odd way to end an overture-suite, one far removed from the usual
menuet or gigue. And so one wonders if these women were intended as the bur-
lesque conclusion to a theatrical divertissement, rather than the negative climax
to a characteristic concert piece.
 T wo Telemanns Mimetic Art 81

If few of Telemanns other overture-suites are as theatrically oriented as the

three works just discussed, many others contain movements whose lineage can be
traced directly to the stage: titles such as Harlequinade, Les Scaramouches,
Plainte, Entre, Sommeille, La Tempte, Combattans, and Furies all
refer to stock characters or scenic types. Two movements in particular, the Som-
meille of 55:C6 and the Combattans of 55:B10, are remarkable for the ways
they enrich theatrical genre pieces with an array of topical references. The former
evokes the slumber scene found in many French operas, ballets, cantatas, and in-
strumental works. Like many seventeenth- and eighteenth-century examples, Tele-
manns sommeil has its musical roots in act 3, scene 4 of Lullys Atys, where the so-
poric aect is achieved through a slow tempo, duple meter, the alternation of
strings and tes (recorders), and slurred pairs of quarter notes in conjunct mo-
tion.46 All of these features appear in the suite movement (with three oboes re-
placing the recorders or utes), but they are transformed by their combination
with lament topics: the slurred pairs of quarters and eighths, more often moving
by leap than step, become sighs of longing, even agony; the continuo, when it
nally enters following the violas bassetto tonic pedal, initiates a chromatically
descending tetrachord, the progress of which is momentarily halted by the rst
oboes sobs (mm. 510); and the basss drooping prole is repeated both locally
(in the rst oboes ornamented sighing gures in mm. 14 and in both oboes
canonic arpeggios in mm. 1314) and through the tortured descent of the rst
oboes line from a-at to g (mm. 518; see Example 2.3). To these devices the
movements second half adds a diatonic extension of the lament bass to produce
a full octave descent (mm. 2733), over which the strings and oboes exchange
pleading E-ats (mm. 3132). The nal sonority, an unharmonized contrabass
C, is heartrending in its emptiness. Telemann might just as well have called this
movement Plainte, but in fact none of his laments so named matches the aec-
tive power of this miniature masterpiece.
Referencing theatrical battles and musically related to depictions of tempests
or the underworld Furies, Telemanns Combattans derives its inspiration ulti-
mately from the operatic skirmishes in Lullys Cadmus et Hermione (1673), Alceste,
ou Le triomphe dAlcide (1674), and Thse (1675), and perhaps also from the
prramiste storm scenes in tragedies such as Pascal Collasses Thtis et Ple (1689)
and, especially, Marin Maraiss Alcyone (1706).47 Balletic battles and representa-
tions of the Furies remained popular into the eighteenth century, as witnessed by
Behrs description of a Balet de Combatant and a Balet des Furies. The for-
mer is an elaborate representation of a eld battle that should be set to very
lively (sehr lustig) music executed by trumpets, drums, oboes, and strings; in the
latter, the dancers move their feet rapidly to the music, expressing aects such as
82 The Overture-Suites

example 2.3. Suite in C major for 3 oboes, strings, and continuo, 55:C6/v, mm. 118

Sommeille
Oboe 1 c

Oboe 2 c
Oboe 3 c

c
Violin 1
Violin 2

c

c
Viola

Continuo
c

7b 6 7 6

despair, revenge, rage, and cruelty to the accompaniment of thunder and light-
ningin eect, an underworld tempte.48 A dance for a Furie also gures in Lam-
branzis dance method.49 In all three scenic types, motion in the form of hand-
to-hand combat, the pursuit and torture of evildoers, inclement weather, or
earthquakes is represented through tremolos and rapid note values, sweeping scalar
gestures, powerful unisons, and other musical eects calculated to deliver maxi-
mum visceral excitement; the style is essentially a late-baroque version of Mon-
teverdis stile concitato.
 T wo Telemanns Mimetic Art 83

10

14

6 9 8 6 5
5 4 3 4 #

In overture-suites the protagonists in battle movements are as a rule unnamed:

it is up to the listener to imagine who is ghting and to visualize the thrusts and
parries. Yet Telemanns battle in B-at traverses the genres boundaries to reveal the
identities of the combatants. The movement is scored, like the suite as a whole,
for three oboes, strings, and continuo, and it is evident from the outset that the
winds and strings are locked in some sort of struggle. The string writinga ver-
itable orgy of tremolos, broken-chord gurations, and unison passagesseems
parodistically vigorous. After what amounts to a miniature, tonally closed ritor-
84 The Overture-Suites

nello for the strings alone, the oboes enter with a double motto, an unmistakable
signier of the concerto or aria.50 Yet their parts are distinctly un-concerto-like,
completely lacking in display writing; they are instead congured as a French
wind trio, with the third oboe standing in for the usual bassoon. Indeed, the
oboes pervasive dotted rhythms and close harmony in parallel sixths seem to car-
icature the French style as much as the strings guration parodies the Italian style
(Example 2.4). Mirroring the competition between national modes of expression
is the instrumental opposition of strings and winds: the violin family, increasingly
associated during the early eighteenth century with concertos, sonatas, and Ital-
ianate music generally, is set against the oboe, a French instrument that retained
its Gallic nomenclature (Hautbois) in German-speaking lands.
What Telemann has done here is set up a battle between the Italian and French
stylesnot a musical narrative about the vermischter Geschmack or gots runis in the
manner of Franois Couperins Apothose . . . de lincomparable Monsieur de Lully, where
an attempt is made to clear common ground for the Corellian and Lullian styles,
but one in which the two styles remain immiscible and even steadfastly opposed
to each other. Which style wins? Though neither seems slain during the
movements course, and no charges, retreats, or other recognizable events occur, it
is ritornello forman Italian structurethat provides the temporal framework
for the battle. Thus whether or not one perceives a rapprochement in the joining
of winds and strings at the movements conclusion (mm. 7884), the French
oboes have been forced to ght the battle on the Italian strings turf. What is
more, Telemann has placed this conict at the center of a meta-narrative about
competing national styles. The extraordinary Plainte preceding the battle oers
an oboe melody full of expressive leaps and sobbing gures, a pulsating string ac-
companiment, and exquisitely pungent, Bachian harmonies; it is, in fact, a highly
emotive Italian adagio. The paired passepieds concluding the suite are of course
French and delightfully highlight the rhythmic ambiguity (hemiolas expressed as
metrical shifts between 3/8 and 3/4) that for Telemann constituted an impor-
tant characteristic of the dance. In this longer story line, then, the Combattans
functions as the ashpoint in yet another stylistic querelle. And if the Italian style
is ascendant here, it is the French style that is allowed the nal word through the
concluding passepieds.

The Civic Water Music

Among the best-known of Telemanns characteristic suites is the Wasser-Ouverture,

55:C3, which summons forth a panoply of maritime deities to celebrate Ham-
burgs status as an economically prosperous port city on the Elbe River. It is also
one of few instrumental works by the composer for which the original perform-
example 2.4. Suite in B-at for 3 oboes, strings, and continuo, 55:B10/viii, mm. 517

Oboe 1
5

43
Oboe 2 43
Oboe 3 43
Violin 1

43
Violin 2 43
3
Viola 4
Bassoon and
Continuo
43

12










86 The Overture-Suites

ance context is known: the centennial celebration on 6 April 1723 of the Ham-
burg Admiralty, an organization that oversaw all naval concerns of the city-state,
including the protection of its merchant vessels from pirates. On this occasion
the suite served as an introduction to the serenata Unschtzbarer Vorwurf erkenntlicher
Sinnen, TVWV 24:1.51 An eyewitness account of the jubilee festivities conveys
something of the conviviality surrounding the performances of Telemanns music:

The large hall of the Niederbaumhaus was beautifully decorated, a dinner well pre-
pared, a stage erected and hung with tapestries for the vocal and instrumental mu-
sicians, and a lieutenant with petty ocers and forty grenadiers placed on guard
before the house. In front of the tree lay the admiralty yacht, which red its can-
nons during toasts. All of the ships present were decked out in their nest with
pennants and ags, and those ships with cannons boldly let themselves be
heard. . . . During the dinner Herr Telemann performed a very pleasant piece of
music and, separately, an excellent serenata for which the popular Herr Professor
[Michael] Richey had written exceptionally beautiful verses. The festivities lasted
until morning.52

A week after the event, the Staats- und Belehrte Zeitung des hollsteinischen Correspon-
denten reported that Richey had also provided attendees with a history of the Ad-
miralty, and that

the characters of the musical instrumental pieces were communicated to the curi-
ous reader; [these pieces] and the serenade were performed at and specially com-
posed for this celebration by Herr Telemann. Their beautiful inventions were not
only graceful and meaningful, but also had a tremendous eect and well suited the
audience at this celebration. Represented rst in the ouverture to the serenata was
the calm, surging, and agitation of the sea. Following were (1) sleeping Thetis in a
sarabande, (2) waking Thetis in a bourre, (3) amorous Neptune in a loure,
(4) playful Naiads in a gavotte, (5) joking Tritons in a harlequinade, (6) storming
Aeolus in a tempte, (7) pleasant Zephyr in a menuet altern[ativement], (8) tides [Ebbe
und Fluht] in a gigue, [and] (9) merry mariners in a canarie.53

The deities inhabiting the suiteThetis, a nymph-goddess of the sea and

mother of Achilles; Neptune, ruler of the sea, and his son, the merman Triton,
who trumpets on his conch shell; the Naiads, spirits of water, springs, lakes, and
rivers; Aeolus, king of the winds; and Zephyr, the west windcomplement those
of the allegorical serenata, where the character of Hammonia embodies Ham-
burg, Albis and Neptunus its location on the Elbe and close proximity to the
North Sea, Mercurius its nancial prosperity, Themis its judicial system, and
Mars its resolve to defend against piracy. There are also musical parallels between
 T wo Telemanns Mimetic Art 87

the two works, for the serenata includes a storm (in Marss aria Frecher Harpy-
ien bedrohende Klauen), swelling waters (in Albiss aria Schwellt, ihr wasserre-
ichen Grnde), and the sounding of Tritons horns (in Albiss aria Ihr munteren
Hrner). In the suite one further encounters, closer to the city itself, represen-
tations of tides and the cheerful people who make their living on the water.
Despite the abundance of such colorful imagery in the suites movement titles,
Telemann is content to mix the usual dances with stock characteristic types such
as the sommeil (cast as the sarabande Die schalfende Thetis), harlequinade (Die
schertzenden Tritons), and tempte (Der strmende Aeolus). (Unusually for a
characteristic suite, both dance and characteristic titles are given for each move-
ment.) The scoring, too, is rather conventional for such a festive occasion: two
oboes (doubling on recorders and utes), bassoon, and strings. And although the
works C-major tonality is well suited to a collection of woodwinds, its contrast
with the D major of the serenata would have caused the players of three trumpets/
horns and drums called for by the vocal work to sit idly by. This tonal disparity
no doubt explains why the serenata commences with its own overture (including
trumpets and drums), which would have performed the sole introductory func-
tion in subsequent public performances omitting the Wasser-Ouverture. Thus in
several respects the suite seems less than ideally suited to introducing the serenata.
Were it not, in fact, for the highly original representations of the sea and tides in
the suites overture and gigue (easily surpassing the depiction of waves in Les
Flots of 55:A2), we might even suspect Telemann of calling a previously com-
posed suite into service for the occasion, adding appropriate characteristic titles.
Such suspicion is only deepened by two recently recovered manuscript sets of
parts for the Wasser-Ouverture in the archive of the Berlin Sing-Akademie.54 The
rst of these, dated 1724 and called simply Ouverture, has characteristic move-
ment titles only in the rst violin part, and these, in Italian rather than German,
appear to have been added by a second hand after the music had been copied.
More intriguing still, the parts include a previously unknown movement: a C-
minor Air lentement for oboes and strings that is placed between the gigue and
canarie and bears no characteristic title. The second manuscript (undated and
bearing the title Wasser Ouverture) includes the Air lentement only in the
continuo part.55 All of this indicates that the suite circulated in various dierent
versions during its early history, some of which may have omitted characteristic
titles altogether.
Musically, the suite is remarkable for its quality of invention and varied palette
of instrumental color. Because the overture lacks a characteristic title, one won-
ders whether the reporter for the Correspondent read a description by Telemann of
the calm, surging, and agitation of the sea represented in this movement, or
88 The Overture-Suites

whether these images were simply self-evident to listeners. To be sure, the open-
ing section eectively suggests stillness through an undulating melodic motion in
which rises and falls are at rst conned to the breadth of an octave, then gradu-
ally expand to an eleventh. Added to this is an unusually slow, occasionally even
static harmonic rhythm and lazily sustained notes in the oboes and upper strings.
All sense of serenity is swept away in the fugal second section, where choppy
waters are suggested through busy guration and large swells by extravagant scalar
gestures (e.g., mm. 4243 and 8895). The following movements divide into
groups according to subject, scoring, and tonality: portraits of the sleeping and
waking Thetis (sarabande and paired bourres), with recorders supplying gentle
triplets and the slurred pairs of notes associated with theatrical sommeils; three
movements with utes doubling violins, including the amorous Neptune (loure)
and playful Naiads (gavotte en rondeau), both in C minor, and the boisterously jok-
ing Tritons (harlequinade en rondeau); two winds, Aeolus (tempte with oboes) and
Zephyr (a pair of menuets with recorders playing in thirds); and two concluding
rustic dances depicting tides (gigue) and merry mariners (canarie), both with
oboes. The harlequinade, with its scampering bass melodies beneath a pizzicato ac-
companiment, taps the same humorous vein as the rst movement of 50:1, dis-
cussed in chapter 1. The tempte, a storm that momentarily interrupts this thalas-
sic idyll, unleashes its fury by gradually adding instruments and accelerating
rhythmically from eighth notes to dotted eighths to sixteenths (La Tempte of
55:F16 begins with a similar rhythmic accelerando). A comparable eect occurs
in the gigue: high tide rises by degree from the depths of the violins G string to
a height of two octaves as other instruments are added or animated; in the move-
ments second half, low tide reverses this process. Here the opening tonic pedal
and atted seventh scale degree in the violins anticipate the rustic drones and
foot-stomping gestures of the suites concluding canarie.
Similar in conception to the Wasser-Ouverture is the untitled 55:F11, which por-
trays Hamburgs Alster Lake and its inhabitants, both human and animal, to-
gether with a lineup of mythological personages. It has been supposed that this
suite was rst performed in Hamburg on 4 June 1725 together with Telemanns
lost serenata Auf zur Freude, zum Scherzen, zum Klingen, TVWV 13:6, composed in
honor of the visiting Duke August Wilhelm of Braunschweig-Wolfenbttel.56
And indeed the characterizations of Pallas, Pan, Peleus, shepherds, and nymphs
nd analogs in the serenatas cast of Hammopolis (who, in the person of a god-
dess, represents the city of Hamburg), Pan (god of the shepherds, herdsmen,
and hunters), Peleus (god of the rivers), Pallas (goddess of the arts and of
war), and choruses of shepherds and shepherdesses, [and] of naiads or water
nymphs.57 Yet the suite does not gure in the description of the 1725 festivities
 T wo Telemanns Mimetic Art 89

published some years later by the Hamburg chronicler Michael Gottlieb

Steltzner, according to whom the duke and his retinue sailed north on the Alster
to nearby Uhlenhorst (now a district of Hamburg) for a day trip on 4 June. Upon
their arrival these persons of high standing were greeted by the sound of drums
and trumpets, and by the ring of cannons, [then] escorted to a lavish dinner in
the great hall. During the dinner Herr Telemann performed a beautiful serenata
with forty musicians, and at the toast the cannons, drums, and trumpets boldly
let themselves be heard.58
Whether or not the suites colorful portrait of life on the Alster enlivened the
Dukes lakeside repast, the work was likely heard in Hamburg only a few months
later. A concert notice for a 1 December pairing of the Admiralty serenata with
the 1725 Brgerkapitnsmusik at the Drillhaus (originally to have been heard on
10 November but canceled) notes that between the two works several instru-
mental pieces focusing on various characters not yet presented will provide a di-
version. In a repeat performance on 8 December the instrumental characters
were omitted for lack of time. But on 20 December two short oratorios were
again separated by the new instrumental characters.59 That these new pieces
had not yet been presented would seem to rule out the Wasser-Ouverture, which
was surely heard by Hamburg audiences at some or all of the Admiralty serenatas
eight recorded performances between April 1723 and October 1724. Certainly
no other instrumental work by Telemann would have made a more suitable re-
placement for the earlier suite than the so-called Alster ouverture, with its vivid
musical snapshots of Hamburg life and apparently unprecedented scoring for
four horns, two oboes doubling two violins, and continuo (making full use, inci-
dentally, of the serenatas brass players).
Like its C-major predecessor, the F-major suite puts its own characteristic spin
on familiar movement types such as the combattans (Die canonierende Pallas),
echo (Das lster-Echo), carillon (Die Hamburgischen Glockenspiele), and
plainte (Der Schwanen Gesang). Here, though, the evocative movement titles are
reected in music of even greater ingenuity. Already in the overture, the horns es-
tablish their extraordinary prominence through chordal support of the strings in
the outer sections and concertante episodes in the second section, which features
a folksong-like subject.60 The following suite commences with a movement (Die
canonierende Pallas) in which Pallas Athena is portrayed primarily as a warrior
goddess, martial trumpets blasting and cannons ring away in the form of
tirades.61 Athena is, of course, also known as the protector of civilized life, inven-
tor of the ute, and the embodiment of wisdom, reason, and purity. More to the
point, her purview extended to ships, and she was worshipped in Athens as pa-
tron of all arts and crafts; Hamburg audiences would no doubt have drawn a fa-
90 The Overture-Suites

vorable comparison between their city and the goddesss favorite.62 With a wink
to the musical Kenner, Telemann gives the strings material that is partially canonic
in the musical sense.
Along with Die canonierende Pallas, the following ve movements are all
concerned with the representation of sound in its various manifestations in and
around Hamburg. This further distinguishes the suite from the Wasser-Ouverture,
where, as in the majority of Telemanns characteristic suites, greater emphasis is
placed on the evocation of physical motion. Das lster Echo deals with sound
in the most abstract sense. Unlike Telemanns other echo movements, this one
makes use of three antiphonal groupsstrings with oboes, horns 1 and 2, and
horns 3 and 4to produce double-echo eects.63 In a representation of specic
sounds, Hamburgs carillon is portrayed in Die Hamburgischen Glockenspiele
with a realism surpassing that of similar movements in 55:D17, D21, e10, and
F7. Here pealing bells, at rst in the form of horns, sound cascading thirds above
an elaborate basso ostinato theme. The following swan song (Der Schwanen
Gesang) alludes to more than cries of the Alsters water fowl: it is a threnodial
sarabande, in the parallel minor, that belongs rmly in the plainte tradition
(though who sings this lament, and for whom, remains an open question).
Comic relief comes in the form of Der lster Scher Dor Music (village
music of the Alster shepherds) and Die concertirenden Frsche und Krhen
(the concertizing frogs and crows). The rst of these movements provides a
unique case of Telemann referencing music making in a characteristic movement.
Not only is the music of the villagers rusticwith hurdy-gurdy and bagpipe im-
itations, extensive rhythmic repetition, a raised fourth, and a atted seventhbut
it is also incompetent: parallel fths and octaves abound, the part-writing is
clumsy and occasionally reverts to unisons, modulation is achieved only with
great diculty, and melodies have the naivet associated with childrens songs
(Example 2.5). One is reminded of similar transgressions in Mozarts Ein
musikalischer Spa, K. 522, another work in which music refers to music through
an array of linguistic infelicities. Telemanns movement has the feel of a travesty
because his other country music manages to convey rusticity without excessive
navet or grammatical transgressions. In high burlesque mode is the delightfully
grotesque duet of frogs and crows. Wailing chromatically among themselves, the
crows (violins and oboes, then horns) are accompanied by croaking repeated
notes in the bass (Example 2.6). Near the movements midpoint and conclusion
the cacophonous whole dissolves into a series of unresolved dissonant chords, the
last of which (an incomplete eleventh chord) is spaced as to produce an unusu-
ally harsh sonority. Embedded within a modest seventeenth- and eighteenth-cen-
tury tradition of musically evoking amphibiansone including works by Hein-
 T wo Telemanns Mimetic Art 91

rich Ignaz Franz von Biber, Joseph Gregor Werner, Carl Ditters von Dittersdorf,
Andr Ernest Modest Grtry, and Joseph HaydnTelemanns movement also re-
lates to the only programmatic concerto attributed to him, 51:A4, in which the
violin soloists rst entrance is explicitly identied as referring to a frog (Relings
Solo). However, the ingenuity and sheer outrageousness of Die concertirenden
Frsche und Krhen only underscores the weak invention of what is most likely
an inauthentic work.64

example 2.5. Suite in F major for 4 horns, 2 oboes, 2 violins, and continuo, 55:F11/vi,
mm. 114
Allegretto

Horn 1 in F

24
Horn 2 in F 24

Horn 3 in F 24
Horn 4 in F
4
2
2
Violin 1,

Oboe 1
4
Violin 2, 2
4


Oboe 2

Continuo
24

92 The Overture-Suites

example 2.6. Suite in F major for 4 horns, 2 oboes, 2 violins, and continuo, 55:F11/vii,
mm. 114
Die concertierenden Frsche und Krhen
Horn 1 in F

43
Horn 2 in F 43
Horn 3 in F 43
3
4
Horn 4 in F

3
4
Ob

Violin 1,

Oboe 1

Violin 2,

Oboe 2
3
4
Ob

43
Bsn

Continuo

5

A return to the mythic world brings a welcome point of repose as the resting
Pan (Der ruhende Pan), an obvious counterpart to the sleeping Thetis of the
Wasser-Ouverture, is serenaded by a trio of two muted violins and continuo (with
doubling utes in the Dresden manuscript source) that evokes the pastoral with-
out recourse to drones and the like. With a conjunct melody sweetly harmonized
in thirds and sixths, slow harmonic rhythm, and symmetrical phrasing, the move-
ment is appealingly protoclassical in style. The suites last movement, a gigue in
 T wo Telemanns Mimetic Art 93

Vln and Ob

Vln and Ob

Tutti

which the shepherds and nymphs hurriedly take their leave (Der Schfer und
Nymphen eilfertiger Abzug), has the character of a Kehraus, the traditional con-
cluding dance of a ball during which the dancers sweep out of the ballroom.65
Beginning with a serious, slow-moving theme featuring rising fourths, canonic
imitation, and pedal points, the movement eects a rhythmic accelerando result-
ing in a swirl of activity at the end of each half. This music seems at once cele-
bratory and summative of the preceding vignettes, and in this sense it pregures
the Conclusions that close each Production of the Musique de table.
Before taking leave of this suite, we may note that it was performed in several
dierent versions during Telemanns lifetime. Die Hamburgischen Glocken-
spiele is omitted from the Darmstadt parts, and neither this manuscript nor that
at Rostock contains two movements for winds that are included, but crossed out,
at Dresden: the pleasant yet musically unremarkable Der jauchzende Pan (the
rejoicing Pan) and Der frohlockende Peleus (the rejoicing Peleus), inserted be-
tween Die concertierenden Frsche und Krhen and Der ruhende Pan. The
Dresden parts, to judge from the paper types, the presence of Hamburg scribes
among the six copying hands, and what appear to be several autograph correc-
tions, were sent by Telemann to the Saxon electoral court around 1728. They may
well reect an early or alternative version of the suite, perhaps one that was per-
formed in the open air with winds replacing strings; in two of the parts, Vio-
lino and Violon are crossed out and replaced with Oboe and Basson.
94 The Overture-Suites

Images of Court and Country

In addition to expressing sounds and motions, Telemanns characteristic suites

also include representations of time, whether organized around the rigid struc-
ture of courtly life or virtually suspended in the seemingly unchanging country-
side. The former scenario, in the guise of a day whose focal point is a hunt, un-
folds in the E-at suite 50:21. As is clear from the Berlin autograph score, the
octogenarian Telemann agonized over the suites macro-structure and characteris-
tic movement titles; at some point during the compositional process he sketched
out a movement sequence on the back of a leaf containing the fragmentary letter
draft quoted in the previous chapter. Discrepancies between this sequence and
that found in the score itself (where there are further emendations), has caused
some confusion as to which represents Telemanns Fassung letzter Hand.66 The two
movement sequences are shown in Table 2.2, with arrows showing the apparent
dierences between the schemes and bold type indicating what seems to be the
original title of movement four in the score. That the leaf is in fact a preliminary
draft is suggested by the absence of horns in the forlane, for it is hard to imagine
Telemann attempting to evoke the hunt (La Chasse. Forlane allegrette) with a
dance scored only for utes and strings. The words surrounding La Chasse at
the beginning of the fourth movement in the score doubtless constitute a further
outline for the suite.
Not only was the hunt a favorite activity at the court of Landgrave Ludwig
VIII of Hessen-Darmstadt, for whom the suite was evidently composed, but
overture-suites continued to be written at Darmstadt long after the genres pop-
ularity had faded in many other parts of Germany. Like his father, Ernst Ludwig,
Ludwig VIII was himself a composer of overture-suites; one fourteen-movement
work by the Landgrave bears the dates of its composition in 174546.67 Most
of the suites written by Vice Kapellmeister Johann Samuel Endler between 1748

Table 2.2 Movement order in 50:21 (D-Bds, Mus. ms. autogr. G. P. Telemann 6)
Score Sketch leaf
Allegro Sinfonia gratiosamente pomposa
La reveille. Vivement [forlane] Le Reveil. Gique
La conversation a la table. Gavotte La Chasse. Forlane allegrette
Reveille. La Chasse. Repas. Dance. Retraite [gigue] La Cour. Gavotte
Repas [menuet]-[untitled dance]-Repas [menuet] La Dance. Menuet
A English Country Dance
Retraite [branle] La Retraite. Branle
 T wo Telemanns Mimetic Art 95

and 1761 were performed at the hunting palace, Kranichstein, where it was ap-
parently traditional to perform such a work for the Landgraves name day.68 Fol-
lowing the deaths of both Graupner and Endler in 176062, Telemanns E-at
suite and some of its companions in the Berlin parcelthe horn suites 55:F16
and D21, and the alla caccia Fanfare, 55:D23might have been heard at this
place and occasion. During his 1760 visit to Darmstadt, the Swedish envoy
Count Ulrich zu Lynar found an aging, reclusive Landgrave whose main contact
with the outside world was hunting:

The seventy-year-old Landgrave is constantly at his pleasure- and hunting palace,

Kranichstein, and no stranger or local visits if he does not expressly wish it. He is
a great lover of the hunt, and this is his only outlet. However, his meals continue
to be held in Darmstadt. . . . At midday there are twenty exquisite dishes, and in the
evening twelve to fourteen; besides this there is always a lovely, alternating dessert.
The wait sta consists of four pages, and the others are liveried servants in blue
and red with silver. Usually there are at least twelve persons there.69

Ludwig VIIIs practice of taking his lavish meals in urban Darmstadt, thus fre-
quently retreating from the countryside, may reect a desire to avoid the lonely
melancholy that the late eighteenth century associated with remaining too long in
Arcadia.70 Such apparent ambivalence toward nature notwithstanding, the courts
long-standing interest in the hunt (extending back at least a generation to the time
of Ernst Ludwig) could explain why the majority of Telemanns works with one
or more horns have Darmstadt sources, many of them unique. Four of these
works, 44:79 and the exceptionally ne 44:10, are overture-suites in the Harmo-
niemusik scoring of two oboes, two horns, and bassoon or continuo.71 These
would seem ideal Tafelmusiken for the repast following a day in the country, either
indoors or in the open air.
To return to the E-at suite, following a graciously pompous sinfonia full
of horn-signal gures, the days activities commence: waking is followed by
courtly conversation, then the hunt, a meal, and dancing before retiring for the
evening. This sequence of events begins and ends like the hunt itself, for the
morning reveille mirrors the call to the hunt (traditionally given by the horn sig-
nal cornure de queste or La qute) and the concluding retraite of the cour-
tiers, imbued with signal-like gures in Telemanns movement, parallels the earlier
retreat of the hunting party to the cornure de retraite or retraite prise.72 La
reveille is also noteworthy for its strong resemblance to Le Reveil de Qui-
chotte of 55:G10 (discussed later), suggesting Telemanns association of pas-
toral waking scenes with the forlana or siciliana, both of which frequently com-
96 The Overture-Suites

bine sautillant rhythms with implied drones. Constructed of short phrases passed
back and forth between the horns, utes, and strings, La conversation a la table
suggests the witty exchanges of a galant dialogue, its arguments as circular as the
gavottes rondeau structure. La Chasse, a vigorous gigue with repeated-note
gures evocative of horn signals, seems in its brevity to compress time more than
the other movements. It gives way to Repas, a kind of suite within a suite that
accompanies the meal: having left the horns in the eld, the utes and strings play
a precious C-minor menuet in alternation with a foot-stomping duple-meter
dance in C major, apparently inspired by the English Country. By switching to
the relative minor, Telemann seems to underscore the courts retreat into its own,
serious world (or is it melancholy occasioned by too much time in the country-
side?), while the juxtaposition of courtly and country dances repeats the days
contrasting activities in miniature. The choice of a branle for the Retraite is apt
in view of the dances resemblance to English country dances, and of its long-
standing association with the nostalgia of city dwellers for country pleasures.73
Filtered as they are through an aristocratic lens, the brief glimpses of the
countryside oered in this suite seem little more than an articial backdrop for
courtly diversion: the musical equivalent, perhaps, of a chinoiserie garden or a pas-
toral fte galante captured in a Meissen porcelain sculpture or in a canvas by Wat-
teau. The denizens of Arcadiashepherds and peasantsand their idyllic sur-
roundings are portrayed elsewhere among Telemanns suites under such labels as
Bergerie (55:B1), Paysane (44:3), Les Paysans (44:14), Pastorale (55:e8),
Pastourelle (55:F1), Villanelle (55:D2), and Napolitaine (55:g1), and, less
conventionally, in Der lster Scher Dor Music and other burlesque or par-
odistic movements, discussed later. Especially striking for its unsentimental de-
piction of rustic music making is La Vielle of 55:Es3. Through its references
to the special properties of the hurdy-gurdy, a traditional instrument that was
modied and rened for use in French theaters and salons from the late seven-
teenth century, this movement sets itself apart from more common representa-
tions of the musette or bagpipe, with their arrhythmic drones on a single pitch.
Following a six-measure introduction, during which the rst violin plays an im-
provisatory melody above a tonic triad supplied by three drone strings (violin 2,
viola, and bass), the folksy tune is sounded in a homorhythmic texture alluding
to the disembodied hurdy-gurdy players skillful manipulations of the instru-
ments rotating, rosined wheel (Example 2.7).
Considerably less straightforward than Telemanns other bucolic movements,
and all the more intriguing for it, is the pastoral idyll that concludes La Bouonne,
55:C5. Indeed, one cannot help but suspect an implied narrative lurking behind
the movements title of Pastorelle. In the unusual compound structure, illus-
 T wo Telemanns Mimetic Art 97

example 2.7. Suite in E-at for strings and continuo, 55:Es3/v, mm. 119

La Vielle

Violin 1


C

Violin 2 C
Viola C
Continuo

C

13

trated in Example 2.8, each repeated half progresses from a musical paragraph in
the pastoral mode to an earthy menuet, the latter beginning, after a brief caesura,
in an unprepared but closely related key. Over a tonic drone in the pastoral sec-
tions the rst violin plays a lullaby-like melody (doucement) undoubtedly
meant to evoke, if not directly quote, a Christmas carol; its falling chord tones
(mm. 79, 1112) recall those in a number of Austro-Bohemian melodies asso-
ciated with Christmas, such as Parvule pupule and Kommet ihr Hirten
(Come All Ye Shepherds).74 Somewhat moderating the melodys gentle cradle-
rocking eect is a rustic tinge provided by the occasional atted seventh scale de-
gree. The association with Christmas is further strengthened by the movements
unusual placement at the end of the suite, which brings to mind the concluding
pastoral evocation in Christmas concertos by Corelli (op. 6, no. 8), Manfredini
98 The Overture-Suites

example 2.8. Suite in C major for strings and continuo, 55:C5/vi, mm. 117

Pastorelle
Violin 1 C

doucement

Violin 2 C
doucement

Viola C

[doucement]

Continuo C
[doucement]

43
11

43
f



43
f

3
[ ]
f

4
[f]

(op. 2, no. 12; op. 3, no. 12), and Locatelli (op. 1, no. 8). If this lullaby expresses
sacred joy at the miracle of the Nativity, then the alternating menuet, perhaps a
shepherds dance or piped serenade for the Holy Infant, would seem to embody
happiness of a more worldly nature. Yet the menuet melody could also be based
upon a tune with Christmastide associations. The alternation of lullaby and dance
appears related to an Austro-Bohemian tradition of instrumental pastorellas in
which a narration of the Nativity is provided through a sectional organization (a
lullaby, the sounding of shepherds horns, the cuckoos song representing the ani-
mal kingdom, and so on) that can include returns to the opening music.75
Such ashing back and forth between scenesor narrative voicesin this idyll
 T wo Telemanns Mimetic Art 99

might also be taken as undermining one of the countrysides restorative qualities:

its timelessness, communicated by the pastoral style through an avoidance of mu-
sical processes suggestive of change, progression, or motion (hence the typical re-
liance on static harmonies and pedal tones signies more than musical rusti-
cism).76 But if there is an unsettling feeling of change here, neither does time move
forward in a strictly linear sense. The grafting of binary and composite structures
suggests that idyllic time is a cyclic phenomenon, endlessly looping back on itself
as crops are harvested then planted again, deaths are followed by births, and so on.
Thus the menuet is but a momentary diversion in a world marked by continuity.

Telemanns Wit: Burlesque, Parody, and Satire

With their extramusical programs, literary allusions, and undermining of courtly

decorum, Telemanns overture-suites are funny in ways that his other instrumen-
tal works are not. Indeed, they form one of the most signicant bodies of in-
strumental humor from the eighteenth century, worthy late-baroque counterparts
to Haydns quartets and symphonies and Mozarts Ein musikalischer Spa. We have
already seen the composers lively wit and jovial disposition77 nd expression
through depictions of commedia dellarte characters, and in other burlesque
movements such as Les vieilles femmes, Die concertirenden Frsche und
Krhen, and Der lster Scher Dor Music. All of these movements depend
on exaggerated gestures or mixtures of socially encoded high and low styles for
their comedic eect, just as the Passepied burlesque of 55:A8 transforms
courtly ball into pastoral frolic through its musette topic and raised fourth scale
degree. Similar strategies inform a repertory of jesting movements containing
over a dozen Harlequinades, Badineries, and Badinages, among the most
outrageous of which are the rondeau La Badinerie of 55:F3 and the harlequinades
of 55:C6 and D15, with their drones and castanet rhythms (C6), atted sev-
enths (D15), and jarring contrasts of scoring, register, texture, and dynamic level.
(The delightful Arlechinoso of 50:23 demonstrates the composers penchant
for musical silliness well into his eighties.) Telemann was also capable of more
whimsical expressions of humor, such as the Perpetuum mobile of 55:D12 and
Le Batelage of 55:s1, where elided phrases create a seamless eect suggestive
of perpetual motion or juggling. More playful still is the depiction of Galima-
tias (nonsensical talk) in 55:e3, where the rondeau refrain evokes pointless chat-
ter through its circular motion around the pitches b and g and a metrically dis-
ruptive emphasis on the weak half of the measure. Pairs of violins, utes, and
oboes banter in comically quick alternation before the conversation takes a more
100 The Overture-Suites

pretentious turn with exchanges between earnest unisons (strings) and self-
important chromaticism (oboes).
But there is more to Telemanns wit than the raucous fun and knowing winks
of the movements just mentioned. All of these examples, in fact, would probably
have been understood by eighteenth-century listeners as humorous rather than
witty.78 Writers of the time regarded humor as the most natural form of co-
medic expression, more closely connected with vulgar than polite laughter, more
whimsical and mirthful than surprising. (Certainly Die concertirenden Frsche
und Krhen and Der lster Scher Dor Music were meant to elicit laugh-
ter of the vulgar sort.) Wit, on the other hand, is a kind of sleight of hand that
eects surprise and wonder through a balance of the artful and the natural. A wit-
ticism enlightens, whether or not it provokes laughter, and leads the observer
from surprise at an unsuspected contrast or use of language to the insight that
such apparent incongruities mask a logical relationship between ideas. Corbyn
Morris, whose 1744 Essay towards Fixing the True Standards of Wit, Humour, Raillery,
Satire, and Ridicule is the most perceptive tract of its kind from the rst half of the
eighteenth century, summed up the dierence between humor and wit:

HUMOUR is Nature, or what really appears in the Subject, without any embell-
ishments; WIT only a stroke of Art, where the original Subject, being insucient
of itself, is garnished and deckd with auxiliary Objects. . . . In the Allusions of
WIT, Severity, Bittnerness, and Satire, are frequently exhibited. . . . In pure WIT, the Al-
lusions are rather surprizing, than mirthful; and the Agreements or Contrasts which are
started between Objects, without any relation to the Foibles of Persons in real Life,
are more t to be admired for their Happiness and Propriety, than to excite our Laughter.79

Like all writers on the subject, Morriss examples of comedic types are drawn
principally from literature, but in an illustration that might easily be extended to
music, he notes that there may be WIT in a Picture, Landscape, or in any Prospect,
where a gay unexpected Assemblage of similar, or opposite Objects, is presented.80
Morriss distinction between raillery (what is today more often termed parody)
and satire is both apt and in keeping with modern notions:

Raillery, is a genteel poignant Attack of slight Foibles and Oddities; Satire a witty and
severe Attack of mischievous Habits and Vices. The Intention of Raillery, is to procure
your Pleasure, by exposing the little Embarrassment of a Person; But the Intention of
Satire, is to raise your Detestation, by exposing the real Deformity of his Vices.81

In Telemanns suites, wit in the eighteenth-century sense tends to manifest it-

self through parody of established conventions, styles, or genres. A particularly
 Two Telemanns Mimetic Art 101

ingenious instance of parody, one embodying the eighteenth-century notion of

wit as seeming incongruity masking congruity, is the overture of La Bizarre,
55:G2. In this movements rst section, illustrated in Example 2.9a, the second
violin ignores the stereotypical rhythmes saccads of the other parts and instead plays
an oddly active line with rhythms anticipating the following fugal sectionmusic
that is quite literally ahead of its time. The listener becomes aware that this in-
congruity of aect is really a clever temporal disjunction only at the start of the
overtures second section, shown in Example 2.9b. Here both the second violin
and the viola continue the game by refusing to play along with the fugal exposi-
tion initiated by the outer voices; the second violins response to the subjects ini-
tial statement is a rude, syncopated F-natural (m. 20), a nger in the eye that re-
calls the unsettling use of the pitch to eect a momentary turn to the subdominant
in the previous section (m. 3). Later, as seen in Example 2.9c, the second violin
seems to mock the other instruments by playing only the dotted rhythms it ought
to have adopted at the movements outset. And twice following subject entries
there are suspenseful passages over a bass pedal point that are comically incon-
gruous with the surrounding music (mm. 2934 and 4146). When the con-
cluding section arrives, the second violin and viola both retain the rhythms of the
bizarre fugue, undermining the outer voices eorts to reestablish a modicum of
dotted grandeur. For those who would nd bizarrerie in the following dances as
well, there is the odd, repeated-note theme of the courante; the sharp-edged rus-
ticity of the gavotte; the visual humor of the branle, in which each of the four
parts is notated in a dierent meter; the inappropriate tirades of the sarabande; the
manic energy of the Fantaisie; and the tongue-in-cheek twittering of the con-
cluding Rossignol.
The line between parody and satire blurs in several suites inspired by popular
literature or contemporary events. Telemanns engagement with literary satire pro-
duced the 1728 opera Die verkehrte Welt (The Topsy-Turvy World), TVWV 21:23,
with a libretto by Johann Philipp Praetorius after the comedy Le Monde renvers of
Alain Ren Lesage and Jacques-Philippe dOrneval, and the 1729 Intrada, nebst
burlesquer Suite for two violins, 40:108, which depicts various peoples encoun-
tered by the eponymous hero in Jonathan Swifts novel Gullivers Travels (see chap-
ter 6). Although no complete German translation of Miguel de Cervantes Saave-
dras masterpiece Ingenioso hidalgo Don Quijote de la Mancha was published until 1775,
his satire of chivalric romance had long since entered the European lingua franca by
Telemanns time, not least through a series of opera librettos. In 1761 the eighty-
year-old composer contributed to this operatic tradition with his one-act serenata
Don Quichotte auf der Hochzeit des Comacho, TVWV 21:32, with a libretto by Daniel
Schiebler based on chapters 1921 of the second part of Don Quijote.82
102 The Overture-Suites

example 2.9. Suite in G major for strings and continuo, 55:G2/i: (a) mm. 17; (b) mm.
1830; (c) mm. 3742
(a)
[Grave]

c
Violin 1


Violin 2 c

Viola c
c
Continuo

6 5 6
4

7 # 6 5 6
# # b

(b)

43
18 2.

43

43

43

23

7 6 6 6
 Two Telemanns Mimetic Art 103

27

6 # 6 # 6b
4

(c)


37

6 5 6 6

40

6 # 6
4

Telemann was no doubt already familiar with Cervantess novel when, in 1722,
Francesco Contis Don Chisciotte in Sierra Morena was produced at Hamburgs Gnse-
markt Opera under the direction of Mattheson. It may have been this work that
provided the impetus for his own Ouverture Burlesque de Quixotte, 55:G10.83 Like the
Gulliver duet, the suite illustrates its subject through a series of character por-
traits or vignettes of famous scenes: there is the knight-errant awaking from his
slumber (Le Reveil de Quichotte); his ill-considered attack on the windmills
104 The Overture-Suites

(Son attacque des moulins vent, inspired by book 1, chapter 8 of the novels
rst part); his amorous sighs for the imagined object of his aections, Princess
Dulcinea del Toboso (Les Soupirs amoureux aprs la Princesse Dulcine); his
squire Sancho Panza being tossed up and down in a blanket for refusing to pay
the pairs bill at an inn (Sanche Panse bern, inspired by book 3, chapter 3 of
the novels rst part); portraits of the two lame mounts, Don Quixotes horse
Rocinante and Sancho Panzas ass Dapple (Le Galope de RosinanteCelui
dAne de Sanche); and, at the end of this imaginary day lled with chivalrous
deeds gone wrong, Don Quixotes dreams of his next misadventure (Le couch
de Quichotte).84
At the start of his novel, Cervantes tells us that Don Quixote created his imag-
inary world through reading too many chivalric romances: he strung these ab-
surdities together with many others, all in the style of those that hed learned from
his books.85 In like manner, Telemanns music may be heard as a string of ab-
surdities based on the conventions of the overture-suite. Unlike the overtures to
most characteristic suites, this one establishes an appropriately mock-heroic
mood: the rst and third sections take on a distinctly buo character through fre-
quent unisons, slow or static harmonic rhythm, and constant shifting between
ideas; both the precipitous two-octave descent in the opening melody (mm. 15)
and ensuing octave ascent to b (mm. 614) make a comically overblown eect.
Frivolous, descending tirades (mm. 10 and 12) seem to mock convention while
bringing to mind Don Quixote falling o Rocinante or the tossing motion in
Sanche Panse bern.
Although each of the following movements is in binary form, only Le Reveil
de Quichotte (a pastoral siciliana with dotted rhythms and an ostinato drone)
and the alternating pair Le Galope de RosinanteCelui dAne de Sanche (in
the 3/8 of a menuet or passepied) make any reference to ballroom dances. Two
parody conventional types: Don Quixote attacks the windmills in a frenzied com-
battans lled with tremolos, rushing scales, and galloping or castanet rhythms in
the bass, while his sighing for Dulcinea takes the form of a plainte in which the
melodic line contains nothing but musical sighs.86 In the burlesque alternativement
pair, Rocinantes pathetic gallops are depicted by the short-long limping rhythm
we encountered in the Scaramouches of 55:B8, while Dapples halting gait is
reected in the constant stopping and starting of both melody and accompani-
ment. The suites last movement, really two brief, alternating dances, mixes the
high and low styles: nominally a sommeil for Don Quixote, the music mocks the-
atrical slumber scenes by invoking the kind of dance one might hear a beer ddler
improvise in a country tavern. As in Le Reveil de Quichotte, the rustic topic is
established partly through an ostinato dronean unyielding reiteration of the
 Two Telemanns Mimetic Art 105

tonic in a galloping rhythmabove which the melody, initially played in octaves,

has the repetitious quality characteristic of Telemanns Polish style. That Don
Quixote is in fact dreaming of riding o to battle is suggested both by the musics
kinetic energy and by its family resemblance to both Johann Heinrich Schmelzers
Fechtschule (Fencing School) and Heinrich Ignaz Franz von Bibers Musqetir
Mars (Musketeers March) from the characteristic Sonata Representativa, a
movement that reappears as Der Mars in the well-known Battalia.
The other overture-suite often considered a product of Telemanns satirical wit
is the untitled 55:B11, best known for its buoyant last movement, LEsprance
de Mississippi (Hope for the Mississippi). Such is the exotic appeal of this title
that the preceding four characteristic movementsbearing the intriguingly oxy-
moronic epithets of Le repos interrompu (Interrupted Rest), La guerre en la
paix (War in Peacetime), Les Vainquers vaincus (Victors Vanquished), and
La Solitude associe (Communal Solitude)are often assumed to be topically
related to the nale. Whether or not this is so, and regardless of any satiric intent
on Telemanns part, this suite is among the most singular examples of the genre.
The nales American reference is to a spectacular nancial crisis that unfolded
in France between mid-1719 and late 1720. With the French economy in sham-
bles thanks largely to the long and costly wars waged by Louis XIV, the Scotsman
John Law was charged by Philippe, duc dOrlans, regent of France between 1715
and 1723, with reformulating the nations economic policy.87 Having rst created
a Compagnie dOccident that controlled French Louisiana (present-day Arkan-
sas, Illinois, Iowa, Louisiana, Minnesota, Mississippi, Missouri, and Wisconsin),
Law next formed the Banque Royale. Then in May and June of 1719 he merged
the Compagnie dOccident with the Compagnie des Indes, Compagnie de la
Chine, and Compagnie dAfrique. The resulting conglomerate, which also in-
cluded the tax farms, tobacco farm, mint, and French national debt, was known
as the Compagnie des Indes, and more popularly as the Mississippi Company. It
was Laws intent to alleviate Frances nancial crisis by exchanging government
debt in the form of annuities for shares in the Mississippi Company. In Septem-
ber and October the company issued several hundred thousand shares as a spec-
ulative euphoria spurred its stock to rise through the end of the year; in the ve
months between early August 1719 and early January 1720, the share price more
than tripled its value as Law rose to the oce of controller-general of nances.
By May 1720 Law felt compelled to cool down an overheated nancial system
by reducing the prices of banknotes and shares. The resulting outrage led to an
almost immediate revocation of these measures and Laws temporary fall from
favor. Share prices initially dropped sharply, then rebounded to some degree when
Law was returned to power. But much faith had been lost in his nancial system:
106 The Overture-Suites

share prices fell steadily during the second half of 1720 until they were further
devalued in September, the Mississippi Company declined in size and signi-
cance, and the Banque Royale removed banknotes from circulation in October be-
fore closing its doors in late November. Laws system had bankrupted Frances
creditors, though the state had reduced its debt in the process.
Living in the same building that housed Frankfurts stock exchange, Telemann
would have witnessed at rst hand the growth and eventual bursting of the Mis-
sissippi stock bubble. It is easy to imagine his bemusement over all the fuss, and
his appreciation of how events in France had set satiric juices owing among
composers, writers, and artists: among the sharpest satires was Franois Coupe-
rins canon Les agioteurs au dsespoir, in which ve nancial speculators sing a lament,
and a collection of ne engravings published in Holland in 1720 as Het Groote
Tafereel der Dwaasheid (The Great Mirror of Folly).88 But at what point during the
proceedings did Telemann hold his own mirror up to the crisis by composing the
suite? Homann assumed it was sometime during mid-to-late 1720 or 1721 and
considered the work to have been written for the Frankfurt stock speculators,
prosperous members of the Frauenstein Society, a small group of wealthy mer-
chants and university graduates that included some of Frankfurts leading fami-
lies. The overture, in his view, portrayed the pride and certainty of the stock-
holders, while the following movements expressed their fears and distress,
nally their hope in the already devalued Mississippi stock.89 Aside from the im-
probability of Telemanns publicly highlighting the foolhardiness of Frankfurts
investorssome of whom were members of a society for which he served as sec-
retary, treasurer, and leader of a collegium musicum, no lessit is far from clear
that the oxymoronic movements depict fear, distress, or specic events in the cri-
sis. For that matter, the suite may predate the actual crisis: hope for the Missis-
sippi was, after all, at its zenith during the second half of 1719, and there ap-
pears to be nothing musically parodistic about the last movement. Moreover, the
two movements with martial associations (La guerre en la paix and Les Vain-
quers vaincus) could easily refer to other political events. For example, the Great
Northern War of 17001721 between Sweden and a coalition including Britain,
Russia, Denmark, Saxony-Poland, and, from 1715, Prussia and Hanover, was
winding down in 171920. A weakened Sweden ceded territories to Hanover on
20 November 1719, to Prussia on 1 February 1720 (the Peace of Stockholm),
and to Denmark on 14 June 1720 (the Peace of Frederiksborg).90 Once the dom-
inant power in Eastern Europe, Sweden was well on its way toward becoming a
vanquished victor. Yet continuing hostilities with Russia ensured that a year of
war in peacetime was still to come.
 Two Telemanns Mimetic Art 107

Telemanns composing score at Dresden fails to clarify the meaning of his

characteristic titles, but does conrm a Frankfurt origin for the suite (the paper
bears, appropriately enough, a fools-head watermark of a type common in Hes-
sen) and reveals a few details about the compositional process: the second move-
ment was originally to be called Air avec douceur and the third movement was
initially La paix en la guerre. Telemann might have taken the score with him to
Dresden in September 1719 or else mailed it to Pisendel, who later supervised its
copying in parts by a court scribe. The Dresden connection may explain why the
suite features so much elaborate writing for oboes and bassoon. As we saw in the
previous chapter, the winds prominence is established in the concerto-like over-
ture. More striking than this, however, is the unconventional style and structure
of the following movements. Each is in some kind of da capo form, with the B
sections invariably cadencing in the relative minor (the modal contrast possibly a
reection of the movements oxymoronic programs), and only Les Vainquers
vaincus and LEsprance de Mississippi resemble dance music. Le repos in-
terrompu calls upon a pastoral topic, complete with 6/8 meter, melody in thirds,
drones, and slurred pairs of sixteenths. At the start of its B section, the idyllic
mood is shattered by the strings martial topic (repeated-note gures and rushing
scales), which forces the music through a series of modulations. Yet the oboes re-
fuse to yield ground, twice responding to the strings violent outbursts with
amusing tonal deections (mm. 37 and 41) before succeeding in reestablishing
the pastoral mode with only token resistance (Example 2.10). As in the Com-
battans of 55:B10, ritornello form provides the framework for the hostilities of
La guerre en la paix, where a dialectic of pastoral and martial topics expresses
the idea of integrating peace and war. Already in the opening ritornello, the oboes
interrupt the strings vigorous guration with slurred pairs of eighth notes over a
violin drone (Example 2.11). After the strings return the favor (creating a double-
motto phrase for the oboes), the two groups join in restating the pastoral topic.
But the project of integration is carried only so far, as subsequent ritornellos re-
turn to the martial topic. The message of Les Vainquers vaincus seems to be
that neither topic has triumphed: they join together in a minuet-like dance, with
slurred pairs of sixteenth notes providing a motivic connection to the preceding
two movements. The idea of solitude in La Solitude associe plays out through
the rst oboes long soliloquy in the movements A section; in the B section, the
second oboe communes with the rst in what is essentially a trio texture. Whatever
Telemanns satiric intent may have been in the suites nale, the cheerful LEsp-
rance de Mississippi does not establish hope and Mississippi as opposi-
tional elements, and thus breaks with the pattern of the preceding movements.
108 The Overture-Suites

example 2.10. Suite in B-at for 2 oboes, strings, and continuo, 55:B11/ii, mm. 3438


34

Oboe 1

Oboe 2





Violin 1
Violin 2


Viola


Continuo



36

Bsn

Tutti

But as a thinly disguised pair of alternating gavottes, the movement cleverly refers
to da capo form by modulating to G minor at the end of the second dance.
A second characteristic overture-suite in the late autograph parcel of suites
and divertimenti at Berlin warrants a close look not only for the ingenuity with
which the composer translates its unusual program into sound, but also because
it satirizes an important current in eighteenth-century popular culture. The Ou-
verture, jointes dune Suite tragi-comique, 55:D22, illustrates three ailments or character
awsgout, hypochondria, and vaingloryand their remedies. Following a ner-
vous overture in which the jarring fanfare gures of the outer sections seem to
hint at psychological and physical discomfort to come, a series of dances bearing
both characteristic and generic titles depict three condition-treatment pairs:
 Two Telemanns Mimetic Art 109

example 2.11. Suite in B-at for 2 oboes, strings, and continuo, 55:B11/iii, mm. 15
La guerre en la paix

c
Allegro
Oboe 1


c

Oboe 2

c
Violins 1 and 2
Viola

c
Continuo
c


3

Le Podagre [The Gout-stricken One]. Loure

Remde expriment: La Poste et la Dance [Proven Remedy: Mail Coach and Dancing].
Menuet en Rondeau
LHypocondre [The Hypochondriac].
SarabandeGigueSarabandeBourreSarabandeHornpipeSarabandeLa Suave
Remde: Sourance hroque [Remedy: Heroic Suering]. Marche
Le Petit-matre [The Vainglorious Fop]. Rondeau
Remde: Petite-maison [Remedy: Mental Hospital]. Furies.

As with the E-at hunt suite, 50:21, Telemanns composing score documents
his evolving conception of the work: the overture was initially characterized as ital-
iennisante and then comique (both words having been subsequently crossed
out); and Le Petit-matre, which originally followed the overture, was at rst
called Le Someil interrompu (interrupted sleep). Hence the tragicomic story-
line was to have begun with a suerer sleeping tfully, apparently irritated by
110 The Overture-Suites

symptoms of gout or hypochondria. But having chosen to provide a character

portrait of the petit-matre rather than an evocation of French theatrical sleep
scenes, Telemann nally opted to insert the movement between the two remedies
at the end of the suite.91
Whereas the three remedies are all conventional movement types (a menuet en
rondeau incorporating simulated posthorn calls, a triumphant march with the
obligatory trumpets and drums, and a typically vigorous depiction of the tortur-
ing Furies), the ailments, essentially character portraits, all explore the idea of
psychological or physical instability through musical incongruities of one kind or
another. Le Podagre, a loure ttingly in the tonic minor, suggests both halting
physical movement and pain shooting through the suerers joints through fre-
quent disruptions in the dances harmonic and melodic progress. Three times in
the movements rst half alone phrases of two and three measures are interrupted
by harmonic non sequiturs (mm. 23, 56, and 1011) commencing with high
pitches approached by ever-widening leaps and remaining, in the rst two in-
stances, locally unresolved (Example 2.12). Le Petit-matre is a rondeau that
expresses the fops mental unsteadiness through what one might call aective
dissonance. Its refrain consists of an antecedent-consequent pair of phrases, each
of which begins with strings alone in quasi-rustic mode and continues, trumpets
and drums added, in an unexpectedly frivolous vein. This expressive dichotomy
becomes intensied in the two couplets, the second juxtaposing the topics of
quiet rusticity and martial fanfare.
Such syntactical and aective disruptions are writ large in the suites most
striking movement, LHypocondre, a particularly lugubrious sarabande in the
dominant minor that captures the hypochondriacs overriding melancholy state.
But here psychological and musical continuity proves eeting, for the sarabande
is continually interrupted by a gigue (originally entitled Forlane), then a bour-
re, and then a hornpipe (originally Angloise) in contrasting keys; the con-
cluding section, La Suave, is a metrically unsettled passepied in the major mode
suggestive of a temporary state of mental equilibrium (Example 2.13). These in-
terruptions are no doubt to be understood as episodes of manic excitation, and
for Telemanns listeners the four dances of the main section would likely have con-
jured up the four classical temperaments or complexions that still held sway in
less enlightened corners of eighteenth-century medical thought. Thus the
hypochondriacs mood swings take him back and forth from a state of melan-
choly (sarabande in G minor) to those that are sanguine (gigue in G major),
phlegmatic (bourre in B-at major), and choleric (hornpipe in C minor). If the
repetition eected by the movements binary structure appears articially to halt
the suerers psychological journey and thus weaken the sense of realism, this is
 Two Telemanns Mimetic Art 111

example 2.12. Suite in D major for 3 trumpets, tympani, strings, and continuo, 55:
D22/ii, mm. 114
Le Podagre

Loure

43

Violin 1


Violin 2 43
43
Viola
3
Continuo
4

partly mitigated by the unbroken alternation of dances; such musical repetition

might also be understood to reect the hypochondriacs obsessive retracing of his
thoughts. That the movement is in the key of the dominant sets it o from all the
other tonic-centered movements of the suite: it is as if the hypochondriac has
been shunted o by, or quarantined from, his peers.
From a historical perspective, LHypocondre invests with new meaning a ven-
erable French tradition of stringing together various dances, or dance fragments, to
form a kind of telescoped suite. Nearly a century earlier, Lully had written such a
sequence at the end of the rst act of Le Bourgeois gentilhomme, and during succeeding
decades prramiste composers of opras-ballets such as Campra, Thomas-Louis Bour-
geois, and Jean-Joseph Mouret also cultivated the form.92 Probably the best-known
and most ambitious example is Jean-Fry Rebels divertissement Les Caractres de la
danse: Fantaisie (1715). Its performance at the Dresden court inspired an anonymous
knocko entitled Imitation des Caracteres de la Danse that, perhaps not sur-
prisingly, adds a polonaise and concertino to the standard lineup of courtly
dances (Rebel himself had included an Italianate sonate in his suite).93 Tele-
manns innovation in LHypocondre was to use the telescoped suite as a vehicle
for psychological narrative, not merely as a concise catalog of popular dance types.
112 The Overture-Suites

example 2.13. Suite in D major for 3 trumpets, timpani, strings, and continuo, 55:D22/iv
Sarabande
Violin 1

23
68
Violin 2 23 68
Viola 23 68
Continuo
3
2

68

Gigue
68 23
5


68 23
68 23


6
8

23

23
9 Sarabande
C
23 C
23 C

3
2
C


23
12 Bourre

C

C 23

C 23
C 23

 Two Telemanns Mimetic Art 113

Sarabande

23
17

c
23


c
23


c
23 c

Hornpipe Sarabande

c 23
21

c
23
c
23
c
23

38
La Suave
25

24

24
38

24
38
2 38

24 38
24 38
31

24 38
24 38

24 38 24 38

24 38 24 38

114 The Overture-Suites

Taken together, the symptoms depicted in the Suite tragi-comiqueshooting

pain, diculty of movement, manic depression, overall mental instability, and
sleeplessness (in the original conception of Le Petit-matre)jibe well with
eighteenth-century descriptions of hypochondria, which went far beyond the
modern diagnosis of one who is obsessively concerned with being or becoming
ill. Consider the colorful portrait of a hypochondriac oered by Sir Richard
Blackmore in his 1725 treatise on the Hypocondriacal and Hysterical Aections, worth
quoting here at length:

[The] Symptoms that accompany this Distemper in the Head, are . . . various and
surprizing (i.e.) Pain, Aches, Vertiginous Swimming and Giddiness, excessive
Lightness, or on the contrary, great Dulness and Melancholy, dark Spots, Motes,
and little Nets dancing in the Air before the Eyes; sometimes a Dimness, and a
transient Suspension of the Sight, a ringing Noise in the Ears, sudden Dartings or
Shootings, as of some kindled Vapour or Spirit in the Head; sometimes a Drowsi-
ness and great Reluctance to open the Eyes, and on the reverse, at other times, an
obstinate Wakefulness and Inability to sleep; sometimes tumultuous, sad and mon-
strous Dreams, accompanied with great Distress and Horror, when the Patient be-
lieves he sees Ghosts and terrible Apparitions, or armed Villains ready to assault
and murder him. . . . And if there is this wavering Instability in [hypochondriacs]
intellectual Faculties, there is no less Diversity and Inconstancy in their Temper and
Passions. Sometimes they are gay, chearful, and in good Humour; and when raised
and animated with Wine, they acquire an extraordinary Degree of Mirth, while
they break out into profuse Laughter, and often entertain the Company with a
great Eruption of Wit and facetious Conversation. But though these delightful
Scenes exhilerate the Hypocondriacal Man, yet when they are past, his Spirits are
exhausted and sunk; and suddenly relapsing into his dull and lifeless Melancholy,
he pays dear for his transient, voluptuous Satisfactions. Thus are his Days varied
and checquered with black and white, calm and stormy, fair and cloudy Seasons,
nor ever does his Glass of Life stand at a settled Point.94

Although it has been suggested that the suites ailments may refer to a specic
personage (for example, the apparent dedicatee, Landgrave Ludwig VIII of Hessen-
Darmstadt),95 it is more likely, given Telemanns penchant for satire in earlier char-
acteristic suites, that the medical theme was meant to resonate with a broad so-
cial stratum. Indeed, it was with medicine that the enlightened German public
found itself closely engaged during the period when the Ouverture, jointes dune Suite
tragi-comique was composed. In Hamburg between 1759 and 1764, the Altona
house doctor Johann August Unzer published a weekly moral journal called Der
Arzt (The Physician), the tremendous appeal of which caused a 1769 reprinting
 Two Telemanns Mimetic Art 115

to sell out its entire press run of 3,500 copies at the Leipzig Easter Fairthe
most successful reprint edition of a German periodical in the entire eighteenth
century.96 Telemann, as a Hamburg resident and former publisher himself, can-
not have been unaware of the locally produced journal and its large readership.
And there were other successful organs of popular medical enlightenment at this
time, such as Samuel Tissots 1763 Anleitung fr das Landvolk in Absicht auf seine
Gesundheit (published in English as Advice to the People in General: With Regard to Their
Health) and Ernst Gottfried Baldingers monthly Artzeneien (Medicine), which ap-
peared between 1765 and 1767. If these publications were enthusiastically con-
sumed by the educated classes, Jean Ailhauds remde universel, a purgative powder,
brilliantly capitalized on the desire of the masses in France and in Central and
Eastern Europe for an eective home remedy to cure whatever ailed them. Ail-
haud and his son sold hundreds of thousands of boxes of their remedy annually
by the 1770s, notwithstanding published exposs on the eets funestes de
poudres Ailhauds by the physicians Dupuy de la Porcherie and Franois Thiry
in 175960. Responding to the kind of quackery represented by Ailhauds rem-
edy, and to the astrology-based health advice typically found in printed calendars,
German governments began to oer their own, more enlightened, advice on diet,
hygiene, and medical remedies, as in the semiocial health instruction for the
people installments published with the Verbesserter Schreib-Calendar (Improved Al-
manac) between 1769 and 1790.97
In musically depicting common illnesses and their remedies, then, Telemann
was satirizing a powerful and widespread cultural phenomenon. His choice of
hypochondria in particular was well considered, for it was far and away the most
widely diagnosed illness of the eighteenth century.98 As Der Arzt observed: Hy-
pochondria is now a fashionable word that one uses to excuse many ill habits of
the heart, blaming them on a disease that in our eyes is innocent. The physicians
tolerate this fashion, and call hypochondria everything with only a passing re-
semblance to this disease.99 Of the foolishness of hypochondriacs, Der Arzt
further said, one can only write satirically, and to prove his point he published a
sixteen-page comedy (Charakter eines Mannes, der auf seine Gesundheit lauret
in Form eines kleinen Lustspiels) about a hypochondriac fearing illness on the
model of Molires Le Malade imaginaire (1673), Christlob Myliuss Die rzte (1745),
and Theodor Johann Quistorps Der Hypochondrist (1745).100 Especially biting in
its satire is Quistorps play, in which hypochondria is portrayed as a kind of de-
mentia, a thick cloud that surrounds the main protagonist and gives rise to his ab-
surd illusions and fears.101 As a further illustration of how hypochondriacs irra-
tionally view their illnesses as far more dangerous than they are, Der Arzt related
the following musical anecdote:
116 The Overture-Suites

A scholar became so hypochondriacal from laziness that he conned himself to

bed and prophesied his own death. For this reason he ordered that his funeral song
be played on the neighboring carillon. He had often done this himself for exercise
in his youth, and really had the knack for it. As the carillon was played, he heard
with frustration how poorly the fellow was performing his duty. And since this was
supposed to be his nal honor, he wished it to be done properly for once and for
all; so he angrily sprang out of bed and showed the fellow how he should have
played. He broke into an extraordinary sweat over it, and returned to bed to await
his end. However, this sweat restored his health.102

The German publics appetite for satirical treatments of hypochondria seems

to have reached its apogee during the rst half of 1762 with the appearance of
the weekly serial Der Hypochondrist, published in Schleswig under the editorship of
Heinrich Wilhelm von Gerstenberg and Jakob Friedrich Schmidt.103 A com-
pendium of satirical writings on hypochondria and other subjects, the journal is
lled with comical letters from ctional correspondents, poetry of all types, sug-
gestions as to how one might satirize oneself, and even a miniature epistolary
novel. A brief description of hypochondria in the journals third month takes on
an ironic tone:

Strange hypochondria! what kind of equivocal teacher are you? Through your in-
spirations one sees things never before seen. A hypochondriacal eye is like an eye at
night: everything appears black to it; or, to express myself more wittily, it is like a
certain type of telescope that represents all objects upside down. As soon as the
hypochondriac sees something as a viceand his illness is quite helpful in this re-
specthe sees everything else as such.104

Telemanns LHypocondre therefore takes its place beside a rich vein of lit-
erary satire aimed toward the illness at midcentury. And in view of his earlier
suites based on Gullivers Travels and Don Quijote, we should not be surprised if he
conceived the movement, together with the rest of the Suite tragi-comique, as a mu-
sical pendant to the comedies of Unzer, Mylius, and Quistorp, and to Gersten-
bergs and Schmidts satirical journal.105 But the object of Telemanns satire seems
as much the inadequacy of the remedies as the overdiagnosis of hypochondria
and the suerings (whether imaginary or real) of those so aicted. None of the
three characters in the suite seeks enlightened medical opinion or attempts any
self-improvement: the gout-stricken character merely takes a carriage ride and
dances, as if to ignore his symptoms; the hypochondriac simply grins and bears
his misery; and the vainglorious fop, having failed to mend his ways, ends up
being tortured by the Furies. These unenlightened responses could hardly have
 Two Telemanns Mimetic Art 117

surprised the authors of popular medical writings, who held that the common
man could be counted upon during illness to act in one of three ways: do noth-
ing, do too much, or do the wrong thing.106
Both as music and social commentary, Telemanns Ouverture, jointes dune Suite
tragi-comique retains a freshness that marks many of his characteristic suites and
movements. Certainly the combination of imaginative, colorful music with hu-
morous subject matter makes a strong case for the suite in the modern concert
hall, where the Wasser-Ouverture, Ouverture Burlesque de Quixotte, and Mississippi
and Alster suites have already established themselves as favorites. The appeal of
these and other characteristic pieces speaks to some of Telemanns strengths as a
composer: his air for the theatrical, his gifts as a storyteller, and his irreverent,
even acerbic sense of humor. If theatricality is most obviously displayed in musi-
cal likenesses of commedia dellarte and parade of nations characters, it is ex-
perienced more deeply in a sleep scene transformed into a lament, or in battle
music that becomes a struggle for supremacy between two dominant musical
styles. Telemann is at his narrating best when depicting life on the Alster Lake,
recording a courtly day centered around a hunt, or painting a pastoral idyll. We
laugh with him over nonsensical chatter, an ingeniously bizarre send-up of the
French overture, satirical music inspired by a satirical novel, and references to po-
litical events. All of this constitutes one of his most original achievements in the
realm of instrumental music, appreciated as much during his lifetime as now.
This page intentionally left blank
 Part II
The Concertos
This page intentionally left blank
 Chapter 3
Never from the Heart?
Telemanns Concertos

Although his music gives scant evidence of it, Telemann was not completely sold
on the concerto early in his career. He may have encountered the rst published
works of Giuseppe Torelli (op. 5, 1692; op. 6, 1698) and Tomaso Albinoni (op.
2, 1700; op. 5, 1707) while at Hildesheim, Leipzig, or Sorau. But given the new-
ness of the genre, that he began to compose his own concertos only after moving
to Eisenach in 1708, as he recounted in his 1718 autobiography, is entirely cred-
ible. Steeped in the French style, particularly in the overture-suite, the young com-
poser found this relatively new genre foreign to his musical sensibilities:

However, because change amuses, I also tried my hand at concertos. About this I
must confess that they have never really come from my heart, although I have al-
ready written a considerable quantity of them, about which one might write:
Si natura negat, facit indignatio versum
Qualemcunque potest . . .
[Though nature say me nay, indignation will prompt my verse,
of whatever kind it be . . .]
At least it is true that they mostly smell of France. Even though it is likely that na-
ture wished to deny me something, because we arent all able to do everything, it is
probably one reason why Ive found, in most of the concertos that Ive seen, many
diculties and awkward leaps but little harmony and even poorer melody. The rst
qualities I hated because they were uncomfortable for my hand and bow [arm], and
owing to the lack of the last qualities, to which my ears were accustomed through
French music, I could neither love nor imitate [concertos].1

Despite his initial reservations, there are no indications that Telemann invested
less thought or eort into the concerto than other instrumental genres. Nor
should we assume that the concerto, and the Italian style more generally, contin-
ued to exert little pull on his heartstrings after 1718. When, in December 1729,

121
122 The Concertos

he provided Johann Gottfried Walther with autobiographical information for the

forthcoming Musicalisches Lexicon, he succinctly took stock of his career in this way:
What I have accomplished in the area of musical style is well-known. First came
the Polish style, followed by the French, church, chamber, and operatic styles, and
[nally] what is called the Italian style, which currently occupies me more than
the others do.2 The fact that the 1740 autobiography is silent on his Eisenach
encounter with concertos seems to indicate a change of heart.
Telemanns apparent distaste for virtuosity as an end in itself (many dicul-
ties and awkward leaps) led him to develop his own stylistic paradigm for the
concerto, one that tended to downplay soloistic display in favor of close dialogue
and mixed-taste cosmopolitanism.3 In this sense, he was justied in observing
that his concertos smell of France. This was undoubtedly a bolder and more
personal response to the genre than most German composers of the time mus-
tered. Yet Telemanns Francophile orientation during the early decades of the
eighteenth century was by no means unique among his colleagues. Consider Jo-
hann Matthesons preference in 1713 for the French overture over the Italian sin-
fonia or concerto:

Suce it to say that, in general, French instrumental music really has special advan-
tages. Although the Italians take the greatest trouble in the world with their sym-
phonies and concertos, which are certainly very beautiful, a lively French overture
is surely preferable to all of them. For aside from the composition of such a pice
with its suite la franaise, the French execution of it in performance is so admirable,
so uniform, and so strong that nothing can surpass it.4

Matthesons opinion was evidently shared by the Lullist Johann Fischer, who
found that if sonatas and concertos were not performed in an accurate and
unrestrained manner, as emotion demands, they were better replaced by a light
and merry Ouvertre, which would not require so much skill to bring o. This
was one of the main reasons he [Fischer] composed neither sonatas nor concer-
tos.5
The environment in which Telemann began composing concertos appears to
have been equally receptive to the French and Italian styles. His most signicant
Eisenach colleague was Pantaleon Hebenstreit, a violinist and dancing master fa-
mous for his invention of and virtuosity on the pantaleon, a large dulcimer with
a wide dynamic range. Hebenstreit, whom Telemann praised for his mastery of
the French style, had been given a mandate in 1707 to expand the Hofkapelle.
Telemann arrived the following year and was charged with hiring singers who
could also play the violin. As an Eisenach chronicler reported in 1708,
 Three Never from the Heart? 123

The entire [church] music is under the direction of Herr Telemann, a man of great
erudition and rare invention as a composer. The special ducal chamber music is di-
rected by Monsieur Pantaleon, a renowned virtuoso who has made himself famous
in both France and Germany owing to his music and skill in dancing. He is assisted
by the above-mentioned Herr Telemann, under whom are the rest of the musicians,
some already here and others on their way.6

Telemann was promoted to Kapellmeister after the new musicians arrived in

1709, and Hebenstreit soon left the court to go on a series of concert tours. But
their partnership, short-lived though it was, proved fruitful: in 1740 Telemann
made a point of praising this Kapelle, arranged for the most part according to
the French style, for it surpassed the very famous Paris Opra orchestra, which I
heard just recently.7
Among the rst concertos Telemann composed were works for one or two vi-
olins and strings, the latter no doubt featuring Hebenstreit and himself as soloists.
That he regarded the violin as his primary instrument is conrmed by his letter
of application for the position of Frankfurt city director of music and Kapell-
meister at the Barfsserkirche. In the letter, undated but apparently written at
Eisenach between October 1711 and February 1712, Telemann states that he is
procient principally on the violin, but also on the keyboard, recorder, chalu-
meaux, cello, and calchedon, and no less presentable with my voice, which lies be-
tween tenor and bass and is usually called baritone.8 Nevertheless, Telemann
rated Hebenstreits abilities above his own in the following anecdote:

In this connection, I recall the aforementioned Herr Hebenstreits strength on the

violin, which certainly placed him in the rst rank among all other masters. So when
we had to play a concerto together, I locked myself up for several days before, vio-
lin in hand, shirtsleeve rolled up on the left arm, and with strong ointments for my
nerves, and gave myself lessons so that I would be somewhat able to rise up against
his power. And behold! It assisted my noticeable improvement. As I composed
everything for all performances, aside from a very few but extremely beautiful con-
tributions by Herr Hebenstreit, it is easy to imagine how much I must have written.9

The Eisenach Concertos

At least twenty-seven extant solo concertos by Telemann may be assigned to the

Eisenach or early Frankfurt years on the basis of their source transmission and
musical style. As listed in Table 3.1, these include nineteen works with one or two
124 The Concertos

violin soloists. The double violin concerto 52:G2 was copied out by J. S. Bach at
Weimar around 1709 and apparently presented by him to the violinist Johann
Georg Pisendel.10 It is the earliest documentation of a relationship between Bach
and Telemann. Several years later, most likely in 1713 or 1714, Bach transcribed
the violin concerto 51:g1 for harpsichord (BWV 985).11 The Dresden perform-
ance of another double violin concerto, 52:e2, can be placed in 1710 or 1711
based on the musicians names found on the parts.12 Four more double violin
concertos (52:C2, D3, g1; 54:A1) are stylistically of a piece with 52:e2 and G2,
and are therefore likely to have been composed at Eisenach as well.13 Two concer-
tos transcribed for organ in Weimar by Johann Gottfried Walther also appear to
be Eisenach works: the concerto for oboe and violin, 52:c1 (= Anh. 33:2); and
the violin concerto 51:B2 (= Anh. 43:B1 and Anh. 33:6).14 Another, anonymous,
harpsichord transcription, Anh. 33:1, seems to have been made from another
early (and otherwise unknown) violin concerto (51:h3).15 Six other violin con-
certos must also have been written during the Eisenach or rst Frankfurt years
based on Darmstadt manuscripts copied around 1716 (51:D10, F3, G5, G8, a1,
h2). Finally, a few wind concertos are of the same vintage: the famous trumpet
concerto 51:D7; the horn concerto 51:D8; the oboe concertos 51:c1, c2, and d1
(the last dated 1713 in Johann Samuel Endlers copy); and the double horn con-
certos 52:D2 and F4 (the former copied at Darmstadt around 1714).16 None of
these works smells of France to any considerable degree; instead, they take as
their starting point Italian concertos published during the rst decade of the
eighteenth century, perhaps especially Albinonis op. 5. As we shall see, Telemanns
eorts to gallicize the concerto began in earnest only around the time he wrote
his 1718 autobiography.
Wolfgang Hirschmann has identied several stylistic features characteristic of
Telemanns early concertos: (1) modest dimensions; (2) opening slow movements
organized by some means other than ritornello form; (3) fast-movement ritornel-
los dominated by Fortspinnung (spun-out sequential writing) and displaying mo-
tivic homogeneity; (4) weak articulation of the tutti-solo opposition resulting
from sonata-like motivic interplay between the soloist and accompanying strings
(especially the rst violin); (5) the generating of rhythmic contrast principally be-
tween solo and tutti, rather than within each group; and (6) a preference for com-
mon time rather than 2/4.17 Absent from these early works, as indeed from vir-
tually all of Telemanns concertos written before the 1720s, are specically galant
stylistic features such as Lombard and alla zoppa rhythms, a relatively slow har-
monic rhythm, and drum basses. Already evident in the concertos listed in Table
3.1 is Telemanns long-standing preference for the four-movement, da chiesa for-
mal scheme (slowfastslowfast), present in a dozen works. There are also echoes
 Three Never from the Heart? 125

Table 3.1 Telemanns solo concertos, ca. 170815

TWV Solo instrument(s) Comments
51:c1 Oboe
51:c2 Oboe
51:D7 Trumpet
51:D8 Horn
51:D10 Violin
51:d1 Oboe D-DS source dated 1713
51:E3 Violin
51:F3 Violin
51:G5 Violin
51:G8 Violin
51:g1 Violin Transcribed for hpschd by J. S. Bach (BWV 985)
51:a1 Violin
51:h2 Violin
51:B2 Violin Transcribed for org by J. G. Walther (Anh. 33:6)
51:h3 Violin? Known only from hpschd transcription (Anh. 33:1)
52:C2 2 violins
52:c1 Oboe and violin Transcribed for org by J. G. Walther (Anh. 33:2)
52:D2 2 horns
52:D3 2 violins
52:e2 2 violins Performed at Dresden, 171011
52:F4 2 horns D-DS source copied ca. 1714
52:G1 2 violins
52:G2 2 violins Copied by J. S. Bach ca. 1709
52:g1 2 violins
52:A2 2 violins
52:B2 2 violins
54:A1 4 violins

in several concertos of the kind of sectional organization associated with the late
seventeenth century: Adagio conclusions to three fast movements (51:G5/ii, a1/
ii; 52:D3/i) are stand-ins for slow movements, and the opening Allegro of 51:
D10 begins with a three-measure Adagio introduction, then proceeds to inter-
rupt its ritornello structure with a four-measure Adagio in recitative/arioso style.
Most fast movements in the works with violin soloists have brief ritornello
forms that explore a circumscribed array of closely related tonalities; only a few
movements (51:F3/iv, g1/ii, a1/iv, h2/ii and iv) are in binary form. Unlike
many Italian concertos of circa 1700, initial ritornellos are tonally closed (excep-
tional in this regard is 52:g1/iv). Yet as with these earlier works, ritornellos in sev-
eral double-concerto movements (52:C2/iii, D3/ii, A2/i) are always stated more
or less complete. This eect is especially pronounced in the nale of 52:G2,
126 The Concertos

where three complete ritornellos in the tonic form structural pillars that over-
shadow a few abbreviated statements in other keys.18 Departing from the usual
homophonic texture, four ritornellos are fugal (52:G1/ii and iv, G2/ii, A2/iv).
The rst of these movements is a fully worked out fugue with two countersub-
jects, and closely resembles the fugal fast movements in Telemanns string quintets
from the same period (see chapter 5). The rst two movements of 52:G2 are clev-
erly linked by means of a common fugal subject. In the opening Grave, the sub-
ject is treated according to the strict or learned style, also known as the stile antico
(Example 3.1). It acquires a modern, fast-moving countersubject in the following
Allegro, where Telemann proceeds to set up a high-low stylistic opposition be-
tween fugal ritornello and rustic episodes featuring parallel thirds over a drone.
Two movements (51:B2/iv, 52:C2/i) are ritornelloda capo forms, a structure
that Telemann was still using in the 1730s. A further point of contact with the
aria comes in the double Devise or motto openings of movements, both fast and
slow, in no fewer than eight solo concertos. In this formal device, already present
in some of the Leipzig opera arias Telemann had written several years earlier, the
soloists opening phrase is interrupted by a ritornello fragment before being re-
stated as the beginning of the rst episode. Interestingly, the second mottoes of
51:F3/ii and a1/i are ornamented, just as one imagines singers to have done.
Nonfugal ritornellos tend to be dominated by a single motiveoften sequen-
tial Fortspinnung consisting of rapid scalar or arpeggio guresrather than ex-
hibiting the motivic variety characteristic of Vivaldis ritornellos. (Interestingly,
the dominant motive of 51:G8/iv suggests castanets through its bolero rhythm).
Nevertheless, some ritornellos include enough internal contrast that segments
may be detached from the whole and used as accompaniments in solo episodes.
The compact ritornello of 54:A1/ii, shown in Example 3.2, is among the most
sophisticated in this respect. The four-beat head motive, stated in unison, perme-

example 3.1. Concerto in G major for two violins and strings, 52:G2/i, mm. 16

Grave
Violin 1
concertino

43
3
4
Violin 2
concertino

3
Violin 1
ripieno 4
3
4
Violin 2
ripieno

3
Viola 4
 Three Never from the Heart? 127

ates the ritornellos rst half, even as a new sequential idea is introduced by the
rst two concertante violins in measures 24 (it is common for ritornellos in
Telemanns early concertos to include interjections by the soloists). When the two
soloists move on to guration in measures 56, this sequential idea becomes ac-
companimental. All of this occurs over a bassetto bass supplied by the viola. As
the rst episode commences in measure 9, the bass enters with the ritornello head
motive as a sort of ostinato accompaniment continuing (with input from the
upper strings) for a total of ten measures. The other two episodes are likewise al-
most continually accompanied by the head motive (or just the initial octave leap),
and by the end of the third episode the soloists have given in, as it were, and state
it as well.
The role of the soloist(s) varies considerably within fast movements. In works
such as 51:D10, the solo violin has only brief interjections between ritornellos,
a kind of solo-tutti exchange that is reminiscent of Torellis and Albinonis early
violin concertos. If such a tutti-dominated discourse results in a weak sense of
the work as a solo concerto, it can also generate an attractive sense of spontane-
ity. Such is the case with the D-major concertos giga nale, with its imaginative
orchestration and seamless integration of solo and tutti material. Solo writing in
these early works often clings to one or two types of display guration, and there
tends to be more multiple-stopping than in Telemanns later string concertos (was
this a specialty of Hebenstreit or of Telemann himself ?). But in several solo con-
certo movements, most notably 51:F3/ii, G5/iv, and a1/ii, the soloists extensive
quotation of ritornello material eventually causes the tutti-solo distinction to
break down, as portions of the nal ritornellos are stated soloistically. One of the
more virtuosic solo parts among the violin concertos is found in 51:E3, the
unique and fragmentary manuscript parts for which were inaccessible until their
recent restoration. Given the manuscripts Dresden provenance, it is tempting to
imagine the concerto having been written for Pisendel. Alone among Telemanns
early concertos, the rst movement (commencing with a stereotypical hammer-
stroke gesture) includes an unaccompanied, cadenza-like capriccio for the soloist
preceding the concluding ritornello.
Slow movements, none of them ritornello based, are of several types. Many
are sonata-style Adagios scored for soloist(s) and continuo, or with the tutti
strings providing a simple chordal accompaniment (the middle movement of
51:E3 is a siciliana for violin and continuo). Common as well are Adagios in the
style of the sarabanda in 3/2, a movement type also found in Telemanns sonatas
from the same period. In some movements, the tutti accompaniment consists of
a freely treated ostinato gure; particularly interesting are the ostinatos of 51:
F3/i, closely canonic between the unison violins and continuo, and 52:e4/i,
128 The Concertos

example 3.2. Concerto in A major for four violins and strings, 54:A1/ii, mm. 111

3Allegro
Violin 1
concertato

4

Violin 2
concertato 43

Violin 3
concertato 43
43
Violin 4
concertato
3
Violin 1
ripieno 4

Violin 2
ripieno 43
3
Viola 4
Continuo 43

treated imitatively in all four tutti parts. Several interior slow movements belong
to the harmonic type, a brief, transitional progression of block chords or sus-
pensions that is common in early concertos generally. Perhaps the most beauti-
fully expressive slow movement among Telemanns early string concertos is the
opening Adagio of 51:a1.19 Its introductory ritornello of pulsing sixth chords,
beginning o the beat and in the alto register, seems to hang in midair (Example
3.3). Inected by the Neapolitan sixth, the harmonic progression does not make
 Three Never from the Heart? 129

the expected return to the tonic as the soloist enters with the rst of two motto
statements. Rather, it initially veers o toward the subdominant and then be-
comes increasingly dissonant owing to a series of suspensions. When the tonic
nally returns in measure 12, it is only weakly articulated in rst inversion. Fol-
lowing the second motto statement, the soloists cantilena becomes increasingly
ornamental (including passaggi at mm. 20 and 22). The structural return to the
tonic at measure 35 brings with it a brief invocation of recitative style before the
nal cadential closure.
Among the wind concertos, the rst fast movements of the solo trumpet and
horn concertos (51:D7 and D8) display several similarities with their counter-
parts in the violin concertos: a rhythmically undierentiated ritornello that re-
turns intact, the double-motto entrance of the soloist, and brief episodes that are
increasingly dependent on ritornello material (almost all of the horns episodic
material is derived from the ritornello). Whereas the third movement of the
trumpet concerto is a sarabanda in trio scoring for two violins and continuo, the
second movement of the horn concerto features the soloist in a cantilena accom-
panied by a violin ostinato (all the more remarkable considering that the horn
soloists in 52:D2 and F4 are omitted from the interior slow movements). The lat-
ter work concludes with a binary Allegro, while the former has a fugal nale in
which the trumpet is not assigned episodic material (again given to the violins),
but states the dux and takes part in subsequent subject entries. That three of these
four concertos include horn parts may be explained by the instruments popular-
130 The Concertos

example 3.3. Concerto in A minor for violin and strings, 51:a1/i, mm. 116

Adagio
Violin
concertino 43
3
Violin 1 4
Violin 2 43
Viola
3
4
Continuo
43

6 6 5
5 4 4
#

12

ity during the 1710s. As Mattheson noted in 1713, the charming-stately hunt-
ing horns . . . are presently very much en vogue in church, theatrical, and chamber
music, partly because they are not as naturally harsh as trumpets, and partly be-
cause they may be played with greater facility.20 Most of Telemanns subsequent
concertos for two or three brass instruments also include horns. The only Eise-
 Three Never from the Heart? 131

nach concerto to mix wind and string soloists is 52:c1. As in 52:F4/i, a mostly
chordal, tonally closed Adagio runs into the following Allegro. In these and the
subsequent two movements, the solo writing is limited to brief interludes be-
tween tutti material.

Concertos for the Eloquent Oboe

Telemanns eight oboe concertos (51:c1, c2, D5, d1, d2, e1, f1, G2) appear to span
his rst fteen years as a concerto composer. Together with three slightly later
works for oboe damore and strings (51:e2, G3, A2), they are arguably his most
eective concertos for solo wind instrument.21 One of the distinguishing features
of these eleven works is the high concentration of slow movements in recitative,
arioso, and aria style; some of the most striking examples occur in the earliest con-
certos (51:c1, c2, d1, f1), all probably written by 1713. Telemanns evident fond-
ness for the oboes speech-like expressivity was shared by Mattheson, who noted
that the eloquent oboe was, next to the te allemande, probably the [instrument]
closest to the human voice if played in an ornamental, singing style.22
The rst sonority one hears in 51:c1 comes as a shock: a fourth-inversion di-
minished ninth chord built on the leading tone (Example 3.4). Together with the
oboes spare melodic line, the strings pulsating (at times convulsing) accompani-
ment, and the movements overall harmonic instability, this extremely harsh dis-
sonance suggests we have entered a dramatic realm not typically associated with
instrumental music of the time. Indeed, the movements style is suggestive of ac-
companied recitative, though the oboe melody is at times closer to arioso. Some
strong emotion is being communicated here, but what is it? For a critic such as
Johann Jakob Engel, writing some seventy years hence, this kind of wordless
music could communicate only madness:

Suppose that the most beautiful accompanied recitative of a Hasse were performed
without the voice, or, even better perhaps, that a duodrama of Bendas were per-
formed by the orchestra alone, without the characters. What would you think you
heard in the best work, one composed with the nest taste and the most correct
judgment? Nothing other than the wild fantasies of a person delirious with fever.
But why? Clearly because the sequence of ideas or events, which is what makes the
sequence of feelings comprehensible, has been removed from the whole.23

Telemanns preface to the Calypso libretto, quoted in the previous chapter, sug-
gests that he would have agreed with Engel in principle: If . . . opera arias would
be heard with pleasure even if we could not understand the words at all, it is im-
132 The Concertos

example 3.4. Concerto in C minor for oboe and strings, 51:c1/i, mm. 18
Adagio
Oboe c
c
Violino 1
Violino 2 c
Viola

c
Continuo
c


4

possible that recitative, which is completely incapable of arousing such ideas,

could achieve such plaisir. But pleasure does not seem to be what this movement
is about, and in seeking to express an extremely raw emotionand perhaps to
demonstrate in the process that instrumental music could do so without the ben-
et of a textTelemann evidently found recitative /arioso style to be the most
appropriate vehicle.
 Three Never from the Heart? 133

example 3.5. Concerto in D minor for oboe and strings, 51:d1/iii

c
Adagio [ ]
Oboe

Violin 1
c

Violin 2 c
Viola
c
c
Continuo

6 7 6 6b 6 6 5
D 5b 5 5b #

4 [ ]

[ ]

[ ]



[ ]

6 6 b 6 7 6 #
4 5b

A similar approach to the oboes textless eloquence is found in the brief third
movement of 51:d1, given complete in Example 3.5. Beginning with a dimin-
ished seventh chord, it displays the declamatory, angular melodic line and har-
monic instability characteristic of recitative. The delay of the vocal entrance
until the second beat of the rst measure is a further realistic touch. Like the C-
minor movement, this one is harmonically over the top: the Neapolitan sixth in
measure 2 sets up a dominant cadence that is deected in measure 3, where the
oboes suspended Fs make an especially pungent eect. These two recitatives bear
comparison with the opening of the double violin concerto 52:B2, where another
ninth chord provides the rst sonority. This movement, excerpted in Example 3.6,
also provides an extremely rare example of a recitative for two instruments.
Among arias and ariosos in the oboe concertos are the opening Adagio of
51:d1, an ostinato movement recalling those in several Eisenach violin concertos.
Here Telemann achieves an undulating eect through 3:2:1 rhythms in the upper
strings (Example 3.7). Both Adagios of 51:c2 also treat the oboe as a singer: each
134 The Concertos

example 3.6. Concerto in B-at for two violins and strings, 52:B2/i, mm. 16


Adagio
Violin 1
concertino

c

Violino 2
concertino

c
c
Violin 1
ripieno
c
p

Violin 2
ripieno


p

Viola
c
c
p

Continuo
p
7 8 6
4 5
2 3

4












5 7 6 E
D 5 4 #
2

begins with sustained notes for the soloist, as is common in arias in the pathetic
or cantabile style, and indeed these are the two aects explored here.
Fast movements in the early oboe concertos are often marked by close dia-
logues between solo and tutti. Note in Example 3.8 that the ritornello of 51:c1/
ii consists of short motives traded between oboe and strings, most prominently a
falling fth that may be contracted to a fourth or third. At the second statement
of the ritornello, the roles are completely reversed when the oboe follows the
strings lead. As with several Eisenach violin concertos, the ritornellos in this
movement (and in 51:c1/iv and d1/ii) are always presented intact. The fourth
movement of 51:d1 begins with a solo motto interrupted by a brief tutti, a vari-
 Three Never from the Heart? 135

example 3.7. Concerto in D minor for oboe and strings, 51:d1/i, mm. 13
Adagio
Oboe
23
3
Violin 1 2
Violin 2 23
Viola
2
3
3 3 3 3 3 3
23
3 3 3

Continuo

ant of the standard double-motto opening in which the tutti begins. This exchange
generates the movements structural framework, for in place of a ritornello, the
rst violin engages the oboe in a continual dialogue; a similar conversational style
governs the fast movements of 51:c2. The clearest ritornello structures in these
four concertos occur in the outer movements of the F-minor concerto, the rst
having a fugal ritornello. In between comes one of the earliest instances of Tele-
manns long-standing association of the oboe with the minor-mode siciliana.
Thanks to a fortunate survival of an autograph draft, we know for whom 51:
e1 was intended. On the Frankfurt composing score of his communion ode Da
ich mich hier eingefunden, TVWV 1:1748, performed in Hamburg in 1722, Tele-
mann sketched out about a dozen measures of what became the third movement
of the oboe concerto.24 Here the movement was conceived as the opening to a
Sonata Concerto di Hautb. with an accompaniment of 2 Violini, Viola e
Basso pour Mons: Richter, that is, for the Dresden oboist Johann Christian
Richter, one of the dedicatees of Telemanns Die Kleine Cammer-Music (Frankfurt,
1716). But Telemanns conception was far from crystallized, for he crossed out
Concerto and the scoring of the accompaniment, then added Sonata. Assum-
ing that the sketch was made only slightly before the ode was composed,
Hirschmann has interpreted the concertos stylenot far removed from that of
51:d1, c1, c2, but also exhibiting expanded dimensions and a clearer dierentia-
tion between solo and tuttias a blend of the old and the new, a synchronous
polyphony of varied concertante concepts.25 Yet both the ode and the sketch
may be considerably older than 1722, and the concerto is, as Hirschmann ob-
serves, more characteristic of 1713 than of 1722.
Regardless of when it was composed, the E-minor concerto is in every way
more sophisticated than the other four concertos so far considered. Its slow move-
ments, both of which are in ritornello form, are substantially longer, and most of
136 The Concertos

example 3.8. Concerto in C minor for oboe and strings, 51:c1/ii, mm. 116

Allegro

Oboe c
c

Violin 1
c

Violin 2




c

Viola


c

Continuo

the fast-movement ritornellos are stated only by the tutti. The opening Andante
is a cantabile in which the rst ritornello presents an ostinato gure in dialogue
among the violins. Following the oboes entrance with a head motive constructed
from sigh gures, the ostinato migrates between all three upper string parts. As is
common among Telemanns ostinato movements, the soloist states the ostinato
gure toward the end. In the second movement, Telemann highlights Richters
 Three Never from the Heart? 137

12

14

3 3

skill at negotiating rapid passagework. But after the second ritornello conrms a
modulation to the relative major, something extraordinary occurs: both soloist
and accompaniment suddenly abandon their motoric sixteenth notes in favor of
oboe triplets over sustained chords outlining the progression IIIIVvV/v (Ex-
ample 3.9). Further setting this passage o from the rest of the movement is the
oboes angular, declarative melody. There is no tempo change at this point, but
modern performers often slow down and play these measures ametrically. They
are responding, it seems, to stylistic cues that the passage is an accompanied reci-
tative. Following this disruption, the movement picks up where it left o, with a
modied return of the opening music. The eect is not unlike a da capo aria in
which the B section is a short passage of continuo recitative.26
Probably belonging to the late Frankfurt or early Hamburg years are 51:D5
and d2. Because the oboe damore was invented during the mid 1710s and begins
appearing in compositions in 1717,27 51:e2, G3, and A2 probably also date from
circa 171825. Toward the end of this period, Telemann used the concerto for
two oboes damore and cello, 53:D3, as the overture to his 1723 opera Das Ende
138 The Concertos

example 3.9. Concerto in E minor for oboe and strings, 51:e1/ii, mm. 2633

26

c
3

Oboe
c 3

Violin 1

Violin 2 c
Viola

c

c

Continuo

6

29

3 3 3 3 3
3 3 3 3

6 5 7 7 8
4 3

32 3

3 3

3 3

6 6 5
#4 4 #

der babylonischen Monarchie oder Belsazar, TVWV 21:11.28 All of these concertos are
more maturethough not necessarily more successfulworks than the ve so
far discussed, most exhibiting broader overall dimensions, modular ritornellos in
the Vivaldian tradition, greater dierentiation between solo and tutti, and longer
solo episodes. Perhaps the nest work among them is 51:A2, which opens with a
 Three Never from the Heart? 139

lovely siciliana (as does 51:d2) and includes two ritornello-based fast movements
in which the interplay between solo and tutti is especially sophisticated; the da
capoform nale begins with an alla caccia fanfare in horn fths between the soloist
and violin 1. The concertos third movement, like that of 51:D5, has a kind of ri-
tornello form found in several other slow instrumental movements among Tele-
manns Frankfurt and Hamburg works. In these a cantabile central section typically
featuring conjunct melodic motion, short-breathed phrasing, and alternations of
close imitation with passages in thirds and sixths is framed by a brief phrase or
period functioning as a ritornello.29 Both concerto movements are scored for
soloist and continuo following the tutti ritornello, and to underscore the vocal
reference in the A-major work, Telemann starts the oboe damore out with an
aria-like sustained pitch. In keeping with his increasing involvement with the
mixed taste, the nale of the D-major concerto is a gavotte en rondeau.

Concertos alla francese

When Telemann wrote of his concertos that they mostly smell of France, he
might well have been referring specically to a group of ten works written in the
years around 1718. These include six concertos for two utes (52:e2; 53:D1, G1,
A1, a1, h1), two for two recorders (52:a2, B1), one for two oboes (53:C1), and
one for two utes and violin (53:e1). Each exemplies the mixed taste by blend-
ing the Italian concerto with French stylistic elements. Not for nothing is the
double oboe concerto identied by the bilingual title Concerto la francese in
its Darmstadt source: it opens with a rondeau and includes a sarabande and
menuet. The Grand Concert 52:a2 (as it is called in its Dresden source) begins
with a Gravement that is essentially a French prelude with the rhythmes saccads
of the French overture or entre grave, and concludes with a binary menuet or
passepied. A sarabande-like prelude opens 52:B1, and another binary movement
with strong dance associations brings the concerto to a close. More substantial
than these three works is the particularly ne 53:e1. Its rst two movements may
be heard as an Italianate reimagining of the French overture. A Larghetto repre-
senting the overtures rst section supplies the obligatory rhythmes saccads, but in
the guise of a ritornello separating solo episodes for the utes and violin in turn.
Following a brief harmonic Adagio, an untitled fast movement stands in for the
overtures second section, albeit with a distinctly un-French contrapuntal inten-
sity (again, the utes and violin receive separate episodes). This overture gives
way to two dance-based movements: an exquisitely mournful sarabande beginning
as a trio for utes and continuo, and a concerto-allegro nale with a bourre-style
ritornello and thoroughly Italianate solo episodes.
140 The Concertos

Judging from their similar style and scoring, number, rational key scheme (D
major/B minor, G major/E minor, A major/A minor), and manuscript transmis-
sion, the double ute concertos were conceived as a set at some point during the
Frankfurt period.30 Telemanns composing scores of the concertos in D major
and B minor are preserved at Dresden, and that of the E-minor concerto (now in
Paris) once belonged to the Hofkapelle as well. All three are identied by the
composer as Concert. Par moi Telemann.31 (Telemanns self-conscious mixing
of national styles in these works is nicely reected on the rst page of his score
to the D-major concerto, where he altered Concerto to read Concert, and
Flauto traverso o Violin to become Flte traverse ou Violon.)32 The Dresden
connection suggests that Telemann composed these works during his September
1719 visit to the court for the celebrations on the marriage of Crown Prince
Friedrich August II to Maria Josepha, Archduchess of Austria. Of course, he
might also have arrived in Dresden with the scores or sent them from Frankfurt
either before or after his visit. Yet his use in the D-major score of paper made in
Tellnitz (now Telnice, near Teplice), a Bohemian town not far from Dresden,
seems to point to a September 1719 composition date. If these concertos were
indeed played by the Hofkapelle (no performance material survives), then the
soloists would have included Pierre Gabriel Buardin, the courts principal utist
from 1715, and either Jean Cadet or Johann Martin Blockwitz. In performances
during later years, Buardin would have partnered with Johann Joachim Quantz,
who joined the courts Polish Kapelle in 1718 as an oboist before eventually
switching to ute.
It is not surprising that Telemann chose utes as soloists for the most Gallic of
his concertos, for the instrument was commonly associated with France and
French players, as at Dresden. Accompanying the soloists during episodes is the
mandora (also known by the terms gallichon, calichon, colascione, and their
variants), a six-stringed bass lute developed in Germany during the late seventeenth
century that Telemann both played and wrote for in many of his sacred vocal
works, especially those composed at Frankfurt. The autographs of the D-major
and E-minor concertos specify calchedon, but that of the B-minor concerto
gives the option of using bassoon. In fact, all eighteenth-century copies of the
double ute concertos specify bassoon as the utes accompanimentpresumably
because the mandora was a relatively uncommon instrument in many locations.
Stylistically, these attractive works closely resemble the E-minor triple concerto.
Gallic elements include dance movements such as the gigue, loure, menuet, and
sarabande; occasional rondeaus (53:D1/iv, a1/iv; 52:e2/iv); and the recasting of
fast-movement ritornellos as if they were rondeau refrains. Note in Example 3.10
that the ritornello of 53:A1/ii consists of an antecedent-consequent pair of phrases
that could easily serve as the refrain to a bourre en rondeau. But in its subsequent
 Three Never from the Heart? 141

example 3.10. Concerto in A major for two utes and strings, 53:A1/ii, mm. 116

Allegro
Flutes 1 and 2 c
Violins 1 and 2
c

c
Viola

Continuo
c
6

11

Vln 1

returns, the ritornello is not only transposed to dierent keys, but is abbreviated as
well. As in 53:e1, the opening movements of 53:a1 and h1 evoke the slow section
of the French overture or the entre grave through their dotted rhythms (the latter
movement also refers to the lament tradition through its descending bass line).
Apart from ritornello structures, the Italian style is most strongly in evidence dur-
ing the utes episodes. Indeed, on the composing score of the B-minor concerto
Telemann writes the ironic comment pazzia italiana (Italian madness) during
the nal episode of the second movement. This must refer to measures 11316,
where G in the bass clashes with G-sharp in the rst ute (Example 3.11).33 Ap-
parently, then, Telemann regarded harmonic extravagance (or perhaps crudeness)
as an Italian specialty. The mixed taste in these concertos also encompasses the
Polish or rustic style: in the last episode of 53:D1/iv, the minuet topic suddenly
gives way to unisons, drones, and an unexpected change of key. But it is the last
142 The Concertos

example 3.11. Concerto in B minor for two utes and strings, 53:h1/ii, mm. 11218


112

Flute 1


Flute 2


pazzia italiana

Continuo

6 5 6 # 7

#
4 3 5
3

movement of 53:G1 that provides one of Telemanns most potent evocations of

traditional music, not without some humorous banter between soloists and tutti.
Given that few concertos with solo ute parts were written before the 1720s,
Telemanns double ute concertos may be the rst of their kind. In this respect,
it is worth calling attention to a similar work from the period: Evaristo Felice
DallAbacos attractive E-minor concerto for two utes and strings. Published as
the third of the Concerti piu istrumenti, op. 5 (Amsterdam, ca. 1721), DallAbacos
concerto is noteworthy not only for its scoring and early date but also for its dis-
tinctly French aroma. The composer had recently spent ve years in France with
the Bavarian electoral court, temporarily displaced from Munich by the War of
the Spanish Succession. The resulting impact on his music is reected in op. 5 by
numerous French airs and dances, the overall eect being strikingly close to the
mixed taste of Telemanns concertos alla francese. In the E-minor concerto, a Vival-
dian concerto-allegro gives way to a slow air for utes and continuo (recall the
trio scoring of the sarabande in 53:e1). This is followed by a contrast movement
alternating the Italian idiom (fast string tremolos) with the French (slow wind
trios featuring dotted rhythms)an opposition of national styles that brings to
mind the Combattans of 55:B10. DallAbacos last two movements are both
French: a Largo in the mode of an operatic sommeil scene, and a pair of passepieds.
Were Telemanns concertos alla francese inspired by this work and the other Con-
certi piu istrumenti? Or could DallAbaco have written his concertos in response to
Telemanns? Apart from the question of possible inuence, it is clear that Telemann
was not the only composer in Germany to gallicize the concerto around 1720.

Telemann and the German Ripieno Concerto

The prevailing view of the early instrumental concerto in Germany goes some-
thing like this: At the turn of the eighteenth century, German composers of con-
certos imitated either the Roman works of Arcangelo Corelli (Georg Muat,
 Three Never from the Heart? 143

Benedict Anton Aufschnaiter, Johann Christoph Pez) or the northern Italian

works of Tomaso Albinoni and Giuseppe Torelli (Henricus Albicastro [Johann
Heinrich von Weissenburg]). The appearance of Antonio Vivaldis Lestro armonico,
op. 3, and La stravaganza, op. 4, oered a new modelthe mature solo concerto
that rapidly eclipsed all others. Starting around 1713, quantities of Vivaldian
concertos were produced by Johann Sebastian Bach, Johann Friedrich Fasch,
Christoph Graupner, Johann David Heinichen, Johann Melchior Molter, Johann
Georg Pisendel, Johann Joachim Quantz, Gottfried Heinrich Stlzel, Georg
Philipp Telemann, and others.34
The problem with this little narrative is not so much its simplication of com-
plex processes of inuence, innovation, and reception as its implication that the
German response to Vivaldis works entailed an almost immediate and absolute
retreat from other paradigms of the concerto. This is, to be sure, an implication
seemingly borne out both by hundreds of German solo concertos indebted to the
Venetian model and the comparatively small number of works in the Roman grosso
style, especially in central and northern Germany (Muat, Aufschnaiter, and Pez
spent most or all of their careers in Austria or southern Germany). However, a
third type of concerto, that cultivated around 1700 by Torelli, Albinoni, and Al-
bicastro, appears to have coexisted in Germany with the solo type during the
1710s and 1720s: the concerto a quattro or (following Vivaldis occasional usage) con-
certo ripieno, scored for strings without independent parts for soloists. Introduced
by Torelli during the 1690s, at least in print, the ripieno concerto continued to
be cultivated by Italian composers through the rst three decades of the eigh-
teenth century; the most signicant publications to include at least some such
works are listed in Table 3.2.35 The best Italian examplesand the largest body
of ripieno concertos by a single composerare those by Vivaldi, whose approx-
imately forty-ve works are thought to have been written toward the end of the
genres history, mostly after 1720.36 Another of the repertorys high points, Han-
dels Grand Concerto op. 6, no. 7, HWV 325 (1739), is an especially late, and
no doubt consciously retrospective, response to the ripieno concerto.37
It has been easy to assume that German composers were largely unaware of or
uninterested in the ripieno concerto, for no theoretical witnesses from the rst
half of the eighteenth century make explicit mention of it. Walther, Martin
Heinrich Fuhrmann, and Friedrich Erhardt Niedt do not discuss the instrumen-
tal concerto at all in treatises written between 1706 and 1710perhaps under-
standably, given how recently the genre had come into being. Although Johann
Matthesons 1713 denition of the concertothe rst published anywhere, and
later adapted by Walther in his Musicalisches Lexicondescribes the genre in the
most general of terms, a reference to violin pieces in which the parts are treated
equally could be an implicit acknowledgment of the ripieno concerto:
144 The Concertos

Table 3.2 Selected publications including ripieno concertos, 16921720

Composer
Giuseppe Torelli
Giulio Taglietti
Giovanni Lorenzo Gregori
Giuseppe Torelli
Giulio Taglietti
Tomaso Albinoni
Artemio Motta
Giovanni Bianchi
Henricus Albicastro
Giuseppe Bergonzi
Luigi Taglietti
Evaristo Felice DallAbaco
Giuseppe Matteo Alberti
Evaristo Felice DallAbaco
Publication
Sinfonie tre e concerti quattro, op. 5 (Bologna, 1692)
Concerti sinfonie a tre, op. 2 (Venice, 1696; Amsterdam, 1698)
Concerti grossi, op. 2 (Lucca, 1698)
Concerti musicali, op. 6 (Augsburg and Amsterdam, 1698)
Concerti a quattro, op. 4 (Venice, 1699; Amsterdam, ca. 1709)
Sinfonie e concerti a cinque, op. 2 (Venice, 1700; Amsterdam, 1702)
Concerti a cinque, op. 1 (Modena, 1701)
Sei Concerto di chiesa a quatro . . . , op. 2 (Amsterdam, [1703])
XII Concerti a quattro, op. 7 (Amsterdam, 1704)
Sinfonie da chiesa, e concerti a quattro, op. 2 (Bologna, 1708)
Concerti a quattro . . . e sinfonie a tre, op. 6 (Venice, 1708)
Concerti a quatro da chiesa, op. 2 (Amsterdam, ca. 170812)
Concerti per chiesa, e per camera, op. 1 (Bologna, 1713)
Concerti pi istrumenti, op. 5 (Amsterdam, ca. 171720)

Concertos, broadly construed, are gatherings and collegia musica; strictly speaking,
however, this word is often used for vocal or instrumental chamber music (i.e., a
piece so called); most strictly, for violin pieces arranged so that each of the parts
distinguishes itself at a certain time and plays in competition with the other voices,
so to speak. That is also why in such pieces and others where only the rst part
dominates, a violin that stands out among many others for its particular nimble-
ness is called Violino concertino.38

As for later and more extensive discussions of the concerto by Johann Adolph
Scheibe and Johann Joachim Quantz, these describe the genre from the perspec-
tive of the 1730s and 1740s, when the ripieno variety had already faded into ob-
solescence. Scheibe does, however, write at length on the closely related concert
symphony (Kammersynphonie).39
Despite theorists virtual silence regarding the ripieno concerto, it is likely that
such works were known to German composers through both published editions
and manuscript copies, for many central European courts were supplied with the
latest Italian music through diplomatic and family connections, study trips un-
dertaken by musicians, and cultural tourism. For example, between 1708 and
1713 Johann Philipp Franz von Schnborn in Wrzburg had Matthias Ferdi-
nand von Regatschnig, Resident for Mainz in Venice, send him the latest Italian
music. Among the works referred to in Regatschnigs correspondence are 36
original Concerti and concerti e motetti.40 Concertos by Vivaldi and other
Italians would almost certainly have accompanied the sixteen-year-old Saxon
 Three Never from the Heart? 145

Crown Prince Friedrich August II on his return to Dresden from a 1712 visit to
Venice and other Italian cities. Among the spoils the prince brought back to Dres-
den following a 171617 Italian journey was a manuscript presentation copy of
Giorgio Gentilis Concerti a quattro, op. 6 (Venice, 1716), twelve works in which a
Violino Principale has only occasional solo passages.41 Whether connected to
these trips or not, one or more works from Albinonis Sinfonie e concerti a cinque, op.
2, and several concertos by Torelli (including two a quattro) appear to have been per-
formed by the Dresden Hofkapelle.42 Torelli was himself employed at the Ansbach
court of Georg Friedrich, Margrave of Brandenburg as maestro del concerto in 1696
97 and 169899.43 His 1697 visit to Berlin led him to dedicate the Concerti musi-
cali, op. 6, to Sophie Charlotte, Electress of Brandenburg; the Augsburg edition
of this collection was advertised at the autumn 1697 trade fairs in Frankfurt and
Leipzig, a year before its publication.44 These and other concertos by Torelli no
doubt found an important advocate in his Ansbach pupil Pisendel, violinist in the
Dresden Hofkapelle from 1712. In 1709, the year in which he appears to have
met Bach in Weimar and Telemann in Leipzig, Pisendel performed a concerto said
to be by Torelli with the Leipzig collegium musicum.45 Another signicant com-
poser of ripieno concertos, DallAbaco, was also resident in Germany.
Ripieno concertos must also have been disseminated across Germany via the
Amsterdam editions of Estienne Roger, publisher of works by Torelli, Taglietti,
Albinoni, Bianchi, DallAbaco, and Albicastro. In 1712 Roger advertised that one
could buy his prints in Berlin from Dussarat, in Halle from Sellius, in Cologne
from Poner, and in Hamburg from the composer Johann Christian Schickardt.46
Telemann had dealings with Sellius, who was a publishing agent for his edition of
Prince Johann Ernst of Sachsen-Weimars Six concerts violon concertant, op. 1 (1718),
the rst published collection of solo concertos by a German composer. One won-
ders if the unidentied music books from Halle acquired by Johann Ernsts
Weimar court in early 1714 included Roger editions of ripieno concertos from
Selliuss shop. Only months earlier, on 8 July 1713, the prince returned to Wei-
mar from a two-year study trip to the Netherlands with a quantity of music he
would have acquired in Utrecht and Amsterdam, music that undoubtedly in-
cluded some of the concertos arranged for harpsichord or organ by court organ-
ist Bach during the following year (BWV 59296 and 97287).47 It is also likely
that this music furnished models for some of the fourteen surviving concerto
arrangements for organ by Walther, Johann Ernsts composition teacher and or-
ganist at the Weimar Stadtkirche.48 All of Bachs arrangements are of solo con-
certos by Torelli, Vivaldi, Telemann, and Johann Ernst (though the models for
BWV 977, 983, and 986 are unknown), but among Walthers arrangements, also
mostly of various Italian and German solo concertos, are the fourth and fth
146 The Concertos

concertos of Albinonis op. 2. We know that Bach was also familiar with this pub-
lication during his early Weimar years, for he copied out the continuo part to the
second concerto (BWV Anh. I, 23).
Let us now turn to the music, beginning with Johann Ernst in the months fol-
lowing his return to Weimar in 1713. Walther recalls that at this time (June [recte
July?] 1713 to March 1714) he gave the prince composition lessons, resulting in
nineteen instrumental works that included the violin concertos published posthu-
mously by Telemann as the Six concerts.49 Of particular interest are manuscript sets
of parts to the concertos in B-at major and A minor, op. 1, nos. 12, now pre-
served at Rostock but originally belonging to the Wrttemberg-Stuttgart court
of Duke Eberhard Ludwig, where Crown Prince Friedrich Ludwig (16981731)
assembled a large collection of instrumental music that remains mostly intact.50
As Hans-Joachim Schulze has shown, these and several other manuscripts con-
taining concertos by Johann Ernst in the Friedrich Ludwig collection originated
at the Weimar court, probably between July 1713 and July 1714.51 What the
manuscripts of the B-at and A-minor concertos reveal is that Johann Ernst orig-
inally conceived the works as ripieno concertos for four-part strings, albeit with
especially dominant rst violin lines. The B-at parts are six in number: Violino
[Principale] Violino 1 Rip[ieno], Violino Secundo, Violino 2 Rip[ieno],
Viola, and Continuo.52 The two ripieno violin parts are exactly as advertised:
extras with no independent material of their own. In fact, they present a
simplied version of the two main violin parts, just as vocal ripieno parts from
the time typically omit certain soloistic passages or movements. When the con-
certo was published, only the rst ripieno part was retained, resulting in an a cinque
scoring in which the Violino Primo (formerly Ripieno) is often idle while
the Violino Secondo becomes, in eect, a second soloist alongside the Vio-
lino Principale.53 Much the same goes for the A-minor concerto, except that the
manuscript transmits only four parts: the Violino Primo becomes the Violino
Principale in Telemanns edition, where a newly added Violino Primo func-
tions as a ripieno voice that falls silent during episodic material for the soloist.
This simple arranging process may be observed in Figure 3.1, which shows the
beginning of the rst movement in both Violino Primo parts. As in the B-at
concerto, the original dialoguing between the rst and second violins transfers
uneasily to the a cinque scoring with added soloist, especially in the trio-like middle
movement.
It would appear, then, that at the time work began on the Six concerts in 1714
15, Johann Ernst had not composed enough violin concertos to complete the
customary set of six. In the event, two ripieno concertos were pressed into service
either by the prince prior to his death on 1 August 1715, or by Telemann during
 Three Never from the Heart? 147

(a)

(b)

figure 3.1. 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. XVII.18.5142,
copied by an anonymous scribe in Weimar, ca. 171314?; (b) Six concerts violon concertant,
op. 1 no. 2 (Frankfurt: Telemann, 1718)

the intervening two and a half years before publication. The other four concertos
in the collection all include Violino Primo material not found in the Violino
Principale part, though it is worth noting that the nales of the third and sixth
concertos have no solo passages at all. Johann Ernsts composition of at least two
ripieno concertos implies, of course, that the music he acquired during or follow-
ing his Dutch trip included Italian examples of the genre, and that these works
became known to Bach and Walther as well.
A number of other German works for four-part strings point up the porous
boundaries between concerto, sinfonia, and sonata during the late seventeenth
148 The Concertos

and early eighteenth centuries. Eugene K. Wolf has observed that Italian ripieno
concertos with a four-movement succession reminiscent of the sonata (slowfast
slowfast) tend to feature fugal textures in the fast movements, whereas works hav-
ing the three-movement plan more common among concertos and opera sinfonias
(fastslowfast) often feature binary or ritornello forms in their outer move-
ments and usually conclude with a brief binary dance.54 Karl Heller similarly
notes that Vivaldis ripieno concertos draw on stylistic elements associated with
the sonata, solo concerto, and opera sinfonia.55 If the dierence between sonata
and ripieno concerto is not always readily apparent, as in some of the works dis-
cussed below, that between ripieno concerto and the early concert symphony is
often even harder to gauge, especially because one appears to have been the main
progenitor of the other, at least in Italy.56 Such generic overlapping is undoubt-
edly one reason some German ripieno concertos have not been recognized as such.
Belonging to the Wrttemberg-Stuttgart collection are six sonatas a quattro
by Johann Jakob Kress (ca. 16851728), violinist at the Darmstadt court from
1712 and Konzertmeister from 1723. These have three-movement plans includ-
ing a dance-based nale, binary forms in fast movements, and homophonic tex-
tures highlighting an active rst violin part. Fourteen similar works are in four
movements and feature a less active top line that may be played on either ute or
violin.57 Kresss works may have provided the inspiration for Crown Prince
Friedrich Ludwigs own Concerto for strings, consisting of an intrada, siciliana
(a common movement type in the Kress sonatas), polonaise, and Aria.58 The
prince also owned Johann Melchior Molters Concerto Pastorale, a concerto da
camera for four strings in which the opening pastoral movement alternates with
a binary Allegro.59 Another work by Molter, an untitled sinfonia surviving in a
fragmentary composing score at Karlsruhe, further documents his interest in the
ripieno concerto. Klaus Hfner nds the work to be closely modeled on the sin-
fonie and concerti ripieni of Vivaldi and tentatively places it during the com-
posers visit to Venice and Rome in 171921.60 Similar to the Kress sonatas are
several works in the music collection of the Darmstadt Hofkapelle: Johann Fried-
rich Faschs four-movement sonata in D minor, FWV N:d3, concluding with an
Allegro in ritornello form; and Christoph Graupners sonatas in B-at major and
G major, both of which have second-movement fugues.61
But the most compelling witnesses to the ripieno concertos inuence in Ger-
many are the nineteen works for four-part strings by Telemann listed in Table
3.3.62 These are among the composers least familiar instrumental works, in part
because only a handful were available in modern editions before the 1990s. Ref-
erences to them in the secondary literature have been scarce, and despite being en-
titled Concerto in many eighteenth-century sources, they have traditionally
 Three Never from the Heart? 149

Table 3.3 Telemanns ripieno concertos

TWV Source Genre label
40:200 D-DS, Mus. ms. 1042/19 Sonata
43:D5 D-DS, Mus. ms. 1033/29 Concerto
D-DS, Mus. ms. 1042/3 Sonata
43:Es1 D-DS, Mus. ms. 1033/102 Concerto/Sonata
D-Dlb, Mus. 2392-N-12 Concerto
D-B, SA 3559 (2) Concerto
43:E2 D-DS, Mus. ms. 1033/93 Concerto
D-B, SA 3559 (4) Sonata
43:e5 D-DS, Mus. ms. 1033/109 Concerto
D-Dlb, Mus. 2392-N-17 Sinfonia
D-Dlb, Mus. 2392-Q-19 Concerto
43:F3 D-DS, Mus. ms. 1042/31 Sonata
43:F4 D-DS, Mus. ms. 1042/65 Sonata
43:F5 D-DS, Mus. ms. 1042/78 Sonata
43:G7 D-DS, Mus. ms. 1033/73 Concerto
D-Dlb, Mus. 2392-Q-2 Sinfonia
D-SWl, Mus. ms. 5400/6 Concerto
D-ROu, Mus. saec. XVII. 185125 Concerto
43:G8 D-DS, Mus. ms. 1033/90 Concerto
43:G9 D-DS, Mus. ms. 1042/4 Sonata
43:A5 D-DS, Mus. ms. 1042/50 Sonata
43:A6 D-Dlb, Mus. 2392-N-6a Sinfonia
D-Dlb, Mus. 2392-N-6b Sinfonia
43:a4 D-DS, Mus. ms. 1033/103 Concerto
43:a5 D-DS, Mus. ms. 1042/47 Sonata
D-B, SA 3559 (5) Concerto
43:B1 D-DS, Mus. ms. 1033/75 Concerto
43:B2 D-Dlb, Mus. 2392-Q-16 None
43:B3 D-ROu, Mus. saec. XVII. 184511 Concerto
44:1 D-DS, Mus. ms. 1042/66 Sonata/Sinfonia

been classied as quartets in lists and catalogs of Telemanns music. The Telemann-
Werkverzeichnis, for example, considers seventeen of them quartets, one a sonata for
strings without continuo (40:200) and another a quintet for trumpet and strings
(44:1).63 That Telemann was attracted to the ripieno concerto should not be sur-
prising, given that he began composing concertos at a time when the solo variety
had yet to overshadow others.
As the table shows, Telemanns ripieno concertos were transmitted during the
eighteenth century as sonatas, concertos, and sinfonias, with individual works fre-
quently circulating under multiple genre labels. Two cases in particular illustrate
150 The Concertos

the lack of consensus on how to identify such pieces: at Darmstadt, the original
designation of Concerto on the title page to a source for 43:Es1 was replaced
with Sonata; and Graupner identied 44:1 as both a Sonata (title page) and
Sinfonia (parts). Compare Angelo Berardis comment in the Miscellanea musicale
(Bologna, 1689) that concertos for violin and other instruments are called sinfo-
nie; today one appreciates particularly those of Sig. Arcangelo Corelli, a celebrated
violinist.64 Although the absence of autograph manuscripts makes it dicult to
know what Telemann called his ripieno concertos, the apparent origin in Frankfurt
of Darmstadt manuscripts copied by Johann Balthasar Knig (43:G8), Anton
Eberhard Helmann (43:E2 and a4), and an anonymous scribe (43:Es1)all at-
tributed to Melantestrongly suggests that, at least for these works, the title
Concerto originated with the composer (see Figures 3.2 and 3.3).65 Most of the
other sources in Table 3.3 may be placed in the 1720s and 1730s, but a few
conrm that Telemann was writing ripieno concertos at Eisenach and Frankfurt.66
Broadly speaking, what distinguishes this music stylistically from Telemanns
sonatas for four-part strings are the following orchestral features: (1) predom-
inantly homophonic textures, often entailing extended passages of allunisono writ-
ing (mostly involving the two violin parts); (2) viola parts that often serve merely
to ll out the harmony; (3) concerto- or sinfonia-like themes consisting of ar-
peggio gures, scales, or hammerstrokesthe kind of brilliant, noisemaking ges-
tures that rely for their eect on weight of sound rather than tunefulness; (4) the
frequent use of a three-movement formal scheme (fastslowfast), unusual in
Telemanns sonatas as a whole; (5) movement types and formal structures associ-
ated with the early concerto; and (6) echo eects suggestive of a desire to exploit
the dynamic range of an ensemble with doubled strings, and which recall those
indicated in such publications as Torellis op. 6, Albinonis op. 2, and Albicastros
op. 7.67 Telemanns ripieno concertos also conform in large measure to Wolf s ob-
servations regarding Italian examples: all six fugues occur in the nine four-move-
ment works, whereas ritornello and binary forms are concentrated in the nine
three-movement works. One concerto, 43:a5, is sui generis in having what might
be parsed as a six-movement formal scheme: slowfast (ritornello form)slow
(run on from the previous movement)fast (fugue)slowfast (non-dance-based
binary form).
Fast movements that are not fugal or in binary or rondeau forms usually have
a reprise structure that approximates ritornello form to varying degrees. At one
end of the spectrum are movements in which variety is generated principally by
tonal and motivic contrast between successive statements of a period, with few if
any self-contained episodes (43:G8/ii and iv, G9/i, a4/i, and B1/i). Movements
that do feature a more or less regular alternation of recurring periods and
 Three Never from the Heart? 151

figure 3.2. Title page to concerto in G major for strings and continuo, 43:G8: D-DS,
Mus. ms. 1033/90, copied by Johann Balthasar Knig, Frankfurt, ca. 1716 (possessor
mark H in upper left = Anton Eberhard Helmann)
152 The Concertos

episodic material (the latter usually highlighting the two violins) may be thought
of as having ritornello forms minus genuine tutti-solo contrast (43:Es1/ii, e5/i
and iii, F3/i and iii, G7/ii, A5/i, a4/iii, a5/ii, and B2/i). Example 3.12 shows
the beginning of 43:B2/i, a movement representing a midway point between pe-
riodic structure and ritornello form. After two episodes featuring the violins and
marked by imitative textures and chromaticism, the second half of the movement
is given over to three successive statements of the ritornello, with the middle
statement introducing new material. Although the opening periods in Telemanns
ripieno concertos generally do not display the Vordersatz (opening phrase)Fortspin-
nung (sequential, modulating phrase)Epilog (cadential phrase) organization of the
archetypal Vivaldian ritornello, they are nevertheless often constructed, as here,
from motives that may be abbreviated, reordered, and varied in subsequent state-
ments.68 (Exceptional in this respect is 43:e5/i, where the ritornello does con-
form to Vivaldian syntax.) Note as well the typically orchestral gesture of a rising
arpeggio played in rhythmic unison at the movements beginning.
Noteworthy among the fugal movements are a double fugue (43:F4/ii) and a
concertante fugue (43:E2/ii; see Figure 3.3), which might also be counted as a
ritornello-form movement. Two of the binary movements (43:A6/iv and B2/iii)
are in the moto perpetuo style familiar from some of Telemanns early solo sonatas
(see chapter 5), while three others form a miniature dance suite in 43:D5. The
French style insinuates itself into the concertos predominantly Italianate lan-
guage via a rondeau with modulating refrain (43:F3/i) and a ne chaconne en ron-
deau (44:1/i); two other rondeau structures (40:200/iv and F5/iv) with concer-
tante episodes are essentially stand-ins for ritornello-based movements. The rst
of these concertante rondeaus is noteworthy for its crowd-silencing hammer-
strokes and multiple-stopped tremolos, gestures that evoke the opera sinfonia, an
important purpose of which was to draw the attention of the audience to the be-
ginning of the performance (Example 3.13). Such multiple-stopped tremolo
gures appear elsewhere in Telemanns early string writing, as in the trio 42:D14
and the double violin concerto 52:G2.
The majority of slow movements in Telemanns ripieno concertos belong to one
of three general categories: the harmonic type, eight to sixteen measures in
length (43:E2/iii, F5/iii, G8/i and iii, G9/ii, A5/ii, and a5/v); similarly com-
pact recitatives or ariosos attached to the end of a fast movement by means of a
deceptive cadence (40:200/iii; 43:a5/iii and B1/ii); and more expansive trio-style
movements, with viola as harmonic ller, in which the mode of expression ranges
from Corellian reticence (43:Es1/iii, F3/ii, and F5/i, all with walking bass lines)
to a more cantabile idiom encompassing dance types such as the sarabanda and si-
ciliana (40:200/i; 43:E2/i [see Figure 3.3], e5/ii, F4/i and iii, a4/ii, and B2/ii).
 Three Never from the Heart? 153

figure 3.3. First page of Violino 1 part to concerto in E major for strings and con-
tinuo, 43:E2: D-DS, Mus. ms. 1033/93, copied by Anton Eberhard Helmann, Frank-
furt or Darmstadt, ca. 171621
154 The Concertos

example 3.12. Concerto in B-at for strings and continuo, 43:B2/i, mm. 124

Spirituoso

Violin 1

Violin 2
Viola


Continuo

6 5 7
43

10

 Three Never from the Heart? 155

13

Episode 1

16

19











22 Ritornello 2

156 The Concertos

example 3.13. Sonata in A major for strings and continuo, 40:200/iv, mm. 111
Vivace


C



Violin 1

Violin 2 C





Viola C



Violone

C

 Three Never from the Heart? 157

A closer look at one work in particular, 43:Es1, will further illuminate some
of Telemanns approaches to style and structure in the genre. The opening Largo
of this concerto conjures up the French overtures slow section with its dotted
rhythms, yet combines a sense of grandeur with a cantabile tenderness. Three
strategically placed cadential pauses interrupt the movements ow, the second in-
troducing a softly undulating gure in the relative minor that leads back to the
tonic and the opening dotted idea, momentarily deected by the third pause in
measure 32 (Example 3.14). The following Allegro dierentiates clearly between
ritornello and episodic material, the former featuring triplets in three-against-two
rhythms. As shown in Example 3.15, the second episode highlights the rst vio-
lin through display guration evocative of the solo concerto. An abbreviated ri-

example 3.14. Concerto in E-at major for strings and continuo, 43:Es1/i, mm.
2234

43
22

Violin 1

43
p

Violin 2

43
p

Viola

3
p

Continuo
4
p


26

31

158 The Concertos

example 3.15. Concerto in E-at major for strings and continuo, 43:Es1/ii, mm.
2946

C
29

Violin 1
C

Violin 2

Viola C
Continuo

C



32






3 3 3

35

3 3
3 3 3 3


3
3 3

3

3

tornello (m. 36) now conrms a modulation to the mediant and leads to the third
and nal episode, where an orchestral crescendo gesture (mm. 4245) is quoted
from the rst episode. Commencing in measure 46 is a long concluding period
that develops brief motives from both the ritornello and rst episode while
soloistically highlighting the viola; its formal function is therefore ambiguous.
The ensuing C-minor Andante features, as noted above, the Corellian texture of
suspension chains over a walking bass. Before concluding with a Phrygian ca-
dence, Telemann introduces the unusual sonority of a Neapolitan sixth with
added seventh (m. 19) and darkens the mood by suddenly dropping the upper
strings tessitura down an octave. Concluding the concerto is a binary menuet (Al-
 Three Never from the Heart? 159

38

3
3

3 3 3 3

3 3 3 3

41

p


3

44

f




f


f

legro) imbued with the Favier-style short-long-long-short rhythm described in

chapter 1. Remarkable here is the use of echo eects, which become something
of a structural principle during the dances second half. Heard as a whole, the
concerto exemplies Telemanns mastery of a genre cultivated by relatively few
German composers.
Perhaps Telemanns most original contributions to the ripieno concerto are his
two Polish-style works: the Concerto Polonoise, 43:B3, and the Concerto alla
Polonese, 43:G7. The latter, judging from the number of extant manuscript
sources, seems to have been the composers most widely known work in the
160 The Concertos

medium. Given the concertos closely similar style and their transmission together
in the Friedrich Ludwig collection, it is likely that they were composed as a pair,
perhaps during the 1720s. All four movements of 43:B3 are in binary form, the
rst identied as a polonaise and the last a binary menuet Polish-ed by a few
sharped fourths and atted sevenths. Most impressive is the second movement,
an orgy of quirky motives and potent orchestral eects excerpted in Example
3.16. In the movements second half, Telemann rearranges the motives at will after
introducing a lusty passage in which a descending chromatic line, animated by
syncopation, acerbically clashes with a bass pedal tone (mm. 4447). Cut of the
same cloth are the second and fourth movements of 43:G7, in which the episodes
introduce rustic drones, powerful unisons, and jarringly sharp contrasts of tonal-
ity, rhythm, and register.
Several additional works by Telemann, while not ripieno concertos per se, seem
indebted to the genre. Consider rst the violin concerto 51:C2, most likely writ-
ten at Frankfurt. Neither of its slow movementsone a lovely trio-style Aet-
tuoso with a Handelian earnestness about it, the other a solemn sarabandahas
an independent part for the soloist, and the loosely fugal second movement in-
cludes only a single solo episode. Only in the ritornello-form nale does the solo
violin have much to say, and here it seems to be making up for its earlier silence
through extended virtuosic episodes. Similarly, in the roughly contemporaneous
violin concerto 51:A3, the soloist is mute in both slow movements (a double fu-
gato and a brief harmonic transition) and has just a few short solos in the binary
nale. The only real opportunity for extended soloistic display occurs in the sec-
ond, ritornello-based movement, though even here the solo writing is curiously
restrained. One might conclude from these two works that for Telemann, the dis-
tinction between ripieno concerto and solo concerto was still less than absolute
in the years around 1715.
Inhabiting the gray area between sonata and concerto are three works with ap-
parently unique scorings: the four-movement concertos for four violins without
bass, 40:2013.69 Stylistically similar to and evidently coeval with the earliest of
the ripieno concertos, these works also display the durchbrochene Arbeit of Telemanns
sonatas in their equal distribution of material between the four voices. In this re-
spect, they could be regarded as Sonaten auf Concertenart (see chapter 6) on the
model of the ripieno concerto. Although they contain some of the movement
types discussed above, none of the three works includes ritornello or reprise
structures. Among the three fugal movements are a motivically dense elaboration
of an academic subject (40:201/ii) and two lighter nales with subjects pre-
sented in stretto (40:202/iv and 203/iv); the last of these also features concerto-
like display passages and, in an apparent allusion to da capo form, a iiiI caesura
 Three Never from the Heart? 161

example 3.16. Concerto Polonoise in B-at for strings and continuo, 43:B3/ii, mm.
3352

43
33


Violin 1

Violin 2 43




Viola 43

43
Continuo




6

38

43

# 6 5 7 # 6 6 #
4 4 4 3 4 4 4 5
2


49

6 6 6 6
162 The Concertos

example 3.17. Sonata in C major for four violins, 40:203/ii, mm. 2637

26

Violin 1

c
Violin 2 c

Violin 3 c
c

Violin 4

29

32

35

 Three Never from the Heart? 163

setting up the nal, tonic entry of the subject. Two other fast movements (40:
202/ii and 203/ii) are binary forms with moto perpetuo sixteenth notes. Note in
Example 3.17 how Telemann saturates the latter with broken-chord gurations
evocative of the solo concerto before introducing an unexpected harmonic, tex-
tural, and registral shift at measure 33 that slyly leads from the submediant back
to the tonic via chromatic motion. Perhaps the most original fast movement is the
nale to 40:201, a spirited chasse in which Telemann states the call of the hunting
horns allunisono at the outset and conclusion, the horns resonance being evoked
by the use of open strings (Example 3.18).

example 3.18. Concerto in G major for four violins, 40:201/iv, mm. 116
Vivace
38

Violins 1-4

9
Vn 1

Vn 2

Among the slow movements are examples of the harmonic (40:201/iii and
202/i) and cantabile trio (40:201/i) types; in the last of these, the four violins
share two melodic lines by means of voice exchange. The rst movement of
40:203, praised by Arthur Hutchings for its unimpeachable workmanship,70 is
worth singling out here for the high level of tension it maintains through textural
and dynamic contrasts and linear chromaticism. Commencing in the stile antico, it
soon shifts unexpectedly to a homophonic texture marked by a gradually fading
dynamic echo (Example 3.19).71 The third movement of the same concerto, at
rst glance a typical Largo e staccato with unrelieved arpeggiation in all parts but
no real melodic line, is something of a study in continuous voice exchange: placed
among the three upper parts staccato eighth notes are quarter notes comprising
a skeletal melody of a kind that might, in the context of a solo sonata, be
eshed out with embellishments. Here, and indeed throughout the three concer-
tos, Telemann meets the challenge of writing for four like instruments with char-
acteristic ingenuity. If by providing parts of equal interest he occasionally (and
perhaps unavoidably) creates a static eect through melodic repetition, this de-
fect is tempered during performance via the visual interest generated by themes
physically shifting from one player to the next.
Finally, any investigation of the German concerto for strings during the early
eighteenth century must take account of the two most signicant examples: the
164 The Concertos

example 3.19. Concerto in C major for four violins, 40:203/i

Grave


Violin 1 c
c
Violin 2

c

Violin 3

Violin 4
c

p pp

p pp

p pp

p pp

12


ppp

[ f]

ppp f

ppp f

ppp
f

Third and Sixth Brandenburg Concertos, BWV 1048 and 1051. Long consid-
ered the most enigmatic works in the Brandenburg set, they have generated much
speculation as to their genesis, stylistic orientation, and generic status. Among
their most curious, and frequently discussed, attributes are unorthodox scorings
and textures in which the instruments double as soloists and members of the
tutti, suggesting a fusing of the concerto with the sonata for large ensemble (third
concerto) or trio sonata (sixth concerto); an apparent absence of Vivaldian in-
 Three Never from the Heart? 165

uence in the sixth concerto; a two-chord Phrygian cadence serving as the middle
movement of the third concerto; and a dance-based binary formthe only one
in Bachs concertosas the conclusion to the same work. To some commentators,
such features indicate that the concertos were written signicantly before Bach
prepared his dedication score of 1721.72
Although Martin Gecks theory that the Sixth Brandenburg is an expanded
version of a lost trio sonata has been met with skepticism, his view of the Third
as representing a development of the mehrchrige Sonate appears to have won wide-
spread acceptance. Finding both works in conformity with Matthesons 1713
denition of the concerto, Geck nevertheless considers the movement succession
of the third concerto unusual for either a concerto or sonata from the early eigh-
teenth century.73 More recently, Michael Talbot has posited that Bach was follow-
ing an up-to-date model for the third concerto: the so-called chamber concertos
of Vivaldi for a group of solo instruments . . . with continuo but without or-
chestra.74 Michael Marissens observation that the rst movement of the Sixth
Brandenburg also develops the Vivaldian model by transferring to episodes the
melodic and harmonic syntax associated with Vivaldis ritornellos has strength-
ened the possibility that the work was composed at Kthen rather than Weimar.75
The problem of the Third Brandenburgs Phrygian cadence has been solved
by placing it in the context of similarly brief transitions between fast movements
in concertos by Bachs contemporaries. Thus Talbot points to the two long chords
concluding the rst movement of Count Unico Wilhelm van Wassenaers Con-
certo in G Major, and to Italian concertos in which the slow movement is eec-
tively a short, dramatic coda to the rst movement.76 Still considered problem-
atic by some is the unusual nale of the Third Brandenburg. For Peter Schleuning,
the work embodies

a rather abnormal stylistic palette, not in accordance with the later vermischter
Geschmack, which integrates elements of national styles, but a sequence of par-
ticular national styles each of which is conned to a movement: German (if one
agrees with this classication), Italian, French. As a dance movement, and owing to
its brevityand thus inadequate counterbalance to the rst movement[the third
movement] has occasionally been used to support the claim that Bach quickly
threw together existing concertos, almost inadvertently axing an amputated or
crippled ending to the rst movements weightiness.77

One may take issue with Schleunings characterization of the movements sty-
listic orientation, and with the expectation that a nale ought to be as substantial
as a rst movement. But there is no question that the movements are individually
and collectively unusual within the orbit of Bachs concertos as a whole.
166 The Concertos

Without entering into the greatly protracted and circular debate on the Bran-
denburg Concertos chronology, let us briey consider the merits of Walter Kol-
neders view that the Third Brandenburg Concerto is the nest example of a con-
certo ripieno, a view seemingly unremarked upon in the Bach literature.78 In fact,
nothing about the concerto is inconsistent with Kolneders categorization, its
seven-part texture (occasionally expanded to nine parts) and archaic-sounding
antiphony notwithstanding. Bach has written a work for string orchestra with
soloists drawn from the tutti (a ripieno concerto), rather than a work for soloists
without orchestra (a chamber concerto). This is most clearly evident from the
cello parts, which are allunisono throughout except for portions of fteen mea-
sures in the rst movement, and from the high proportion of unison writing for
all parts in the third movement. If the overall scheme of a weighty ritornello-
based form and lighter binary dance separated by a brief harmonic transition is
atypical for the sonata and solo concerto, it is common enough among ripieno
concertos. In fact, some of the closest analogs to the Phrygian cadence are found
among ripieno concertos: the middle movements of Torellis op. 5, nos. 2 and
5 (the only three-movement works in the set), are three and ve measures long,
respectively,79 and the fast movements of Vivaldis ripieno concerto in C major,
RV 114, are separated by two measures containing three chords.80 The migration
of material from one voice to another in Bachs rst movementaptly described
by Talbot as evoking the choreographic quality of a wave rippling through a
stadium crowd81is not only reminiscent of antiphonal ensemble sonatas such
as Telemanns seven-part concertos for two or three instrumental groups,
44:4143, or Johann Christoph Pepuschs op. 8 concerts for two instrumental
groups (see chapter 5), but also of the constant shifting of material between parts
in Telemanns concertos for four unaccompanied violins.
Consider as well the scoring of the sixth concerto: two violas functioning as
principal voices; two violas da gamba that are thematically active for portions of
the rst movement but drop out in the second and provide only harmonic ller
in the third; and a bass line that includes a partially obbligato cello part. What is
most unusual here in the context of a concerto is the absence of violins and the
mixing of instruments from the da braccio and da gamba families, two features that,
combined with the rst movements canonic writing, are suggestive of the seven-
teenth century. Ares Rolf points to a number of sacred vocal works by Bachs
German predecessors that likewise pair two violas with two violas da gamba,
though he considers the concertos scoring to owe more to English music for viol
consort as transmitted to Germany early in the seventeenth century.82 Yet the
identication of such historical parallels prompts the question of what might
have motivated Bach to reach across decades and genres for his scoring, only to
 Three Never from the Heart? 167

compose a work stylistically far removed from seventeenth-century vocal concer-

tos and music for viol consort. The socially based interpretation of the concerto
proposed by Marissen has the advantage of placing its scoring in the context of
circa-1720 Germany.83 But perceiving Bachs music as undermining the prevail-
ing social order through a reversal of conventional instrumental rolesthe lowly
violas play active lines while the aristocratic violas da gamba have a subsidiary
functiondepends on assigning to instruments (rather than to players) values
that may not have been absolute, or even operative, during the early eighteenth
century.84 Whatever Bachs motivations for adopting the concertos unusual in-
strumentarium, the instrumental parts do in fact relate to each other in ways typ-
ical of early eighteenth-century concertos. Were one to substitute violins for vio-
las and violas for violas da gamba, the result would be a scoringand division of
materialtypical of ripieno concertos by Albinoni and other Italians. Such a
scoring would also recall the ve-part string sonatas of Telemann (some of which
include partially obbligato cello parts) as well as numerous seventeenth-century
examples by German and Italian composers. Of course, the ritornello forms, or-
chestral unisons, and treble-dominated textures of the outer movements con-
spire to make Bachs work more concerto than sonata.
Despite the stylistic proximity of the Third and Sixth Brandenburg Concertos
to the ripieno concerto, neither Bach work can be said to t neatly into any one
category; each is, in certain important respects, of its own kind. Yet seeing in them
reections of the concerto for strings without soloists elucidates many of their
seeming idiosyncrasies while underscoring the Brandenburg sets status as an un-
equaled compendium of concerto styles. Bachs works, viewed from such a per-
spective, do much to illuminate an undeservedly overlooked chapter in the history
of the German concerto. And perhaps not surprisingly, it is Telemann who is re-
sponsible for authoring much of that chapter.

The Late Frankfurt and Hamburg Concertos

Telemann continued writing concertos with string soloists at Frankfurt and

Hamburg, though apparently not with the same frequency as at Eisenach. By the
mid-1710s he had fully adopted the modular organization of the Vivaldian ritor-
nello; the rst movement of the violin concerto 51:F2 provides an especially clear
example. Yet Telemann did not wholeheartedly embrace the Vivaldian paradigm;
he retained his preference for the four-movement plan, for example, and contin-
ued to deploy fugal ritornellos and rondeau and binary forms with greater fre-
quency than his Italian contemporaries.
168 The Concertos

Two works provide especially good illustrations of Telemanns concerto style

during the late Frankfurt and early Hamburg years. Since the middle of the twen-
tieth century, the viola concerto, 51:G9, has become one of his most famous
works. Not only is it among the few eighteenth-century viola concertos, but it
also atters the solo instrument especially well. It may have been well-known even
during Telemanns lifetime, for as we saw in chapter 1, Johann Philipp Eisel in
1738 called attention to the composers concertos in which the viola is given a
concertante role. All four movements are in ritornello form, a kind of consistency
that Telemann would have avoided in earlier years. Both slow movements exem-
plify the cantabile style and have three-ritornello structures in which a cadenza is
indicated by a fermata toward the end of the second episode. The fast movements
hang together especially well, due in part to the violas extensive quotation of ri-
tornello material. An interesting fusion of ritornello and binary forms is found
in the concluding Presto: the rst half contains two ritornellos (IV), whereas
the second has four (ViiII). Telemann avoids back-to-back ritornellos by hav-
ing a solo episode conclude the rst half. Probably written shortly after Tele-
manns move to Hamburg is the tuneful violin concerto 51:E2, a work bearing
some striking parallels with Bachs E-major violin concerto, BWV 1042.85 In
both nales, the ritornellos opening antecedent-consequent pair of phrases and
concluding cadential formulas are remarkably similar melodically, rhythmically,
harmonically, and texturally. Might one composer have borrowed from the
other?86 Telemanns rst movement is marked Aettuoso and embodies the
singing quality found in his sonata movements with this title. Like all four move-
ments in the concerto, it is in ritornello form. It also includes two formal features
that are common in Telemanns concertos of the Frankfurt and Hamburg peri-
ods: the double-motto entrance of the soloist (also found in the viola concerto)
and a da capolike iiiI caesura at about the two-thirds point.
During his September 1719 visit to Dresden, Telemann composed the violin
concerto 51:B1 for his friend Pisendel. He headed his composing score Con-
certo grosso, per il Sig.r Pisendel, da me GF Telemann, 14. Sept. 1719. The title
Grand Concerto does not refer to the Corellian tradition, but must rather be
indicative of the works virtuosic solo part. The score includes numerous correc-
tions and a rejected draft of what was to be the second movement. Moreover, the
fourth movement is incomplete. In a note at the end of the score, Telemann ob-
serves that the last Allegro is rather scrawly, a better one follows. Author. No
better version of the Allegro survives in Telemanns hand, but the missing fty-
ve measures of the movement (mm. 963) were recovered when a set of parts
for the concerto, copied by Pisendel and an unidentied scribe, was identied in
1974.87 When or whether the concerto was performed during the Dresden royal
 Three Never from the Heart? 169

wedding festivities is unknown, but the earliest opportunity for Pisendel and the
Hofkapelle to premiere it would have been at the Turkish feast on 17 Septem-
ber.88 The second movement includes gural episodes requiring greater technical
facility than is usual for Telemanns violin concertos; clearly the composer meant
to atter the considerable abilities of his friend and colleague. The soloists can-
tilena in the untitled third movement (marked . . . ato [legato?] and Sempre
piano) is accompanied by an undulating ostinato gure of triplets against du-
plets, an eect reminiscent of the rst movement of the oboe concerto 51:d1.
Another Telemann concerto may have been inspired by Pisendel: 53:D5, for
trumpet, violin, cello, and strings. The classication of this work as a triple con-
certo in the TWV is something of a misnomer, for the trumpet and solo cello are
heard only in the outer movements, the former having an ad libitum role and the
latter playing only a few short episodes. Still, the work is nothing like Telemanns
other violin concertos. Its tutti complement includes three violins and two vio-
las, all of which have independent parts. Such a scoring might suggest an early
origin for the concerto, though it is dicult to imagine its having been composed
before 1715. Manuscript parts are preserved at both Darmstadt and Dresden,
and the work seems also to have belonged to the repertory of the Zerbst Hofka-
pelle under Fasch.89 The Dresden parts (listed below in Table 3.5) are mostly in
the hand of Pisendel, who rewrote a few solo episodes in the outer movements
and slightly abbreviated the middle movement; he also replaced the trumpet with
horn and made a few other minor changes to the works scoring.90 Both these re-
visions and the unusually large number of parts in Pisendels handhe rarely did
so much copying for a single worksuggest that he had a particular attachment
to this concerto. As for the music, both the length and the technical demands of
the solo episodes are almost without parallel in Telemanns concertos. The ritor-
nellos, especially those in the rst movement, are shot through with solo interpo-
lations to a greater degree than is usual in the Eisenach and Frankfurt concertos.
The central Adagio somewhat resembles the ritornello-frame type of movement
in beginning and ending in a sort of accompanied recitative style; a brief unison
ritornello introduces the main, aria-like section. If this concerto was not written
for Pisendel, it must have been inspired by another violinist of uncommon ability.
Several other Telemann concertos can be connected with specic performances
during the late 1710s and 1720s. The concerto for three trumpets, timpani, two
oboes, and strings, 54:D3, served as the introduction to the serenata Teutschland
grnt und blht im Frieden, TVWV 12:1c, performed on 17 May 1716 in celebra-
tion of the birth of the Habsburg Prince Leopold. Its martial Intrada and two
fugal movements bet an occasion that mixed rejoicing with formality. Although
nothing is known of the circumstances surrounding the composition of the con-
170 The Concertos

certo for three trumpets, timpani, and strings, 54:D4, it is not hard to imagine its
similar function as ceremonial musicespecially because it includes a fugue and
a mixture of celebratory and solemn music. One wonders as well about the con-
certo for three horns, violin, and strings, 54:D2, a three-movement work in which
the violin is primus inter pares among the soloists. Besides the tragic air of the
second movement, a ritornello-frame aria for the violin, the concertos chief at-
traction is some brilliant writing for the horns; toward the end of the rst move-
ment, a horn gure evocative of hunting calls is marked Chasse in the Darm-
stadt manuscript.
In 1724 Telemann used the violin concerto 51:C3 as the overture to his pas-
toral opera Der neumodische Liebhaber Damon,TVWV 21:8, and it is possible that the
concerto was also heard at the operas 1719 Leipzig premiere. The ebullient rst
movement features a tuneful ritornello with a Vivaldian turn to the tonic minor,
as well as solo episodes given over entirely to guration. After a brief harmonic
movement of a kind not normally found in Telemanns three-movement concer-
tos, a pair of alternativement menuets (the rst including varied reprises) concludes
the whole. Hirschmann is surely right to place this little concerto in the opera sin-
fonia tradition.91 The violin concerto 51:a2, which introduced Telemanns 1728
opera Die Last-tragende Liebe, oder Emma und Eginhard, TVWV 21:25, is a more sub-
stantial work than the Damon concerto. That it was written around the time of the
opera is suggested by the galant language of its rst-movement ritornello, which
includes the Lombard and alla zoppa rhythms that begin to appear regularly in Tele-
manns vocal and instrumental music during the mid-to-late 1720s. The episodes,
too, display a galant rhythmic variety. Noteworthy as well is the violin cantilena of
the second movement, where an ostinato gure continually cascades from rst vi-
olin down to second violin and viola. The last movement is again a dance, in the
form of a binary bourre.
Among the solo wind concertos written at Frankfurt and Hamburg circa
171625 are two for recorder (51:C1, F1) and seven for ute (51:D14, E1, G1,
h1).92 Perhaps the earliest is the F-major concerto, which follows a lovely ritor-
nello-form Aettuoso with a brilliant fast movement in binary form, an osti-
nato-based slow movement, and a pair of alternativement menuets featuring the
soloist in the second dance. The second movement contains some colorful har-
monic touches, such as that illustrated in Example 3.20. Note here that as the
bass descends by step, three of the implied contrapuntal voices in the recorder
part make chromatic ascents.93 The C-major concerto likewise has two cantabile
slow movements and a menuet nale, but is more stylistically mature. A curious
feature of both works is an emphasis upon the recorders upper register: G is
 Three Never from the Heart? 171

example 3.20. Concerto in F major for recorder and strings, 51:F1/ii, mm. 1823

c
18

Recorder

c
Violin 1
Violin 2 c
Viola c
Violoncello
obligato

c



21

commonly employed, and in the F-major concerto A is reached in both slow

movements and a C appears at the end of the second movement. Evidently these
works were written not only for a virtuoso, but for one with access to an instru-
ment with a particularly good high register. Such instruments were made in
Nuremberg by Jacob Denner, who regularly visited Frankfurt as an oboist start-
ing in 1717.94 Might Telemanns concertos have been written for the Darmstadt
musician Johann Michael Bhm, playing a recorder by Denner?
Close in style to the recorder concertos is 51:D2, which is lled with brilliant
writing for the ute. The rst movement (Moderato) is a polonaise en rondeau in
which the two interior refrains appear in keys other than the tonica not uncom-
mon occurrence in Telemanns sonata rondeaus. Like the F-major concerto, the
piece concludes with a pair of alternativement menuets. In the second dance, the
ute trades gures with the violins in a quasi-trio texture. Both 51:D1 and the
unusually expansive 51:h1 have fugal ritornellos in their fast movements, and this
may indicate their conception as a pair. The latter work includes a slow middle
172 The Concertos

movement lled with pastoral topics, and its overall style has much in common
with Telemanns sonatas of the mid-1720s.
Among Telemanns double concertos, those for ute with recorder (52:e1) and
recorder with viola da gamba (52:a1) are undoubtedly the best-known today. The
combination of ute and recorder is a rare one in eighteenth-century music, and
among Telemanns other instrumental works only the quartet for recorder, two
utes, and continuo, 43:d1 (Musique de table), employs the two instruments to-
gether. Both slow movements in the E-minor concerto are in the mode of arias
with ritornello frames, but the opening Largo is not in the cantabile style: the
combination of the soloists restless guration and the strings slow-moving har-
monic support lends the movement an unsettled feeling. It provides an eective
prelude to the following fugal Allegro, where, curiously, the imitation is limited
to the two violins during ritornellos. This unusual disposition may be explained
by Telemanns apparent borrowing of the fugue subject from the second move-
ment of his solo for oboe and continuo, 41:e6 (Essercizii musici), where the imita-
tion is of course in two parts as well. In the Allegros episodes, and indeed
throughout the work as a whole, the solo writing is both brilliant and attering.
The concertos second Largo, excerpted in Example 3.21, provides the expected
cantabile-style writing for the soloists. Here the ritornello frame is provided by
strings, which delicately accompany this lovely duet with pizzicato chords. We
shall consider the concertos nale, a vigorous polonaise en rondeau, in chapter 9.
Probably of slightly later vintage is the A-minor concerto; its galant rhythmic
language, including the prominent use of Lombard gures and triplets, suggests
an origin around 1730. Like several other Telemann concertos, this one has a re-
duced tutti scoring for violino grosso (perhaps violins in unison), viola, and
continuo. And as with the E-minor double concerto, the slow rst movement is
marked by a nervous energy released in the following Allegro, where the episodes
often pair the two dissimilar solo instruments. Unusually for Telemanns mature
concertos, the brief binary Dolce that follows is scored for soloists and continuo;
its 6/8 meter and opening pastoral topic (a melody in sixths over a drone) seem
inspired by the recorders bucolic associations. The nale is another polonaise en
rondeau, but here the refrain is not conned to the tonic and is more courtly-galant
in its modied antecedent-consequent phrase structure. The episodes, too, have
less of a rustic avor to them.
Telemanns Gruppenkonzerte with multiple brass soloists have already been men-
tioned, and others featuring solo woodwinds and strings represent the extreme
chronological poles of his concerto output. Two works appear to date from the
Eisenach or early Frankfurt years: the concerto for two utes, oboe, violin, and
strings, 54:B1; and the concerto for two recorders, two oboes, and strings, 54:B2.
 Three Never from the Heart? 173

example 3.21. Concerto in E minor for ute and recorder, 52:e1/iii, mm. 19

Recorder
Largo
c


c
Flute
c

pizzicato
Violin 1

c
pizzicato
Violin 2

c
pizzicato
Viola

c
pizzicato

Continuo


6

Both accompanying string ensembles include one violin and two viola parts, a
conguration suggestive of a composition date before 1715. If the scoring for
utes in the rst work is authenticrecorders would be expected, given the key
(Graupners late copy has Flaut[o] Travers[o])then this must be one of Tele-
manns earliest compositions for the instrument. The concerto follows a gracious
Largo and vigorous fugue with a tender siciliana in binary form; not surprisingly,
it is the oboe that is featured in the dance. The oboe and violin become the prin-
cipal soloists in the concluding Allegro, which is shaped by a unison ritornello.
Telemann displays a better feel for handling a large group of soloists in 54:B2,
where his task is made easier by having pairs of like solo instruments (the upper
strings are sometimes treated as a third set of soloists). Here the second-movement
fugue is more complex than that of 54:B1 and also displays a rmer sense of
174 The Concertos

tutti-solo contrast. Throughout the piece, the antiphonal writing for the soloists
is not unlike that in the seven-part concertos to be discussed in chapter 5.
The exquisite concerto for ute, oboe damore, and viola damore, 53:E1,
would doubtless be better known today were the last of these instruments more
commonly heard in the concert hall. That the work was performed at both the
Darmstadt and Dresden courts during the late 1720s or early 1730s is not sur-
prising, for the viola damore is used soloistically in fourteen of Graupners over-
ture-suites (most dating from 172932), and Pisendel himself played the instru-
ment. Also around 1730, Graupner composed an overture-suite and concerto
with soloists including te damour, oboe damore, and viola damore.95 Per-
haps, then, Telemanns concerto was composed for the Darmstadt Hofkapelle.
After a measure of gently pulsating, accompanimental chords in the tutti
strings, the three soloists are introduced in the opening Andante with sustained
pitches suggestive of the initial vocal entrance in an aria. Their delicately en-
twined parts encourage the listeners appreciation of the instruments varied tonal
colors. Toward the end of the movement, a fermata over a dominant triad seems
to invite a cadenza. Telemann obliges the performers by writing a ve-measure
canonic passage for the soloists without accompanimentone of the few ex-
amples of an instrumental cadenza by the composer (for another, see Example
8.8b). In the ensuing Allegro, he wittily allows the soloists to extend their third
and nal episode by continually interrupting what presumes to be the conclud-
ing, tonic ritornello. Here Telemann seems to parody the modular organization
of the Vivaldian ritornello when each two-, four-, or eight-measure phrase is sep-
arated by soloistic interjections of varying length. The joke is most eective when
the twenty-eight-measure ritornello, now spread out over fty-ve measures
owing to the soloists interruptions, nally manages to reach its concluding
phraseonly to have its full cadence denied by the soloists at the last second (m.
245). Undeterred, the ritornello backs up a few measures for another, successful,
run at the cadence (mm. 25357). After the soloists get in their nal word, the
tonic ritornello is heard in its uninterrupted entirety. The siciliana that follows al-
lows each of the soloists to shine in turn before joining them together. As beau-
tiful as the melody is, what distinguishes this siciliana from many other ne ex-
amples by Telemann is its ostinato accompaniment, consisting of gently
cascading triplets played every other measure by the two spectator soloists.
When all three soloists join forces, the triplets move to the tutti strings. Conclud-
ing the work is a pastoral rondeau, a scne aux champs complete with cheerful drones
and a shepherds call at the start of the rst couplet (Example 3.22).
One of Telemanns most mature, and most galant, orchestral works is the con-
certo for two utes, violin, and cello, 54:D1, copied out in score by Graupner
 Three Never from the Heart? 175

example 3.22. Concerto in E major for ute, oboe damore, viola damore, and strings,
53:E1/iii, mm. 2532

38
25

Oboe d'amore

Violins 1 and 2,
Viola 38

between 1735 and 1737 and probably composed around this time. In both style
and scoring it is similar to the concerto for ute, violin, and cello in Production
1 of the Musique de table (1733), and its movement sequence of fastsiciliana
fastgavotte recalls the slowfastfast/dance conguration common in sonatas
written during the 1740s. The unusually expansive fast movements and touch-
ing siciliana are all in ritornello form, with ample episodes highlighting the four
soloists individually and collectively. But the elegant gavotte is a binary theme
with four variations, the last three constituting double variations in that each
half of the theme is further varied upon being repeated. The lengthy ritornello
of the third movement, given in Example 3.23, exhibits an unusual abundance
of ideas and a progressive approach to scoring in which the utes are treated not
only as soloists, but as independent members of the tutti as well. The rst idea
introduces ascending scales and octave leaps enlivened by Lombard rhythms.
Next, three of the soloists interject a motive in alla zoppa syncopation (mm.
912) before a new symphonic texture of tremolo strings and sustained ute
tones is introduced. A tutti rendition of the alla zoppa motive (1922) leads to
an abbreviated variant of the tremolo idea and a soft passage of pastoral sighs
in the strings (2629). The nal idea returns us to the rushing scalar gures of
the opening and a drive to the tonic cadence. The movements two substantial
episodes, separated by a complete dominant statement of the ritornello, intro-
duce the utes and violin by turn, then the cello with ute accompaniment, and
nally the four soloists in pairs of utes and strings. This pleasantly varied se-
quence contrasts with those of the opening Vivace (all four soloists, violin, cello,
utes, all four soloists), siciliana (cello, violin, utes), and gavotte variations
(utes, strings, utes and strings in alternation, all four soloists). In each move-
ment, Telemanns writing for the soloists is as imaginative as his handling of mu-
sical structure on both small and large scales.
This ne concerto is possibly the latest by Telemann to have come down to us.
Yet notwithstanding its stylistic modernity, the work exhibits a number of char-
acteristics that dened Telemanns concerto style throughout his career: a progres-
sive approach to scoring and form; close dialogue between multiple soloists (or
176 The Concertos

example 3.23. Concerto in D major for two utes, violin, cello, and strings, 54:D1/iii,
mm. 138

Allegro
Flutes 1 and 2 43
Violino concertato,
3
4
Violin 1

Violin 2 43
3
Viola
4
43
Continuo


a2

Violino concertato solo

10

a 2

between soloist[s] and tutti), often forestalling extremes of virtuosic display; the
integration of Italian and French stylistic elements; and an emphasis on idiomatic
writing in solo episodes. Here, as in many of the works discussed earlier, there is
also a strong sense of individuality belying the notion that Telemanns interest in
the concerto was only lukewarm. In fact, some of his more original contributions
to the genre, such as the striking accompanied recitatives in the Eisenach and
 Three Never from the Heart? 177

15

18

23




p


p

Frankfurt oboe concertos, the colorful scorings and conversational textures of

the Gruppenkonzerte, and the ripieno concertos as a whole, may be seen in part as
creative reactions against the many diculties and awkward leaps but little har-
mony and even poorer melody that he found in early concertos by other com-
posers.
178 The Concertos

example 3.23.Continued

27 a2

p
f

32

36

 Three Never from the Heart? 179

Telemanns Orchestras

Although Telemann directed performances of his concertos and overture-suites

throughout a long career, information relating to the size, makeup, and perform-
ance practices of his ensembles is less than abundant. This is especially true in
cases where documentary evidence is almost completely lacking, as with the Sorau
Hofkapelle and Frankfurt collegium musicum. In chapter 1 we saw that Tele-
manns Leipzig collegium musicum appears to have been a relatively large and ac-
complished ensemble, but that its instrumental repertory is unknown. There are,
however, indications that Telemanns concertos, sonatas, and suites were fre-
quently performed in Leipzig in the years following his departure from the city.
Table 3.4 lists twenty-three Darmstadt manuscripts copied on Saxon paper by Jo-
hann Samuel Endler and several other scribes between the early 1710s and early
1720s. Endler, who in 1721 became director of the collegium founded by Fasch,

Table 3.4 Telemann works copied in Saxony by

Johann Samuel Endler and others
TWV D-DS, Mus. ms. Copyist(s)
40:200 1042/19 Endler
40:203 1042/59 Endler
42:c5 1042/30 Endler, unknown
42:c7 1042/79 Endler, 2 unknowns
42:F7 1042/32 Endler
42:a5 1042/82 Endler
43:d3 1042/45 Vogler?
44:5 1042/37 Endler, unknown
44:32 1042/21b Endler
51:D7 1033/104 Endler
51:d1 1033/80 Endler
51:g1 1033/91 unknown
53:D1 1033/72 Endler
53:D4 1033/2 Vogler?
53:g1 1033/44b Endler, Vogler?
55:c3 1034/60 Endler
55:c4 1034/82 Endler
55:D4 1034/7c Endler
55:Es5 1034/59 Endler, unknown
55:e3 1034/28a 2 unknowns
55:g4 1034/73 Endler
55:B5 1034/53 Endler
55:B8 1034/79 Unknown
180 The Concertos

would have brought his eighteen sets of parts to Darmstadt in late 1722. The
works transmitted by these sources include a representative sample of the instru-
mental music Telemann composed at Eisenach and Frankfurt, and one presumes
that some or all were performed in Leipzig. Probably the earliest of Endlers
copies are those of 40:200, 40:203, 42:c7, 42:F7, 44:5, 44:32, and 51:d1; as we
saw earlier, this last manuscript bears the date 1713, when the young musician
turned seventeen.96 Three manuscripts in the table are partly or wholly in an
unidentied hand, possibly that of Johann Gottfried Vogler, who from 1716 to
1720 served as organist at the Leipzig Neukirche and led the Telemann colle-
gium. After a period as Kapellmeister to the Wrzburg court, he served in the
Darmstadt Hofkapelle between April 1725 and August 1733.97 The various
other unidentied hands listed in Table 3.4 may also be those of Leipzig musi-
cians; at least some of the manuscripts in question belonged to Endler. If these
Telemann works were indeed circulating in Leipzig during the 1710s and early
1720s, then it is not dicult to imagine J. S. Bach encountering them soon after
arriving there in 1723.
Under Telemanns and Hebenstreits direction, the Eisenach Hofkapelle in-
cluded a total of sixteen musicians.98 This group was no doubt augmented by se-
lect members of the dukes oboe band and corps of trumpets and drums. On
Easter Sunday 1709, for example, the cantor Johann Conrad Geisthirt led twenty-
three choir students with Telemann, Hebenstreit, Johann Friedrich Helbig, Jo-
hann Christian Koch, six trumpeters and drummers, six oboists, and seven town
musicians (Stadtpfeifer).99 Although there is no indication as to which instruments
most of the Hofkapelle or town musicians played (many, like Telemann himself,
must have been double-handed and could therefore switch instruments as
needed), we are probably safe in assuming that the minimum of four violins, two
violas, cello, and bass required for Telemanns double violin concertos and string
quintets were readily available. At least this many strings are likely to have been
available to Telemann in Frankfurt as director of the Frauenstein Societys col-
legium musicum, which gave weekly concerts including instrumental music; this
was precisely the ensemble at the Barferkirche and Catharinenkirche when the
composer departed for Hamburg in 1721.100 But for certain festive occasions
as with performances of the Brockes-Passion, TVWV 5:1, on 23 April 1716,
and the church music and serenata for the birth of the Habsburg Prince Leopold
on the following 17 May, TVWV 12:1Telemann supplemented the collegium
with musicians from the nearby Darmstadt Hofkapelle. On the second occasion,
more than fty musicians performed.101
At Hamburg, Telemann appears to have had more instrumentalists at his dis-
posal than at any time since his student days in Leipzig. The city employed eight
 Three Never from the Heart? 181

Ratsmusikanten (civic musicians), two Expectanten (assistants), fteen Rollbrder (a

brotherhood of supplementary musicians paid on a per-service basis), ve Trmer
(church trumpeters), and an oboe band. These musicians played in the ve main
churches (with as many as twenty-two persons split among the venues); per-
formed at civic functions such as the annual banquet thrown by ocers of the
citys militia or Brgerkapitne (forty instrumentalists and singers are said to have
participated in 1719); staed the orchestra at the Gnsemarkt Opera until its
closing in 1738; and, starting in the 1720s, provided the instrumental core for
Telemanns collegium musicum.102 In November 1721, just months after arriving
in Hamburg, Telemann revived Hamburgs collegium musicum with a concert se-
ries held at his apartment. As far as can be determined from announcements in
the Hamburg press, weekly performances began each fall at the end of October
or beginning of November and ran into the spring; no concerts were held during
the Christmas season and relatively few in summer. Telemanns move to a larger
apartment sometime in 1722 was likely due in part to the early success of his se-
ries.103 But in 172224 he also led performances in more public venues, such as
the Hof von Holland, an upper-class guest house; the orangerie or Garten-Haus
of the future municipal magistrate Johann Klefeker; the Zuchthaus or prison;
and the Drillhaus, a large building where the citys militia trained. This last
venue, depicted in a much-reproduced engraving of the 1719 Brgerkapitne cel-
ebration, became the collegiums home in March 1724, when the concert series
expanded to twice weekly.104 Newspaper announcements of Telemanns concerts
were never so numerous as during the period 172225; they appeared only spo-
radically thereafter, with exceptions such as performances featuring favorite
vocal works in 1728 and the composers late oratorios in the 1750s. Perhaps
Telemann scaled back his public concerts as he became more involved with pub-
lishing his own music during the mid-1720s, or perhaps he simply found alter-
native methods of advertising. Throughout his forty-year career of directing
public concerts in Hamburg, Telemann continually presented audiences with
music that had originally been composed for a circumscribed number of people
at private occasions.
Mattheson noted that during the 1660s and 1670s, the Hamburg collegium
under Matthias Weckmann had brought together fty persons, all of whom
contributed to performances of the best pieces from Venice, Rome, Vienna,
Munich, Dresden, and elsewhere.105 The size and composition of Telemanns en-
semble is unknown, though it appears to have had orchestrally doubled strings
(newspaper announcements occasionally refer to the instruments as stark be-
setzt). He would no doubt have provided a substantial portion of the col-
legiums instrumental repertory, just as most of the vocal music appears to have
182 The Concertos

been of his own composition; in the previous chapter we noted that two overture-
suites, 55:C3 and F11, can be connected with specic performances. It may have
been Telemanns custom to begin concerts with an instrumental work, for those
who planned to attend the opening performance of the collegiums third season
on 30 October 1723 were reminded that that the symphony begins at four
oclock.106 Unfortunately, newspaper announcements from the time are gener-
ally uninformative about the instrumental works to be performed, though they
do provide corroborating evidence that Telemann was still composing such music
during the 1750s. For example, accompanying a performance of Telemanns can-
tata TVWV 14:8 for the reconsecration of the Hamburg Gymnasium on 27
May 1751 were various instrumental pieces that have not yet been heard; and
the performance of 4 November 1756 included various new. . . vocal and in-
strumental works by Handel and Telemann.107 A notice of 8 November 1747
states that the consecration music for the church at St. Georg will be performed
along with a newly composed and very solemn concerto for various instruments
at the Drill House on Friday, November 10.108 The concerto may have been a
work similar to the earlier F-major sinfonia for recorder, viola da gamba, and
strings doubled by cornetto, two oboes, and three trombones, 50:3. Its Al-
labreve opening and Vivace conclusion both have fugal ritornellos (the former in
the stile antico) and soloistic episodes featuring recorder and viola da gamba. Cer-
tainly the archaic style and church scoring with cornetti and trombones suggest
an ecclesiastical purpose.
As for performances of instrumental music by other composers, we know that
several concertos for violin or oboe by Albinoni, Vivaldi, and Carlo Tessarini were
heard during a Hamburg performance of the 1725 comic intermezzo Pimpinone
oder Die ungleiche Heirat, TVWV 21:15. A manuscript score of the work copied by
Roger Brown, a scribe at the Hamburg opera between 1710 and 1734, lists con-
certos that may be performed before and after each of the three intermezzi or
acts: Tessarinis op. 1, nos. 8 (before Intermezzo I) and 12 (after Intermezzo I);
Albinonis op. 9, nos. 8 (before Intermezzo II) and 10 (after Intermezzo II); Tes-
sarinis op. 1, no. 2 and (or?) Vivaldis op. 7, (no. 2) (before Intermezzo III); and
Tessarinis op. 1, no. 11 (after Intermezzo III).109 One imagines that these con-
certos were executed with the full string complement of the Hamburg opera or-
chestra, which by one estimate included eight violins, three violas, two cellos, and
two basses.110 If such works are representative of the orchestral music Telemann
performed with his collegium, then he seems to have kept current with develop-
ments in the Italian concerto: all three opuses had been published in Amsterdam
between 1720 and 1722. We are probably safe in assuming that Telemann also
performed concertos and suites by German colleagues including J. S. Bach, Fasch,
 Three Never from the Heart? 183

and various members of the Hofkapellen at Berlin, Darmstadt, and Dresden

musicians with whom he was in personal contact. His praise for the sonatas of
Johann Christoph Pez, the concertos of Johann Christoph Pepusch, and the over-
ture-suites of Pantaleon Hebenstreit in the 1725 poem Ueber etliche Teutsche
Componisten provides another indication of his tastes and, perhaps, of the col-
legium repertory.111
Intriguingly, what appear to be fragments of Telemanns own collection of
music by other composers are preserved in Berlin sets of parts to his sacred can-
tatas. These sets were inherited by the composers grandson, Georg Michael Tele-
mann, who copied out supplementary parts for the performances he directed at
Riga during the late eighteenth and early nineteenth centuries. Occasionally
Georg Michael conserved paper by writing on the blank sides of wrappers and
parts taken from old manuscripts that must also have come from his grandfathers
estate. Thus one nds, for example, title pages and parts to cantatas by Fasch,
Philipp Heinrich Erlebach, and Johann Adolf Scheibe; fragments of an
unidentied Italian vocal work; a page from the index to Telemanns Fast allgemeines
evangelisch-musicalisches Lieder-Buch (1730); gured-bass exercises in Telemanns hand;
and an instrumental bass part to an unidentied vocal work copied at Leipzig
sometime between 1701 and 1705 by Telemann and Melchior Homann.112
Among the remnants of instrumental works are title pages to a sonata and dou-
ble violin concerto by Pepusch, a rst oboe part to an unidentied concerto, and
an engraved Viola di Gamba part to an unidentied sinfonia, most likely pub-
lished in Paris or Amsterdam.113
Several surviving invoices and personnel lists are revealing of the orchestras
Telemann led in performances of his occasional sacred works. These ensembles,
which varied considerably in size, were generally larger than those that performed
his regular church musicat least to judge from the performance materials to
cantatas preserved at Berlin, where it is usual to nd only one part per instrument
(duplicate cello parts were probably used by a double bassist or keyboardist). Per-
haps the greatest number of musicians Telemann ever directed at Hamburg was
104: eighty-one instrumentalists and twenty-three singers who performed four of
his vocal works commemorating the bicentenary of the Augsburg Confession
(TVWV 13:710) in a Drillhaus concert of 3 July 1730. On the previous 25
June, these forces had premiered the works at the citys ve main churches in much
smaller ensembles numbering between ten and twenty-nine musicians.114 At an-
other repeat performance, this time in church of a cantata commemorating the
centenary of the Peace of Westphalia in October 1748, TVWV 13:17, Telemann
employed nine singers, nine Ratsmusikanten, two Expectanten, one of the Rollbrder,
three trumpeters and a drummer, and a keyboardist.115 This size ensemble may
184 The Concertos

have been typical of such occasions, for in June 1757 Telemann used nine voices,
six violins, two violas, ve basses, two oboes doubling utes, four trumpets and
drums, three horns, and one Clavirist to perform the consecration music for
the small Michaeliskirche, TVWV 2:10. Yet an orchestra with a much larger vi-
olin section performed the consecration music for the large Michaeliskirche,
TVWV 2:12, in October 1762: eleven voices with twelve violins, two violas, six
basses, two oboes doubling utes, six trumpets (apparently doubling on two
horns), two drums, and two continuo players on small organ and harpsichord
(Positiv und Clavicimbel).116 Less than two years later, in August 1764, Tele-
mann led a more modest ensemble in a performance of his (lost) music commem-
orating the centennial of nearby Altonas independence as a city: seven voices with
ve violins, one viola, three basses, two oboes, two trumpets, and drums.117
Telemann may also have been involved as a conductor or impresario for some
of the Hamburg concerts featuring visiting virtuoso performers. In April 1727 a
famous horn player (who, among other talents, could perform on two horns at
once) was accompanied in concertos and ouverturen by a large orchestra; in
September 1736 Telemann himself sold tickets to a concert by two violin prodi-
gies; and the composer again sold tickets in June 1752 to a large concert fea-
turing a foreign trumpet player.118
Regrettably, we know nothing about the manner in which Telemann performed
concertos, overture-suites, symphonies, and sonatas. The closest we can come to
reconstructing his practices is to consider how leading court orchestras of the
timeincluding those at Darmstadt, Dresden, and Stuttgartapproached his
music.119 We have already seen that Telemann maintained close ties to musicians
in the rst two organizations, and that together the three court-music collections
account for most of his surviving instrumental works in manuscript. Although
each court maintained a substantial orchestra during the rst half of the eigh-
teenth centuryranging between twenty and forty musicians and including up to
six violinists at Darmstadt, ten at Stuttgart, and fteen at Dresden120manu-
scripts of concertos and overture-suites usually include only a single copy of each
part. This is particularly true of the Stuttgart and Darmstadt collections, where
one only occasionally encounters a doublet part or two. Depending on whether
players shared parts, then, performances of concertos and overture-suites at these
two courts would typically have included a basic ensemble of two to four violins,
one or two violas, and one to three continuo instruments (Darmstadt perform-
ance sets often include two or three dierently labeled bass parts, possibly indi-
cating a slightly larger continuo section).
Darmstadt musicians shared parts at least some of the time. In the violin parts
to 55:c1, oboe solos momentarily cause the sta to be divided into two musical
 Three Never from the Heart? 185

lines, indicating that the oboists read from the violinists parts; although not in
divided-sta notation, cues in the violone part reveal a bassoonist reading along.
Oboists also appear to have shared violinists parts in 54:D4 and 55:D3, e5, e6,
and G11. Two violinists with partly independent lines shared the Dessus Pre-
mier part to 55:e3, just as pairs of utes and oboes doubled up on single parts
with divided staves. A duplicate set of parts for the same work includes a Basse
pour Violons part with guring in Telemanns hand, suggesting that such part
sharing was sanctioned by the composer in Frankfurt. In a case of extreme scribal
economy, one set of parts to 55:G5 has the rst oboist and rst violinist sharing
a part and the second oboist sharing with either these players or the second vio-
linist. The Violino 1 and Hautbois 2 parts are in fact only fragmentarily no-
tated, meaning that the instrumentalist turns to his part only when he has music
that diverges from that of his stand partner.121
At Dresden, where the performance of concertos and overture-suites with or-
chestral doublings was more common, part sharing seems to have become an es-
tablished practice by the 1720s. Here, too, there is evidence that musicians some-
times had stand-mates in the case of works transmitted in sets with single parts,
which again make up the majority of sources: for 55:c2, oboes and bassoon ap-
pear to have read from the Dessus and Cembalo parts respectively; and for
55:h1, the two concertante violins read from a single part.122 Table 3.5 lists nine-
teen concertos and overture-suites that survive in Dresden part sets with exten-
sive doublings; these manuscripts may have been produced for special occasions
on which the entire court orchestra participated.123 Typical of Dresden perform-
ance practice is the frequent reinforcement of violin lines by oboes and utes,
listed here in parentheses. It will also be observed that the violin parts number as
many as eight (though four to six is most common), the violas are usually repre-
sented by two parts, and the continuo parts vary from two to seven in number.
Richard Maunder nds evidence in ve of the concerto sets (51:F2, 51:G8,
51:B1, 52:e4, 52:G2) that Dresden players did not share their parts.124 He points
especially to the set for 52:e4, arguing that the presence of names on the parts
rules out the possibility that they were shared. Although there is no reason why a
named player could not have shared his part with an unnamed one, the
Hofkapelle does not appear to have had fourteen violins (two solo, twelve rip-
ieno) at its disposal when the manuscript was copied in 171011. So this con-
certo, at least, was evidently performed by players who had their own parts. The
same is probably true of the other concertos and overture-suites with orchestral
doublets copied during the decade 171020 (51:G8, 52:D3, 52:G2, and 55:B9).
But does the one-to-a-part hypothesis remain valid for later periods as well?
Identication of the copying hands and paper types in the manuscripts listed in
186 The Concertos

Table 3.5 Telemann concertos and overture-suites performed with orchestral doublings
at Dresden
TWV Source Parts
51:F2 2392-O-11 Vn conc, 3 vn unisoni, 2 vltta, 2 va, 2 cemb
51:G8 2392-O-3 Vn conc, 5 vn (+ 2 ob), 2 va, 3 b, theorbo, 2 bn, cemb
51:B1 2392-O-58 Vn conc, 6 vn, 3 va, b, 2 cemb
52:D3 2392-O-4 Vn 1 and 2 conc, 4 vn (+ 2 ob), 2 va, 2 b, bn, cemb
52:Es1 2392-O-31 2 hn, 4 vn (+ 2 ob), 2 va, 2 b, vne, bn, cemb
52:e4 2392-O-56 Vn 1 and 2 conc, 4 vn 1, 2 vn 2 (+ ob), 2 va, 2 vne, 3 bc
52:G2 2392-O-35a Vn 1 and 2 conc, 4 vn, va, vc, org
52:A2 2392-O-37 Vn 1 and 2 conc, 4 vn (+ 2 ob), 2 va, 2 b, 2 cemb
53:D5 2392-O-61 Vn 1 conc, hn, vc obl, bn obl, 3 vn, 3 vn/ob, va 1, va 2, 2 b, bn, cemb
54:D2 2392-O-30 Vn conc, 3 hn, 4 vn unisoni (+ ob), va 1 (+ ob), va 2, 4 b, cemb
55:C7 2392-N-2 4 vn (+ 2 ob), 2 va, 2 b, vne, bn, cemb
55:D19 2392-N-4a 6 vn (+ 2 ob), 2 va, 3 b, 2 bn, 2 hn
55:e8 2392-N-18 4 vn (+ 2 ob), 2 va, b, bn, cemb
55:e9 2392-N-14 4 vn (+ 2 ob), 2 va, 2 b, vlne, bn, cemb
55:F12 2392-N-8a 2 hn, 6 vn (+ 2 ob), 2 va, vc, 2 b, 2 bn
55:a6 2392-N-31 2 ob, 4 vn, 2 va, vc/cemb, 2 b, bn
55:B7 2392-O-33 3 ob (+ 2 ), 5 vn, 2 va, 2 b, vne, 2 bn, cemb
55:B9 2392-N-9 4 dessus, haute-contre, taille, 3 b, bn
55:B11 2392-O-34 3 ob (+ 2 ), 5 vn, 2 va, 3 b, vne, 2 bn, cemb

Table 3.5 allows a tentative division of the manuscripts into several overlapping
chronological periods: circa 1709 (52:G2), 171011 (52:e4), circa 171020
(51:G8, 52:D3, 55:B9), circa 172025 (51:F2, 51:B1), circa 172535 (52:Es1,
52:A2, 53:D5, 54:D2, 55:C7, 55:e8, 55:e9, 55:B7, 55:B11), circa 173550
(55:D19, 55:a6), and circa 175055 (55:F12).125 During the four decades rep-
resented here, the size of the Hofkapelle grew considerablyso much so, in fact,
that by the 1720s these concertos and overture-suites would have required only
half of the available musicians if no part sharing occurred. It is of course pos-
sible that some sort of rotation system was in place, so that any given orchestral
performance used only half the available players. But as evidence from Dresden
liturgical performances suggests, part sharing is the more likely scenario. Because
these performances also constitute one of the more interesting uses to which Tele-
manns instrumental works were put during the eighteenth century, it is worth ex-
ploring them here in some detail.
In keeping with a widespread tradition in Western Europe of performing so-
natas da chiesa, sinfonias da chiesa, violin and trumpet concertos, and ripieno
concertos during the Catholic Mass, the Dresden Hofkapelle played various in-
 Three Never from the Heart? 187

strumental works in the Hofkirche, either complete or as freestanding movements

or movement pairs. Such music seems often to have functioned as a Graduale in-
strumentaliter, and may also have been heard during the Oertory and as preludes
and postludes. During the second half of the eighteenth century the Gradual at
Dresden was sometimes replaced with a symphony or concerto, and on at least
one occasion a baptismal service concluded with an oboe concerto.126 Earlier in
the century, the Kapellmeister and Kirchencompositeur Johann David Heinichen,
among others, supplied various instrumental pieces for Mass.127 Johann Adam
Hillers remark that Pisendel composed several fully worked out instrumental
fugues in four voices for the church, played now and then during the Mass in
place of concertos suggests that it was the concerto that most often served to
instrumentally embellish the liturgy.128 Indeed, a number of works by Pisendel
entitled Concerto are likely to have been intended for church performance.129
All of these church sinfonias were performed with the kinds of orchestral dou-
blings seen in Table 3.5. This too seems to have been a widespread and long-lived
practice. Johann Abraham Peter Schulz, writing in 1774, took it for granted that
fugal Kirchentrios for two violins and bass are scored for more than one to a
part (mehr wie einfach besetzt),130 and it is possible that what Mattheson called
starcken Sonates in 1717 were those intended for performance in church.131
Laurie Ongley has found evidence that, at least during the period 17651805,
the entire Dresden Hofkapelle performed in church, with both strings and winds
sharing parts.132 She points to late eighteenth-century petitions from the court
orchestras administrator (the Directeur des Plaisirs) as conrming that four
cellists, four contrabassists, and two or four bassoonists played in church, as op-
posed to only two of each in the opera. To judge from the performances of Tele-
manns works in the court church, a similar continuo group was employed earlier
in the century.
Citing a late eighteenth-century manuscript catalog of the music kept in the
Dresden Hofkirche, Ortrun Landmann has suggested that several instrumental
pieces by Telemann were enlisted for ecclesiastical duty at the court.133 Table 3.6
lists these and other Telemann works probably heard during Mass between 1725
and 1755. Each is transmitted in a set of orchestral parts, and ve (43:Es1, e5,
e12, A6; 50:5) include only one or two movements. Several other works (42:B6,
43:C1, 43:G5, 44:11) are four-movement sonatas that might easily have been
performed in church as two two-movement pairs. That instrumental music was
often heard at two dierent points during the liturgy is conrmed by the three
pastiche works (2392-N-5, N-7, Q-44b). Here distant key relationships between
the opening and closing movements bespeak their diering functions, and move-
ment pairs in all three manuscripts are accordingly labeled N:o 1 and N:o 2.
188 The Concertos

Table 3.6 Telemanns Dresden church sinfonias

TWV Source: Title Parts
43:C1 2392-N-1: [Sonata] 6 vn, 2 va, 3 b, 2 bn, cemb
55:D20 (3 movts), 2392-N-5: Ouverture 5 vn (+ 2 , 2 ob), 2 va, 2 b, 2 bn, vne,
55:F10/i cemb
43:A6 2392-N-6a: Sinfonia 2 vn, va, b, cemb
43:A6/i, ii 2392-N-6b: Sinfonia 4 vn (+ 2 ob), va, 2 b
42:F11 (2 movts),
42:A11/ii,
42:A12 (1 movt) 2392-N-7: Trio 8 vn, 7 b, cemb
42:B6 2392-N-10: Concerto 6 vn (+ 2 ob), 2 va, 2 b, 2 bn, cemb
43:Es1/i, ii 2392-N-12: Concerto 6 vn, 3 va, 2 b, 2 cemb
42:e12/i, iv 2392-N-15: Sonata/Trio 7 vn (+ 2 ob), 6 b, bc
50:5 (1 movt) 2392-N-16: Sinfonia 6 vn (+ 2 , 2 ob), 2 va, 4 b, 2 bn, cemb
43:e5/i 2392-N-17: Sinfonia 6 vn, 2 va, 2 vc, b, 2 bn, cemb
43:G5 2392-Q-3: [Sonata/Trio] 4 vn, va, 2 b, 2 bn (lost: 2 vn, va, b, cemb)
44:11 2392-Q-14a: Sonata 6 vn, 2 va, 5 b
42:c1/i, ii, 42:e1/i, ii 2392-Q-44b: Sonata/Trio 6 vn, 3 b, 2 bn, cemb
42:g13 2392-Q-50a: Sonata 2 vn, cemb
42:g13/i, ii 2392-Q-50b: Sonata/Trio 4 vn, 6 b

The apparently common practice of limiting liturgical instrumental works to

one or two movements is described by Johann Adolph Scheibe in his 1739 deni-
tion of Symphonies for sacred works:

With regard to the type and succession of movements, I must still add the follow-
ing. One does not compose three separate movements, as one usually does for other
symphonies, but restricts oneself to one movement or, at the very most, two. The
character of these movements is either slow and pathetic at the beginning followed
by a faster movement, or a rapid and ery movement followed by a slower and more
sentimental one. The beginning of the [following] vocal piece will determine just
how the symphony should commence. . . . One must observe at least the following,
that when two movements are composed, they are not so dierent that a pause be-
tween them is necessary; rather, the end of the rst movement must cleverly unite
with the beginning of the second movement so as not to appear contrived or arti-
cial, but rather as inevitable.134

Nobility, majesty, seriousness, and a full-voiced sound were among the attrib-
utes ascribed by Mattheson, Scheibe, and Johann Abraham Peter Schulz to the
church symphony, and the same writers advised that the character of instrumen-
 Three Never from the Heart? 189

tal music performed in church should correspond to that of the following vocal
work. Schulz, in particular, considered a pathetic and thoroughly worked out
fugue the most appropriate movement type.135 Thus the Telemann works tend
toward a serious aect: two-thirds of the fast movements are fugal, and of course
the two French overtures in 2392-N-5 also have fugal fast sections. Aside from
the D-major bourre and courante in the same manuscript (movements that are
more dicult to reconcile with a sacred setting), there are only a few binary
forms. Many of the slow movements have imitative textures as well, and all are in
a relatively conservative Italian idiom. Indeed, very little of this music is colored
by the galant style.
The parts were copied principally by one or both of the two court scribes,
known as Copyists A and D. In at least two instances (2392-N-6a/6b and 2392-
Q-50a/50b), older single-part sets seem to have been combined with newly
copied doublets, a time-saving measure for producing the customary six violin
and two viola parts, apparently for twelve violins and four violas.136 The latest sets
(2392-N-7, N-15, and Q-50b), produced in the 1750s, are also among the
fullest. This no doubt reects the increased personnel of the Kapelle, and per-
haps also the move in 1751 from the Opernhaus-Kirche to the spacious new
Hofkirche. An ensemble including as many as sixteen violins and an equal num-
ber of continuo instruments (2392-N-7) might appear to be bottom-heavy, but
it may be that such a scoring was necessary to overcome an acoustic favoring the
treble register. Although we cannot be certain precisely which instrumentsand
in what numbersplayed from the Basso parts, they likely included various
mixtures of cellos and contrabasses, and perhaps a theorbo as well. Bassoons that
are not specically designated in a set of parts may have been included among the
bassi. Occasionally bass part titles are more revealing: the continuo instruments
in 2392-N-5 and N-17 seem to have included four cellos, four bassoons, two vi-
oloni, and organ (the designation Cembalo here and on other parts is likely a
holdover from secular performances). Odd numbers of violin parts in 2392-N-
5, N-15, and (in Table 3.5) O-33 may indicate that Pisendel, as concertmaster,
did not share a part. At any rate, one rst violin part in the last manuscript bears
a P. for Pisendel, as do parts in 2392-N-4a and 2392-Q-44b (M.P. for
Monsieur Pisendel). Pisendel may have composed the wind trios in 50:5 and
is probably responsible for the viola part in 42:B6, which transforms the second
movement from a three-voice to a four-voice fugue; the trios newly expanded
scoring may explain its designation as a concerto.
In sum, several important points emerge from a survey of orchestras with
which Telemann was closely associated over the course of his career. First, some
lost repertories may be partially recovered through documentary evidence: in-
190 The Concertos

strumental works of Telemann performed in Leipzig during the 1710s and early
1720s; music of other composers performed by the Hamburg collegium mu-
sicum; and Telemann sonatas, concertos, and suites performed during Mass in the
Dresden court church. Second, orchestras performing Telemanns musiceither
under his direction or that of othersvaried greatly in size, from as few as a half
dozen players to between twenty and thirty. Thus modern performances of Tele-
manns concertos and overture-suites with one instrument per part are as histor-
ically justiable as those featuring doubled strings. Finally, even if many of the
composers own practices seem irrecoverable, there is potentially much to be
gained from reconstructing performance contexts indicated by the surviving
sources, for Telemanns orchestras were found throughout Germany.
 Chapter 4
Bachs Debt Repaid with Interest
A Case Study of Transformative Imitation

Asked to compose a setting of verses from Psalm 111 as a demonstration of his

allegedly incomparable talent, the character of Caraa in Johann Kuhnaus satir-
ical novel Der musicalische Quack-Salber (The Musical Quack) surrounds himself
with copies of other composers sonatas and concertos in a desperate search for
usable material. This, his usual compositional process, inevitably produces music
resembling a beggars coat patched together from many stolen patches, not one
of which harmonizes with the next in color and texture. On this occasion Car-
aa awkwardly ts the psalm verses to a sonata by someone else, a solution that
fools no one. Later, in a further example of his compositional ineptitude, he
struggles mightily during a sleepness night to extract the quintessence of four
[borrowed] melodies, and from them prepare the loveliest transformation for his
setting of a poem. But Caraa is ignorant of the craft of developing the most
splendid variations from the best songs and is consequently exposed as an unre-
pentant plagiarist, guilty of having plowed with someone elses calf.1
This humorous portrait of a musical pilferer is in one sense a cautionary tale
about the perils of stealing another composers work, for it gives voice to an
emerging conception around 1700 of music as the intellectual property of its
creator. Caraa runs afoul of compositional etiquette by neglecting to transform
and improve the objects of his imitation; he fails, in eect, to pay musical inter-
est on the substantial loans he has taken out. Moreover, he violates a largely un-
written prohibition against appropriating other composers music too frequently.
Thus his crime is not so much borrowing per se, but borrowing excessively and
to poor eect. This particular nexus between musical invention and originality is
one that also surfaces repeatedly in German theoretical writings of the early eigh-
teenth century; the many admonitions against musical thievery suggest that there
were plenty of real-life Caraas to guard against. Then as now, Handels musical
borrowings from other composers sparked debate over the degree to which such
external stimulation was appropriate during the creative process. But Handel was

191
192 The Concertos

unusual only in the magnitude of his borrowings, for many, if not most, com-
posers of his time mined their peers music for inspiration.
This chapter explores the musical and aesthetic implications of a particularly
revealing case in point: Johann Sebastian Bachs previously unrecognized borrow-
ing from a movement by Telemann. To wit, the middle movement of Bachs F-
minor harpsichord concerto BWV 1056, justly celebrated as one of the com-
posers most memorable, singable melodies,2 is substantially based upon the
rst movement of Telemanns concerto for solo oboe or ute and strings, 51:G2.
Unlike many intertextual correspondences that are perhaps too readily presumed
to be borrowings, this one goes well beyond the sharing of common melodic and
harmonic formulae to suggest a conscious modeling process.
Bachs movement has engendered much discussion about its origins. Ulrich
Siegele partially overturned the notion that the F-minor concerto as a whole was
originally conceived in G minor for violin and strings, demonstrating that only
the outer movements can have derived from this lost work. Joshua Rifkin subse-
quently showed that the slow movement is not an arrangement of the introduc-
tory sinfonia to the 1729 cantata Ich steh mit einem Fu im Grabe, BWV 156, as had
been proposed by Wilfried Fischer, but that both the concerto movement and the
sinfonia are dependent upon an earlier movement in F major, scored like the sin-
fonia for oboe and strings. This F-major movement, in his view, belonged origi-
nally to a lost D-minor oboe concerto whose outer movements survive in ar-
ranged form as the sinfonias in the 1726 cantata Geist und Seele wird verwirret, BWV
35. More recently, Werner Breig has claried the multistage process by which
Bach revised the ripieno string parts and embellished the solo part in the slow
movement of BWV 1056. He proposes that Bach replaced the slow movement
of the G-minor violin concerto with that of the D-minor oboe concerto because
the relatively circumscribed, vocally conceived line of the latter was better suited
to a transformation from cantilena to coloratura through the gradual accretion
of ornaments.3 Thanks to such source-critical investigations and informed spec-
ulation, Bachs reuse, revision, and recontextualization of BWV 1056/ii (156/i)
has come more sharply into focus.
That the close connection between Bachs and Telemanns movements went un-
noticed for so long is attributable in large measure to misleading descriptions of
the sole manuscript source for 51:G2 as fragmentary, for these discouraged the
appearance of a modern edition until 1998.4 In fact, the missing portions of
Telemanns concerto do not signicantly hinder an assessment of the music, and
they scarcely aect the rst movement at all. The revelation of Bachs modeling
not only adds to the relatively small number of his known borrowings of music
by others, but also demonstrates that the stylistic inuences on his concertos were
 Four Bachs Debt Repaid with Interest 193

not limited to Italian works.5 Perhaps most important, it allows us deeper insight
into a relatively unfamiliar side of his working method: the transformation of
music by another composer into a distinctive expression of his own composi-
tional voice.

Bachs Borrowing, Telemanns Model

In the absence of a secure chronology for either movement, the proposition that
the lost original version of BWV 1056/ii (156/i) was written in response to 51:
G2, and not the other way around, is supported by both musical and documen-
tary evidence. First, it is signicant, and perhaps not entirely unexpected, that
Bachs elaboration of the musical material common to both movements is richer
than Telemanns. This is not necessarily to denigrate Telemanns movement, but
rather to suggest that Bach was able to benet from a critical reading of it, in
much the same way as Handel often realizedthrough various processes of im-
itationthe full potential of the material he himself borrowed from Telemann.6
Had Telemanns movement been modeled upon Bachs, we would reasonably ex-
pect it to reveal some evidence of a critical reading, which it does not. Further sug-
gesting a Telemann-to-Bach direction of inuence is Bachs well-documented
contact with his friends concertos at Weimar (see chapter 3). The composers
early relationship is also attested by C. P. E. Bach in a 1775 letter to Johann Niko-
laus Forkel: In his younger days he saw a good deal of Telemann, who also stood
godfather to me. [crossed out:] He esteemed him, particularly in his instrumen-
tal things, very highly.7 Indeed, one opportunity for Bach to examine Telemanns
concertos may have come in March 1714, when the latter apparently traveled
from Frankfurt to Weimar for Emanuels baptism.8
In considering the music, let us proceed from Rifkins conclusion that BWV
156/i diers only in minor details from the lost original version of Bachs move-
ment.9 Examples 4.1 and 4.2 give the cantatas complete sinfonia and the open-
ing movement of 51:G2. Not without signicance is the fact that at twenty-four
measures in common time, Telemanns Andante is only four measures longer than
Bachs Adagio. While such modest dimensions are common among Telemanns
slow concerto movements composed at Eisenach and Frankfurt, they are most
unusual for Bach at any period. Except for the middle movement of the Third
Brandenburg Concerto, BWV 1048, Bachs Adagio probably takes less time to
perform, on average, than any of his other slow concerto movements.10 Surely the
most striking musical parallel between Bachs and Telemanns movements occurs
in the rst two and a half measures, where the two soloists play virtually the same
194 The Concertos

example 4.1. Sinfonia to Ich steh mit einem Fu im Grabe, BWV 156
SINFONIA
Adagio
c
Oboe


c

Violins 1 and 2,

Viola

Continuo
c

[ ]

10

[ ]

13 3 3
3 3 3

 Four Bachs Debt Repaid with Interest 195

16 [ ]
[ ] [ ]

19
[ ]

Vln 1

Vln 2
Vla

B.C.

melody. Bachs version, however, includes several substantive dierences that

could be regarded as improvements to Telemanns original: the elimination of
melodic stasis across the bar line in measures 12 by reproducing the upward
sweep of measure 12 in 14, and by leaping up an octave in measure 21 to provide
a registral link to 2 on the third beat of the same measure. Equally striking is the
fact that the two passages share a descending bass line, obeat chordal string ac-
companiment, and initial harmonic progression (IV6VIIV6V7I). Al-
though here Bach injects Telemanns bass line with an element of rhythmic vari-
ety, in BWV 1056/ii he reintroduces the steady eighth-note octave leaps (o
rather than on the beat) in the harpsichords left hand. With these parallels in
mind, Telemanns arco string parts might be taken as supporting evidence that
Bach added pizzicato indications to the ripieno string parts in BWV 1056/ii
only to avoid obscuring the rapidly decaying tone of the harpsichord.11
Even though the two movements appear to diverge beginning in the second half
of measure 3, there remain signicant points of contact between them. In a proce-
dure commonly encountered in his sonatas, especially those in solo scoring, Tele-
mann adopts a modular organization for the remainder of his movement, intro-
ducing a variety of contrasting gures that return at dierent pitch levels and are
occasionally extended or altered. Thus, a chromatically inected sigh gure (mm.
34) gives way to a passage that initially reverses this rhythm and elegantly outlines
196 The Concertos

example 4.2. Concerto in G major for oboe or ute, strings, and continuo, 51:G2/i

Andante
Oboe or

c
[ ]

Flute

c



Violin 1 and 2,

Viola

c

Continuo



4 [ ] [ ]

10

[ ]

13

 Four Bachs Debt Repaid with Interest 197

16

20

[ ] [ ]

22

[ ]

V7/V on the way to the dominant cadence in measure 7; slurred pairs of sixteenth
notes treated sequentially are followed by a return of the sigh gure, now extended
in order to eect a cadence in the mediant (m. 12); and a restatement of the slurred
sixteenths leads to a variation of the sigh gure (m. 1718) and the earlier domi-
nant seventh gure, which now leads back to the tonic (m. 21). Virtually lost in the
manipulation of these modules is the distinctive opening phrase, of which little
trace is to be found later in the movement (but see m. 13). Throughout, the bass
line descends relentlessly, breaking its melodic-rhythmic pattern only at cadences.
Bach, by contrast, rarely loses sight of the opening phrases rhythmic prole,
departing from it only for the galant sixteenth-note triplets in measures 1314 (a
gesture perhaps more typical of Telemann than Bach) and providing a literal re-
peat of the phrase near the movements end. But he does seem to retain an ele-
ment of Telemanns modular conception in the abrupt tonal shifts between some
phrases, especially that occurring at measure 7, where the sudden movement from
198 The Concertos

C major to G minor is underscored by the cross-relation between E-natural (3 in

C major) and E-at (6 in G minor); similarly abrupt, if less dramatic, is Tele-
manns shift from B minor to G major at his measure 12.12 We might also note
the identical length of Bachs and Telemanns second phrases, both of which ca-
dence in the dominant on the downbeat of measure 7. Moreover, Bachs series of
arpeggiated seventh chords leading up to this cadence not only recalls his own
measure 23, but is also redolent of the lled-in arpeggiation of V7/V in the anal-
ogous passage from Telemanns movement. Unlike Telemann, Bach frequently in-
terrupts the descending motion of his bass line, retaining only the rhythm estab-
lished at the outset. Yet on the few occasions when he breaks the basss rhythmic
pattern, it is, as in Telemanns movement, to introduce steady eighth notes at each
of four intermediate cadences. Notice as well that at Bachs modulation to the su-
pertonic he adopts Telemanns solo cadential rhythm (compare Bachs m. 10 to
Telemanns mm. 6, 12, and 21). Even the nal cadences are very similar. True, the
two composers handle the soloists cadential role somewhat dierently: Telemann
provides a Vvi deceptive cadence, Bach a melodic extension leading from tonic
to dominant. But both employ contrary melodic motion between the outer voices
(an ascent on tonic and dominant pitches in the solo partfcf in Bach,
gdg in Telemannover a descending perfect fourth in the bass) and assign
the nal cadential motion to the ripieno strings.
Bach may not have been the only composer to borrow from 51:G2/i. Tele-
mann appears to have reused his opening theme for the rst movement of the
ute solo 41:G9 (Essercizii musici). As Example 4.3 shows, the opening of this
movement bears more than a passing resemblance to that of the Andante: the solo
melody begins almost identically over a descending bass line, includes a large up-
ward leap in the middle of the second measure, comes to a tonic cadence on the
downbeat of the third measure, and introduces a similar contrasting gure
(though closely related to the mordent-like motive at the beginning of m. 2) in
the third and fourth measures on the way to cadencing in the dominant. But the
comparison cannot be pushed much further; the melody is harmonized dier-
ently, the bass line does not maintain its descent, and the second phrase is shorter.
As for the rest of the movement, it runs its course in a total of only fourteen mea-
sures by restating the opening theme in the dominant, then further developing the
motive from measure 2. If one accepts the beginning of this little movement as a
borrowingand it is not nearly as clear-cut an example as one could wish for
then it conforms to what may have been Telemanns usual self-borrowing proce-
dure: the quotation of an initial melodic phrase that becomes the basis for an
otherwise entirely new movement.13
 Four Bachs Debt Repaid with Interest 199

example 4.3. Solo in G major for ute and continuo, 41:G9/i (Essercizii musici, Solo 8),
mm. 16
Cantabile

Flute
c

Continuo c
6 6 7 6 6
5


4

5 3 6 # 6 # 6
4

Having established a close musical connection between the two concerto

movements, we turn now to the question of when and where Bach might have en-
countered Telemanns concerto. Rifkin proposes that Bachs Adagio, in its puta-
tive original form as the middle movement of a lost D-minor oboe concerto,
dates from the Weimar period.14 His argument turns mainly on stylistic parallels
between the concertos outer movements and relatively early works such as the D-
minor violin concerto, BWV 1052a; the Third Brandenburg Concerto, BWV
1048; and Alessandro Marcellos D-minor oboe concerto, Bachs keyboard tran-
scription of which (BWV 974) appears to have originated at Weimar. As for the
middle movement, Rifkin links its arioso style and avoidance of ritornello form
to other early slow concerto movements by Bach, such as the second movement
of the First Brandenburg Concerto, BWV 1046, composed at Weimar or Kthen.
Although this line of argument is rendered less compelling by the substantial debt
Bachs Adagio owes to Telemann, it is nevertheless conceivable that Bachs interest
in Telemanns Andante was due in part to his own preoccupation at Weimar with
the arioso movement type. In this respect, Rifkins linking of BWV 1056/ii
(156/i) and 1046/ii is particularly apt, for these two slow movements not only
share a relative brevity, vocal melodic style, and quasi-ostinato accompaniment,
but, unlike the Telemann movement, conclude with a modied tonic return of the
opening material. These features could indicate that Bach conceived his two con-
certo movements as instrumental equivalents of a certain type of aria found in
his Weimar cantatas. Indeed, the recapitulatory function of the concluding mea-
sures might be read as a reference to free or modied da capo structure, or
even as the concluding ritornello in a through-composed aria structure.15 Note as
well that the majority of Bachs Weimar continuo ariasthe textural near equiv-
200 The Concertos

alent of BWV 1056/ii (156/i)feature quasi-ostinato accompaniments.16 Yet

the parallels between concerto movement and aria extend only this far, for BWV
1056/ii (156/i), at least, does not allude to a tutti-solo opposition by means of
thematic contrasts, harmonic plan, or scoring. If the concluding double return is
read as a free da capo, we must imagine the form to exclude any kind of ritor-
nello; if it instead signies a concluding ritornello, the movements opening mea-
sures must be viewed, implausibly, as an initial ritornello.
But perhaps we have drawn the comparison between Bachs Adagio and his can-
tata arias from the wrong angle. That is, the double return might be a reference less
to the aria than to a kind of sonata movement based loosely upon an aria type. Sev-
eral of Bachs slow sonata movements in two and three partsBWV 1016/iii,
1021/iii, and 1034/iiistrongly recall BWV 1056/ii (156/i) in both style and
structure: all are ariosos that include a modied double return near the end of the
movement, and BWV 1034/iii has a quasi-ostinato accompaniment as well.17
BWV 1021/iii is further related to BWV 1056/ii (156/i) by its unusually mod-
est dimensions. Although the return of the opening theme is handled dierently in
each movementrescored with new counterpoint in BWV 1016/iii, melodically
varied in BWV 1021/iii, and more thoroughly recomposed and extended in BWV
1034/iiithe overall ternary implications of the structures are clear. Each of
these sonatas is known to us through manuscripts of early Leipzig origin, but noth-
ing excludes the possibility that all were composed at Kthen.18 That this kind of
movement structure was far from unusual during the 1710s and early 1720s is sug-
gested by several of Telemanns slow sonata movements.19
Whatever these stylistic parallels tell us about Bachs generic conceptions of
aria, concerto, and sonata, they do little to place the earliest version of BWV
1056/ii (156/i) during a specic period in his career; the movement could con-
ceivably have been composed at any time during the late Weimar, the Kthen, or
the rst Leipzig years. To further illuminate the origins of Bachs Adagio we must
consider the sources and style of his model, for it is a fair assumption that Tele-
manns concerto was relatively new when Bach encountered it. The only source for
51:G2 is a set of early eighteenth-century manuscript parts, in two unidentied
hands, originally belonging to the Wrttemberg-Stuttgart court between 1716
and 1731.20 The assertion in the TWV that the manuscript is incomplete owing
to the loss of the continuo part is incorrect: both pages of the ungured Basso
pro Cembalo part do indeed survive, although they are so badly deteriorated that
the musical text is lacking for the second half of the second movement and the
last third of the fourth movement, as well as for brief passages elsewhere in the
concerto. Despite the unfortunate combination of acidic ink and thin paper, the
Hautbois vel Traversiere, Violino 1, Violino 2, and Viola parts survive
 Four Bachs Debt Repaid with Interest 201

complete. At some point after this full set was produced, a second unidentied
scribe, known to have been active at the Wrttemberg-Stuttgart court around
171722, made an accurate copy of the solo part in French violin clef and added
a title page.21 To judge from the title (Concerto / 1 Traversiere / 2 Violino /
1 Viola / et / Cembalo / Hamburg), this second scribe did not know who had
composed the concerto, only that the workor at least the ve original parts
had some connection to Hamburg. In the upper right-hand corner of the title
page, he assigned the parts number 10 in the courts cataloging system of music
manuscripts. The only attribution to Telemann anywhere on the manuscript was
supplied by a third anonymous copyist, who added Telemann above Ham-
burg.22 So although the concertos style and quality speak strongly for Telemanns
authorship, a small measure of doubt must remain as to its authenticity.
Attempting to clarify the chronology of the manuscript, Klaus-Peter Koch
took the word Hamburg to indicate that the concerto was copied no earlier
than 1721, the year of Telemanns move from Frankfurt to Hamburg.23 On the
face of it, this interpretation seems plausible enough, although it begs the ques-
tion of why the copyist knew the concertos place of origin but not its composer.
An alternative interpretation, one that addresses this question, is suggested by an-
other manuscript in the Rostock collection with a similarly confused attribution.
This set of parts to a D-major trio for two utes and continuo bears the title
Sonata a 3 / 2 ut-Traversieres / con / Cembalo / Hambourg.24 The upper
right-hand corner of the title page is marked N.o 9, and a second handpos-
sibly the same one responsible for Telemann on the concerto manuscripthas
added the words Von Keiser above Hambourg. This is undoubtedly a refer-
ence to Reinhard Keiser, who arrived at the Wrttemberg-Stuttgart court from
Hamburg in April 1719 and remained there until August 1721.25 If the attribu-
tion is correct, then Hambourg might have been intended to indicate that the
trio or manuscript came with Keiser from Hamburg and would have distin-
guished the work from three other trios that Keiser wrote at court in 1720.26
Without wishing to suggest the unlikely scenario of Keisers bringing an unat-
tributed Telemann concerto from Hamburg to Stuttgart, we might note that the
two manuscripts were apparently led next to each other as numbers 9 and 10 in
the courts music collection. Although the consecutive numbering may be due to
the originperceived or actualof the manuscripts in Hamburg, it seems more
likely that we are dealing here with a case of educated guesswork on the part of
the author of the concertos title page. Faced with an unattributed work, he might
easily have included the word Hamburg by analogy to the trio, which, having
probably just entered the courts music collection, he had reason to associate with
the concerto.27 Such a sequence of events is more likely than it might at rst ap-
202 The Concertos

pear, for a similar case of educated guesswork at the court almost certainly un-
derlies the misattribution of Telemanns trio 42:g15 to the Darmstadt Konzert-
meister Johann Jakob Kre.28 If this interpretation of the concertos title page
fails to establish a more precise date for the work, it nonetheless leaves open the
possibility that it was copied before 1721.
Before considering the style of the concerto, it is worth asking which instru-
mentute or oboeTelemann intended to play the solo part. The concertos
classication in the TWV as a work for ute and strings would seem to rest pri-
marily on the manuscripts title page, which, as we have seen, is of later origin than
the full set of parts.29 The earlier solo part gives the instrumentation as oboe or
ute, a formulation also found on the same copyists solo part to the oboe con-
certo 51:d1.30 Even more telling is the range of the solo parts to both concertos:
d to b, typical of early eighteenth-century oboe writing but unusually restricted
in the upper register for the ute; certainly very few ute parts by Telemann, Bach,
and their contemporaries do not call for at least c or d. Then, too, the relatively
low tessitura of the solo parts would in some places cause a ute to be covered
up by the string accompaniment. For these reasons, as well as the apparent con-
vention at the Wrttemberg-Stuttgart court of designating solo parts to wind
concertos as suitable for either oboe or ute (probably to satisfy Crown Prince
Friedrich Ludwigs desire for new repertory to perform on the latter instrument),
we must conclude that 51:G2 was conceived in the rst place for oboe.31 Thus
Bach emulated not only the musical substance of Telemanns movement, but also
its scoring. It is even possible, as Bruce Haynes has speculated, that Bachs move-
ment was originally in G major as well, although none of the surviving sources
show any evidence of this.32
If the philological evidence adduced here suggests that 51:G2 came into the
possession of the Wrttemberg-Stuttgart Hofkapelle between 1716 and the
early 1720s, the works musical style places it slightly earlier, in the company of
the oboe and violin concertos 51:c1, c2, d1, e1, f1, g1, and a1.33 Easily the most
formally sophisticated movement in the G-major concerto is the second, where
the distinction between solo and tutti material gradually breaks down in a man-
ner recalling the sonata in concerto style (see chapter 6). The ritornello-like open-
ing phrase, played by the solo oboe with continuo and cadencing in the tonic,
gives way to a contrasting idea played in thirds by the violins over a drone bass
(Example 4.4).34 This is followed by the rst episode: an extended, motto-like re-
statement of the opening phrase in which the strings gradually adopt this mate-
rial by stating it in canon with the soloist or in false stretto among themselves.
After the second ritornello, played by both tutti and soloist and combining all the
material so far presented, the strings virtually abandon the drone idea, and the
 Four Bachs Debt Repaid with Interest 203

example 4.4. Concerto in G major for oboe or ute, strings, and continuo, 51:G2/ii,
mm. 112

Vivace
6
Oboe or
Flute 8
6
Violin 1 and 2 8
Viola and
Continuo
6
8

4

[ ]

10

oboe takes it up in both of its remaining episodes. In passages such as that shown
in Example 4.5, the oboe and rst violin engage in imitation and voice exchange
more characteristic of the sonata than of the concerto. A similar instance of voice
exchange occurs in the brief, binary-form fourth movement, where the texture
often resembles that of a trio sonata with added inner voices (Example 4.6).35
Such motivic interplay between soloist and rst violin is also characteristic of
51:c1/ii, c1/iv, and c2/ii, and the second movements double-motto opening
204 The Concertos

example 4.5. Concerto in G major for oboe or ute, strings, and continuo, 51:G2/ii,
mm. 6065

60
Oboe or
Flute


Violin 1 and 2



Viola and
Continuo

63

example 4.6. Concerto in G major for oboe or ute, strings, and continuo, 51:G2/iv,
mm. 2629

c
26
Oboe or
Flute

c
Violin 1 and 2

Viola and
Continuo

c

28

without an introductory ritornello nds parallels in the concluding movements

of 51:d1 and f1.
The G-major concertos slow third movement, in the relative minor, derives its
pathos from the soloists angular melody and sigh gures, and through restless
harmonic motion arising from the use of secondary dominants, the Neapolitan
 Four Bachs Debt Repaid with Interest 205

sixth, and modal mixture (Example 4.7). Especially interesting is the texture of
the accompaniment, alternating between a bassetto bass supplied by the rst vi-
olin (for reasons of compass briey transferred to the continuo in mm. 78) and
block chords played by all the strings. In two passages the soloists sigh gures are
accompanied only by a descending chromatic line in the rst violin (mm. 56 and
1617). Similar pathetic cantilenas are placed at the start of 51:d1, g1, and a1
(here the solo melodies are accompanied by rhythmic ostinati), and comparable
tonal instability and chromaticism are found in 51:c1, c2, and d1. Given these
points of style, the parallel transmission of 51:G2 and d1 at the Wrttemberg-
Stuttgart court assumes greater import, for the two concertos may well have been
composed around the same time.
In sum, musical and source-critical evidence allows us to posit the following
sequence of events: (1) Telemann composed 51:G2 circa 171016 as one in a se-
ries of concertos for solo oboe and strings that can be connected to his years at
Eisenach and Frankfurt; (2) the work entered the repertory of the Wrttemberg-
Stuttgart Hofkapelle between 1716 and the early 1720s, by which time it must

example 4.7. Concerto in G major for oboe or ute, strings, and continuo, 51:G2/iii,
mm. 19

Adagio
Oboe or


c
[ ]

Flute

c
Violin 1 and 2


c
Viola and
Continuo

7
[ ]

206 The Concertos

also have come into the possession of Bach; and (3) nding the rst movement
worthy of emulation, Bach not only borrowed the beginning of Telemanns
theme, making relatively minor alterations to it, but also adopted details of the
movements scoring, accompanimental string parts, harmony, phrase and caden-
tial structure, and overall dimensions. Exactly how much before 1729 the origi-
nal version of BWV 1056/ii (156/i) came into being must for the moment re-
main an open question. But the likelihood that Bach modeled his Adagio on a
relatively recent work by Telemann, and the movements stylistic and structural
similarity to some of his cantata arias and slow sonata movements both point to
the mid-to-late Weimar or early Kthen years.

Bach, Telemann, and the Eighteenth-Century Aesthetics

of Musical Borrowing

Those conversant with Handels extensive borrowings from preexistent works by

other composers will no doubt nd much that is familiar in the relationship of
BWV 1056/ii (156/i) to its model, for Bachs compositional procedure is noth-
ing if not Handelian in varying and extending Telemanns opening idea, then
more subtly appropriating various other elements later in the movement. Yet the
traditional explanations for Handels frequent use of preexistent material by him-
self and othersthat he did so out of habit born of his musical upbringing; out
of necessity because of illness, lack of melodic invention, or time constraints; or
out of an altruistic desire to rescue promising, yet unformed ideas from obscu-
rity through a kind of musical alchemywill clearly not suce in the case of
Bach, and in fact many of these explanations have been wholly or partially dis-
credited for Handel as well.36 Indeed, Bachs uses of preexistent music by others
have been comparatively uncontroversial. On the one hand, their small number
does not seriously cast doubt on his facility of invention. On the other, the ma-
jority of these borrowings and arrangementsexcluding chorale tunesare ac-
knowledged in his own hand or in those of copyists (eectively preempting the
charge of plagiarism), belong to either the rst or last decades of his career (invit-
ing us to view them as special cases), or are readily construable as acts of expedi-
ency, undertakings of stylistic research, or fulllments of commissions.
Thus stylistic research, commission, or a combination of the two account for
a number of keyboard works written up to about 1714: the fugues on subjects of
Albinoni (BWV 946, 950, and 951/951a), Corelli (BWV 579), and Legrenzi
(BWV 574/574a/574b); the arrangements of sonatas from Reinkens Hortus
Musicus (BWV 954, 965, and 966) and an unidentied source (BWV 967); and
 Four Bachs Debt Repaid with Interest 207

the arrangements of concertos by Vivaldi, Telemann, Johann Ernst, and others

(BWV 59297 and 97287).37 Similarly, arrangements of Bassanis Acroama
missale (including the Credo in unum Deum, BWV 1081), the Suscepit Israel
from Caldaras Magnicat in C major (BWV 1082), Pergolesis Stabat mater (the par-
ody arrangement Tilge, Hchster, meine Snden, BWV 1083), and the Sanctus from
Kerlls Missa Superba (BWV 241) seem both to have lled a need for new reper-
toire and aorded Bach the opportunity to study dierent styles of sacred vocal
music in his later years. Relatively few appropriations of others composers music
involving signicant recomposition or addition can be condently placed be-
tween these chronological poles. The suite for violin and obbligato harpsichord
BWV 1025, an arrangement of a lute suite by Silvius Leopold Weiss, seems to
have originated around the time of the lutenists visit to the Bach household in
1739.38 Somewhat earlier, probably around 1730, Bach fashioned the well-
known concerto in A minor for four harpsichords and strings, BWV 1065, from
Vivaldis op. 3, no. 10 (RV 580).39 Apparently belonging to the middle Leipzig
years as well is the sonata for ute and obbligato harpsichord, BWV 1031, the
rst movement of which relies heavily upon a trio by Johann Joachim Quantz.40
So BWV 1056/ii (156/i), if it does in fact date from the Weimar or Kthen
years, helps plug the chronological gap between Bachs early borrowings and
arrangements and those of his nal two decades. Beyond this, its modeling pro-
cess invites us to reconsider Bachs relationship to preexistent music by others, for
it now appears that this relationship was not invariably less a matter of imita-
tion of a model than of an awareness of the possibilities, an expansion of his own
manner of writing and a stimulation of his musical ideas.41 In the case of BWV
1056/ii (156/i), the stimulation of Bachs invention appears to have resulted di-
rectly from close imitation of his model. As indicated at the outset of this chap-
ter, such modeling relates to a concept of transformative imitation propounded
by many seventeenth- and eighteenth-century musicians, poets, and painters.42
This concept has gured in several studies of Handels borrowings but has never
been applied to Bachs musical appropriations.43 Nevertheless, the notion of Bach
as a musical critic delighting in reimagining the inventions of his own and others
is a frequently encountered trope of Bach criticism. For example, Christoph Wol
nds that at a very early point, there emerge elements of the most characteristic
and essential parameters of Bachs compositional art: the probing elaboration,
modication, and transformation of a given musical res facta originating from
himself or another composer, with the aim of improvement and further individ-
ualization.44 And Laurence Dreyfus notes that wherever one looks in Bachs
oeuvre, one observes a tendency to assimilate musically received ideas, subject
them to criticism, and recast them in unusually idiosyncratic ways.45
208 The Concertos

The principle of model-based composition or rhetorical imitation (imitatio), as

is well-known, extends back to Classical Greece and Rome, where such writers as
Seneca, Quintillian, Cicero, Homer, and Longinus regarded it as a fundamental
basis of invention. Since then it has frequently been expressed through the meta-
phor of the bee, which, having selected appropriate raw material (nectar from
owers), proceeds to transform it into something new and better (honey and wax).
The notion that the thing borrowed must be improved by the borrower is indeed
a common theme in, for example, the neoclassical literary criticism of John Dry-
den, Jonathan Swift, and Alexander Pope, and in eighteenth-century English trea-
tises on painting by Jonathan Richardson the elder and Joshua Reynolds.46 Here
the line between imitation and emulation (aemulatio) may appear to blur, for the
latter entails an eort at surpassing the model. In Erasmuss formulation, an im-
itator desires to say not so much the same things as similar onesin fact some-
times not even similar, but rather equal things. But the emulator strives to speak
better, if he can.47 As G. W. Pigman observes, one who emulates tries not to
disguise the relations between text and model because the reader cannot appreci-
ate the victory over the model without recognizing it.48 Thus the concepts of im-
itating, transforming, and improving are to some degree bound up with that of
competition. A third version of imitationone that appears to have been all too
common, to judge from Kuhnaus character of Caraa and the disparaging re-
marks quoted in the following pagesis identied by Pigman as following or non-
transformative imitation. This is a gathering or borrowing of material amounting
to little more than a transcription of the model.49
In early eighteenth-century Germany, writers such as Heinichen, Mattheson,
Scheibe, Quantz, and Werckmeister all indicate that the use of a preexistent
work to stimulate ones compositional invention was a widespread, if not en-
tirely uncontroversial, practice. Among musical aestheticians it is Mattheson
who is most vocal on the subject of transformative imitation. In the July 1722
issue of Critica musica a brief mention of Handels borrowings from one of
Matthesons arias (almost note for note) begets a lengthy footnote on the sub-
ject of borrowing in general:

From time to time it can well happen that someone runs across certain ideas that
he may have heard before, without even knowing where, and use them uninten-
tionally. But some have a memory that is almost suspicious and far more success-
ful than others could wish for; this must be very convenient for them. Besides this,
there are two advantages to having such a memory: (1) that such ideasespecially
if there is good elaboration, which is usually paired with empty inventionmust
inevitably also please their rst inventor and rightful owner, since no one is wont
 Four Bachs Debt Repaid with Interest 209

to censure his own work; (2) that the latter suers no particular disadvantage from
this borrowing, but indeed gains an extraordinary honor if a famous man now and
then happens upon his track and, as it were, borrows from him the very basis of
his ideas. If only three people know, that is already honor enough! . . . Those
people, however, who turn the invention into a plagiary, and who, as such, wish to
excuse themselves with a pleasant elaboration, are on the wrong path and reason
falsely. . . . All elaboration, beautiful as it may be, is only interest; but the invention
compares to the capital itself.50

Mattheson comes across as a reluctant advocate of borrowing, seeming to pre-

fer that composers elaborate their own ideas, the musical capital. But those who
wish to pay interest on anothers capital may do so if they substantially transform
the borrowed idea, rather than engage in the supercial elaboration associated
with plagiarism. And one test of a successful elaboration is whether it pleases the
ideas rightful owner, who considers it a high form of attery if the borrowing
is done by a famous composer. Nearly two decades later, in Der vollkommene Capell-
meister, Mattheson explains that all imitation falls into one of three categories:
(1) Aristotelian mimesis of nature (all sorts of natural things and aections);
(2) the eort one makes to imitate this or that master musicians work, which is
quite a good thing so long as no actual musical thievery takes place in the process;
or (3) the successive imitation of formulas, passages, or short phrases (contra-
puntal imitation).51 In a chapter on invention, he implies that borrowing is a
nearly universal practice:

The locus exemplorum could mean here the imitation of other composers, but only if
ne models are chosen and the inventions are simply imitatednot copied or
stolen. When all is said and done, if most is fetched out of the source for inven-
tion in just the sense we take it here, then that should not be censuredbut only
if it is done with restraint. Borrowing is permissible; but one must return the thing
borrowed with interest, i.e., one must so construct and develop imitations that they
are prettier and better than the pieces from which they are derived.
Whoever does not need to do this and has enough resources of his own, need
not begrudge such; yet I believe that there are very few of this sort: as even the
greatest capitalists are given to borrowing money, if they see special advantage or
benet in it.52

Matthesons cautions here and elsewhere about stolen inventions and mu-
sical thievery suggest that he considered much borrowing to be outright plagia-
rism.53 And he seems to have been joined in this perception by a number of his
contemporaries. In his Cribrum musicum (The Musical Sieve; 1700), Werckmeis-
210 The Concertos

ter describes incompetent composers axing a famous name to their inferior

music so as to give the rst performance of a supposedly important work; they
are forced to admit the ruse when their music inevitably fails to please.54 Hein-
ichen reports in his 1728 continuo treatise on the considerable trouble taken by
more respectable composers to avoid the charge of plagiarism, and the zealotry
of those doing the charging:

Indeed, even nowadays one has to avoid the misfortune to include in so many large
theatrical works a single aria or even a melodic pattern of a few notes seeming to
have the slightest similarity with a former work. For even if these [similarities] are
only approximations and occur contrary to the composers intention, or the inven-
tions are barely similar in tertio, quarto, comparable to women who resemble each
other in sexu feminino; there will be those who will in stupidity and passion take the
opportunity to rebuke the composer for plagiarism (because he who could not
write instead of such a little formula twenty others extemporaneously must be con-
sidered a poor composer).55

Either in response to or in anticipation of such rebukes, the Weienfels com-

poser and viola da gambist Konrad Her (1647ca. 1705) included the follow-
ing disclaimer in the preface to his Primitiae Chelicae, oder Musicalische Erstlinge (1695):

I hereby protest publicly that I have never attempted to reap with someone elses
sickle, or to steal anothers work. A preacher is not forbidden to interpret anothers
text dierently, and if, against all hope, a preexistent subject were to be appropri-
ated, then the clothes would no doubt be tted dierently, even though the mate-
rial is the same. . . . They are greatly mistaken who consider with far too shallow an
understanding that imitating is equivalent to copying.56

While discussing the ecacy of the rhetorical loci topici as a stimulant to a com-
posers natural imagination, Heinichen mentions musical raw beginners, evi-
dently in Italy, who mechanically appropriate ideas from others without ade-
quately restirring the brew. Composers of integrity, he adds, avoid listening to
great music before composing, thus eliminating the possibility of inadvertently
including a reference to it in their own works and arousing the suspicion of ig-
norant censors.57 More than two decades later, Quantz also speaks of novice
Italian opera composers who, having won popular acclaim despite their insu-
cient training, avail themselves of music by others when cobbling together their
latest operas: They bring along their inventions not in their heads but in their
luggage.58 The association of plagiarism with Italy is further underscored by
Francesco Maria Veracini, who notes that
 Four Bachs Debt Repaid with Interest 211

[composers of today] laugh at whomever discovers that the compositions they pro-
duce are [composed] by others, even though they sometimes falsely write their
names above them. Likewise they are not oended, but rather ignore it and do not
consider it an injury, if someone says that this bass, or that motive, or all of that
passage is stolen, and that the accompaniments of the bass and the other parts are
copied ad unguem from the writings of another composer.59

But it was not simply a matter of certain Italians decking themselves out in
anothers plumes, for Quantz more generally cautions the beginner to avoid the
works of self-taught composers who have not learned composition through
either oral or written instruction. . . . The majority consist of a hodgepodge of
borrowed and patched-up ideas.60 (Recall the description of Caraas compo-
sitions as a beggars coat made of stolen and mismatched patches.) Evidently
wishing to disassociate himself from autodidactic plagiarizers, Quantz disin-
genuously points out in his autobiography that as a young composer he man-
aged to study the scores of acknowledged masters, attempting to imitate trios
and concertos and their method of composition, without actually writing them
down.61
If the line between patched-up thievery and original invention in these pas-
sages often seems faintly drawn, it is surely by design, for Matthesons prettier
and better is as impossible to objectify as musical interest is to calculate; we
can hardly expect to be told exactly how much and what manner of transforma-
tion is sucient to convert a plagiarism into an original work of art. Yet Matthe-
son comes very close to telling us. A passage in Der vollkommene Capellmeister describes
the collecting of moduliassorted brief melodic gures, turns, cadences, and
the likeas a good way of building a compositional vocabulary. Even if these
snippets come from the works of others (which is, Mattheson tells us, the best
way of collecting them), their combination into a new melody constitutes a
unique invention. However, Mattheson cautions that building such a vocab-
ulary is best done mentally, because constructing melodies from a collection of
written-down moduli will likely result in a lame and botched arrangement, if
ones clumsy melody is patched together from such bits.62 This sort of mindless
ars combinatoria is presumably the kind of process that Kuhnau, Heinichen, and
Quantz inveighed againstand what ignorant censors of the time regarded as
plagiarism. Indeed, Matthesons own example of a four-measure phrase derived
from three motives makes it plain that at least a modest degree of transformative
imitation was expected when composing with moduli.
The dierent attitude toward borrowing in the eighteenth-century world of
letters is described by Friedrich Wilhelm Zachariae. Straddling the literary and
212 The Concertos

musical world as both a poet and composer, Zachariae treats the subject with a
refreshing sense of irony:

I hear with great pleasure that in music, copying is not considered as great a crime
as in the literary world. It comforts me to know that stealing a few measures from
someone would be considered a trie. Anyone with a heart would steal entire arias,
entire symphonies, and even entire operas. I am amazed by this, and I must tell you
that in the literary world neither poets nor critics would go so far. Poets in partic-
ular still strive to maintain their honesty by placing under their verses the original
passages that they have copied. It is therefore not copying, but imitating, and such
poems make no small impression if the poet thus shows his ability to plunder in
all languages, and that he is equally at home in Greece and in England. Since I am
perhaps the rst poet who cannot satisfy his creative impulses through poetry
alone, but also turns to music for assistance, the least I can do is bring myself fame
through a new invention with which my fellow citizens, the musical copiers, can
preserve their honor. To wit, we shall be honest (as I have already begun to be) and
place beneath copied passages small notes with the names of composers from
whom they were stolen.63

One logical inference to be drawn from the writings of German critics is that
most musicians of Bachs time would have considered the process of transforma-
tive imitation in BWV 1056/ii (156/i) to pay back Telemanns invention with
more than the requisite interest. But would Bachs Adagio have pleased Telemann
himself, the rst inventor and rightful owner (to quote Mattheson) of the bor-
rowed ideas? An answer in the armative seems to be provided by a brief passage
in Scheibes Ueber die musikalische Composition (1773). After acknowledging that Han-
del and Hasse often borrowed the inventions of Reinhard Keiser, Scheibe points
out that they nevertheless understood the art of making these inventions their
own, so that they were transformed in their hands into new and original ideas.
Mattheson and Telemann assured me of this more than once, and in light of other
reliable reports I cannot doubt it.64 We have every reason to believe Scheibes as-
sertion that Telemann knew and approved of Handels borrowings, for the two
composers were intimately familiar with each others music, Telemann having per-
formed many of Handels operas at Hamburg and Handel having borrowed lib-
erally from Telemanns Harmonischer Gottes-Dienst, Musique de table, and Sonates sans basse
over the course of more than two decades.65 And given that Bachs process of im-
itation in BWV 1056/ii (156/i) unquestionably produces new and original
ideas and closely mirrors some of Handels own borrowing procedures, one eas-
ily imagines that Telemann would have sanctioned it.
This report of Telemanns apparently sympathetic stance toward transforma-
tive imitation is corroborated by a growing body of evidence that he, too, prac-
 Four Bachs Debt Repaid with Interest 213

ticed the craft at various stages of his career. In chapter 2 we noted the depend-
ence of three movements in 55:e8 upon dances from Destouchess opera Omphale.
In the rst movement of 43:g4, Telemann borrowed both principal motives from
the Allamande of Partia 4 in Heinrich Ignaz Franz von Bibers Harmonia
articiosa-ariosa (1696).66 And the theme of the variation set that concludes 43:a2
(Nouveaux quatuors no. 2) is based upon that of the A-minor Gavotte et doubles in
Jean-Philippe Rameaus Nouvelles suites de pices de clavecin (1728).67 In each of these
borrowings Telemann, like Handel and Bach, critiques and recontextualizes ma-
terial from his model: interest payments for Destouchess dances are made
through frequent departures in melody and harmony; Bibers motives are sub-
jected to more rigorous contrapuntal treatment in the context of a modern, ri-
tornello-form movement; and the rst eight measures of Rameaus variation
theme are melodically, rhythmically, and harmonically enriched before a new con-
tinuation is provided.
Returning to Bach, something of his own view toward imitation can be
gleaned from a contemporary account of his playing. In a 1741 Leipzig journal,
Johann Leberecht Pitschel reported that Bach the improviser was not warmed up
until his powers of invention had been roused by playing the music of other com-
posers:

You know, the famous man who has the greatest praise in our town in music, and
the greatest admiration of connoisseurs, does not get into condition, as the ex-
pression goes, to delight others with the mingling of his tones until he has played
something from the printed or written page, and has [thus] set his powers of imag-
ination in motion. . . . The able man whom I have mentioned usually has to play
something from the page that is inferior to his own ideas. And yet his superior ideas
are the consequences of those inferior ones.68

This passage reads almost like a description of Handels creative process, and
indeed it is tempting to imagine that Bachs improvisations were generated
through transformative imitation of others inferior ideas. Pitschels report
meshes nicely with two often-cited recollections by C. P. E. Bach that testify to
the intellectual stimulation his father derived from external sources. In the obit-
uary written with the help of Johann Friedrich Agricola in 1750, Emanuel noted
that his father needed only to have heard any theme to be awareit seemed in
the same instantof almost every intricacy that artistry could produce in the
treatment of it.69 Later, in a December 1774 letter to Forkel, Emanuel recalled
that his father liked to improvise a fourth contrapuntal voice when accompany-
ing the trios of other composers, a practice that recalls the arranging process in
BWV 1025.70
214 The Concertos

Although the concept of transformative imitation may help explain the aes-
thetic impulses behind Bachs borrowing of Telemanns music, and in particular
why he sought to reconceptualize the model so thoroughly after the opening mea-
sures, it cannot tell us why he chose to borrow from this particular piece in the
rst place. Perhaps the simplest explanation is that Bachs interest in Telemanns
Andante was based upon the quality of its musical invention and its potential for
elaboration. He may also have been drawn to its scoring, for solo wind concertos
were still unusual during the second decade of the eighteenth century. Consider
that of all the Bach concerto transcriptions whose sources are known, only one
the Marcello transcription BWV 974is based on a solo wind concerto. Johann
Gottfried Walthers roughly contemporanous concerto transcriptions are also
mostly of string works, the exception being Telemanns concerto for oboe and vi-
olin, 52:c1.71 In fact, the oboe concertos of Marcello and Telemann may have
been the rst solo wind concertos Bach encountered at Weimar or Kthen.72 One
might also speculate that Bachs borrowing was to some degree motivated by ad-
miration for and friendly competition with Telemann, who in the years before
1715 was probably a more experienced composer of concertos. In appropriating
elements of Telemanns Andante, then, Bach may have sought simultaneously to
pay a compliment to his friend (interest and all) and to demonstrate his emerg-
ing mastery of the concerto as a genre through the rhetorical technique of aemu-
latio.Whatever Bachs motivations for this borrowing, the discovery that one of his
most famous melodies owes its inspiration to Telemann not only enriches the mu-
sical and aesthetic contexts in which we may understand both composers achieve-
ments, but also imposes a fresh layer of meaning onto Theodor Adornos bon
mot, They say Bach, mean Telemann.73
 Part III
The Sonatas
This page intentionally left blank
 chapter 5
Something for Everyones Taste
Telemanns Sonatas to 1725

Telemanns penchant for stylistic and generic amalgamation is perhaps most

vividly expressed in his sonatas. Scored in one to seven parts for a vast array of
instrumental combinations, these works chart his compositional inclinations over
the course of a half century. The earliest among them, considered in this chapter,
reveal sides of the composer that seem far removed from the galant aesthetic he
would later cultivate in his published sonatas at Hamburg, yet are hardly less com-
pelling for it. Embodied in this music is Telemanns youthful mastery of the prin-
cipal Italian, French, and German idioms of the late seventeenth century. Present,
too, is an emerging individuality of expression that culminates, by the time of his
rst four sonata publications (171518), in a stylistic eclecticism anticipating that
of the later Hamburg works. Indeed, when Telemann claimed in the preface to
Die kleine Cammer-Music (1716) that he had endeavored to present something for
everyones taste, he could just as well have been referring to his sonatas as a whole.
Like most young composers during the late seventeenth century, Telemann early
on fell under the spell of Corellis trios, probably while a Gymnasium student at
Hildesheim. He may also have encountered the Italians op. 5 solos a few years later
while attending university in Leipzig, for an edition of the collection was adver-
tised there during the Easter book fair of 1704.1 The lessons Telemann learned
from Corelli and other Italian composers are already evident in the one-movement
sonatas opening several sacred vocal works composed at Hildesheim or Leipzig.
Many stock devices found in the rst movements of Corellis trios da chiesa are
reected, for instance, in the sonata opening Ach Herr, strafe mich nicht, TVWV 7:1,
a setting of Psalm 6 for alto, two violins, and continuo: opening hymnic gestures,
chains of suspensions over a walking bass, and a series of descending rst-inver-
sion chords (Example 5.1).2 Equally reective of the young Telemanns stylistic
inuences is the trio for two scordatura violins and continuo, Anh. 42:A1, which

217
218 The Sonatas

example 5.1. Sonata from Ach Herr, strafe mich nicht, TVWV 7:1, mm. 113, 2327


Sonata

Violin 1

c

Violin 2

c


Organ
c
6 5 6 5 #
# 4 #

7 5 9 6 7 6 7 6
5

9 6 9 6 5 65 6
7 6 6 3
43 5 4

23






6 6 6 6 6 6 5 6 5 6 5 6 5 6 5 6 5 #
# 4 # 4 # 4 # 4 # 4 4

bears the strong imprint of German sonatas from the 1680s and 1690s.3 The
scordatura tuning, used to good eect in reinforcing chords with open strings, it-
self harks back to the seventeenth century, and indeed Telemann called for it in
only two other relatively early sonatas (42:D15 and d6). Opening the trio is a
highly sectionalized Aettuoso marked by abrupt shifts in texture and rhythm,
harmonic stasis, pizzicato arpeggios above bassetto pedal tones (the only example
 Five Something for Everyones Taste 219

example 5.2. Concerto in A major for two scordatura violins and continuo, Anh.
42:A1/i, mm. 1122 (violins at sounding pitch)
Affettuoso


43
con l'arco
pizzicato

Violin 1

Violin 2
43
43
Continuo



16

20

arpeggio

[ ]

of pizzicato in Telemanns sonatas), rapid arpeggiated guration, and an overall

improvisatory aect (Example 5.2). Together these features evoke the stylus phantas-
ticus, a mode of expression that was rapidly falling out of favor in Germany (at
least, with regard to the sonata) by the beginning of the eighteenth century.4 The
third movement is a menuet en rondeau scored, unusually, for only the rst violin and
continuo. It belongs to the same stylistic orbit as several movements from Hein-
rich Ignaz Franz von Bibers Sonat a Violino Solo (1681), such as the themes of the
Aria e Variatio sets in the third and fourth sonatas, and the sarabanda of the
eighth sonata. Rounding out the trio are a fugue, in which the thematic material is
conned to the upper voices, and a pair of lively bourres. Thus in its combina-
tion of Italo-German and French stylistic elements, the work evinces a mixed
tastealbeit in a distinctly seventeenth-century sense. It is, moreover, a highly at-
tractive sonata by a composer who was likely still in his teens or early twenties.
220 The Sonatas

Solos and Trios in the Italian Style

In view of Telemanns exposure to Corellis music, it is not surprising that the ma-
jority of his earliest sonatasseveral dozen works in two to ve parts, all prob-
ably composed before the Frankfurt sonata publicationslean heavily toward the
Italian style. Our exploration of this repertory commences with six solos (41:s2,
g911, A7, B8) and seventeen trios (42:C3, c78, D1314, d6, d9, e10, F7,
F12, G11, g1215, A13, h7) transmitted mostly in Dresden manuscripts dating
from the 1710s or early 1720s.5 Their composition most likely falls into the Eise-
nach years, when Telemann cultivated the sonata with particular intensity. During
this period, as he recalled in 1718, I took a greater liking to sonatas, of which I
wrote a large quantity in two and three to eight and nine parts. In particular,
people wished to persuade me that trios were my greatest strength, because I
arranged them so that one voice would have as much to do as another.6 Telemann
expanded on this recollection in his 1740 autobiography:

And how could I possibly remember everything I composed for strings and winds?
I particularly devoted myself to the composing of trios, and arranged it so that the
second part appeared to be the rst, and that the bass progressed as a natural
melody and in closely following harmony, every note of which had to be that way
and not otherwise. People even attered me as having done my best work here.7

But the sonatas in two parts appear to have made a strong impression as well.
As a student in Merseburg between August 1708 and December 1713, Johann
Joachim Quantz studied violin solos by Telemann that his teacher seems to have
obtained in Leipzig.8 One of these works may have been 41:A7, the only source
for which is a Dresden copy in Quantzs youthful hand. This sonata, like many of
the other Dresden solos and trios, suggests the inuence of Corellis rst ve
opuses and the Venetian sonata collections they inspired by Tomaso Albinoni,
Antonio Vivaldi, and others during the 1690s and 1700s.9 The A-major solo be-
gins with an Adagio constructed largely from a single motive, introduced in the
second measure and treated sequentially throughout. The following Allegro is a
binary moto perpetuo in the tradition of Corellis op. 5, no. 1/iii, a movement type
that also appears in a few of Telemanns early concertos (e.g. 43:B2/iii and
52:e3/iii). After a sarabanda, the solo concludes with a binary giga. Other com-
mon movement types encountered in the early solos are the Adagio with walk-
ing bass (41:g10/i and g11/i, identical for the rst six beats) and the two-
voice fugue (41:s2/iv and g10/ii). A three-voice fugue is found in 41:B8,
where the violin plays two voices by means of multiple stops alla Corellis op. 5.10
 Five Something for Everyones Taste 221

example 5.3. (a) Corelli, Trio in F major for two violins and continuo, op. 4, no. 9/iii,
mm. 15; (b) trio in D major for two violins and continuo, 42:D14/iv, mm. 14
(a)
Tempo di Gavotta. Allegro
Violin 1

C
Violin 2
C

Continuo
C
6 7 7 7 7 6 3
b 5

(b)



Presto
Violin 1
C

Violin 2
C

Continuo
C
6 6 7 6 6 7 6 #
5 5

Particularly interesting is 41:g9/iii, one of Telemanns earliest instrumental reci-

tatives.
Telemanns activity as a violinist at Eisenach may explain why most of his ear-
liest solos and trios involve one or two violins; like the early double violin con-
certos, the trios could have been intended as vehicles for himself and Pantaleon
Hebenstreit. Given Telemanns professional associations during this time, it is not
hard to imagine further performances of the trios with Telemann and Bach at
Weimar, Telemann and Johann Georg Pisendel at Leipzig, and Pisendel and Jean-
Baptiste Volumier at Dresden. The best of these works incline one to agree with
Telemanns contemporaries that they represented his greatest strength. Most are
cast as three- or four-movement sonatas da chiesa, although there are also occa-
sional dance-based movements invoking the gavotta (42:D13/iv, d6/iv), giga
(42:G11/iv), and menuet or passepied (42:g15/iii, A13/iii). Example 5.3 jux-
taposes gavottas from 42:D13 and Corellis op. 4, no. 9. Note that both move-
ments open with close imitation, but that Telemann adds textural interest by
maintaining cross-rhythmic interplay throughout his dance. Like Corelli, Tele-
mann makes relatively modest technical demands of the violinists, limiting the in-
struments upward range to notes accessible in third position and only occasion-
ally writing extended passages of multiple stops and bariolage, the concerto-like
42:D14 being a notable exception in this respect.
222 The Sonatas

A majority of the fast trio movements are fugues, which tend to be relatively
modest in scope and avoid artice such as inversion, augmentation, and diminu-
tion (although stretto and false subject entries are not uncommon). Imitation
usually extends to all three voices, with the dux supported by the continuo, yet
there is a tendency to minimize the polyphonic eect of expositions and subse-
quent subject entries by assigning the countersubject (or accompanying voices, if
there is no distinct countersubject) to double much of the subject in thirds, as in
42:d6/ii. Nevertheless, movements such as 42:F7/ii (a double fugue) and g15/i
(in which the subject is treated canonically, as in 42:G11/ii) involve a consider-
able amount of contrapuntal interplay. One of the most interesting aspects of the
fugues is the subjects themselves, which often embody a youthful exuberance.
Three of the fugues in Example 5.4 have dance-based subjects: 42:G11/ii is a
giga-fugue, a common type in Telemanns sonatas; 42:c7/iv has a subject recall-
ing the canarie, the dances characteristic syncopation animating an ascending
chromatic line in measures 34; and the arch-shaped subject of 42:d9/iv has a
gavotta-like rhythmic prole. This last subject and those of 42:G11/ii and g15/i
are remarkable for their bold leaps and rhythmic drive. Finally, the subject of
42:d9/ii evokes the concerto in its gurative display, at rst consisting of a
tremolo. In several fugues the episodic material takes on a soloistic character. The
rst episode in 42:G11/ii highlights both violins in turn and is sharply dieren-
tiated from the exposition through its disjunct melodic motion, even rhythms,
homophonic texture, and harmonic intensity. Episodes in 42:g15/i and
42:A13/ii feature perdia-like passages of brilliant guration over a bass pedal
tone, a texture rarely encountered in Telemanns later trios but that has a number
of antecedents in the sonatas of Corelli.11
Among slow movements, the Adagio in 3/2 (sometimes in 3/4) is particularly
common. Seven of these reveal Telemanns early fondness for ostinato bass accom-
paniments. The second movement of 42:C3 is built upon a four-measure de-
scending tetrachord that appears at dierent pitch levels throughout the movement
and is ultimately extended melodically to encompass an octave. Also treated freely
is the descending bass in the Corellian rst movement of 42:A13, where an osti-
nato pattern is built from a one-measure rhythmic unit repeated almost without
interruption. Particularly beautiful is the third movement of 42:G11, excerpted in
Example 5.5, where the one-measure ostinato gure controls the rhythm of the vi-
olin parts and eventually migrates to them (mm. 2426, not shown). The ostinato
in 42:d9/iii supports a dialogue between the violins that seems vocally conceived
in its conjunct melodic contours, short-breathed phrasing, and lightly imitative
texture. Ciaccona-like in its descending eight-measure bass pattern, the third move-
 Five Something for Everyones Taste 223

example 5.4. Fugue subjects in the early Italianate trios: (a) 42:G11/ii; (b) 42:c7/iv;
(c) 42:d9/iv; (d) 42:g15/i; (e) 42:d9/ii
(a)

c
Vivace 3

3 3 3 3

3 3 3 3 3 3 3

(b)

46
Allegro

(c)

44
Presto

(d)

23
Vivace

(e)
Allegro

44

ment of 42:d6 is not far removed in style from the Largo of Corellis op. 3, no. 3.
One of the most interesting of the ostinato movements is 42:F12/iii, in which the
oboe and violin engage in a strict canon at the unison.
A number of other slow movements consist of block chords or chains of sus-
pensions serving as brief harmonic bridges between fast movements. The Adagio
of 42:g14, illustrated in Example 5.6, is evidently modeled on movements such
as Corellis op. 1, no. 7/ii, and the Adagio sections in op. 4, no. 6/i. One slow
movement, 42:g15/ii, adumbrates a movement type that would become common
in Telemanns Frankfurt and Hamburg sonata publications. Usually marked Af-
224 The Sonatas

example 5.5. Trio in G major for two violins and continuo, 42:G11/iii, mm. 114

23
Grave

Violin 1

3
Violin 2
2

Continuo
23
6 6 6
4 5

4





6 6 6
4 4 5

[]
7




6 6 7 6 6 7 6 6
# # #

10

[ ]



[ ]




7 6 5
# 4 #

13

 Five Something for Everyones Taste 225

example 5.6. Trio in G minor for oboe, violin, and continuo, 42:g14/iii, mm. 14

Oboe
Adagio
c


Violin
c
Continuo
c
7 6 7 7 6 3 6 5b 6
5 # # 5 9 4 5b

fettuoso, Cantabile, or Soave, this type establishes a tender aect and a sing-
ing quality through short-breathed phrasing, gentle syncopations, wide ranging
melodies full of sighing rhythmic gures, and emotive rests on downbeats (Ex-
ample 5.7). It is undoubtedly movements such as this that Johann Adolph Scheibe
had in mind when he described the opening Adagio of a trio as pleasant and
charming, or of a touching earnestness, captivating the listener through its ten-
derness and gracefulness.12
There are also a few examples of the mixed taste among the trios. The French-
ness of 42:g15/iii (a menuet en rondeau) is implicitly acknowledged in both man-
uscript sources by the indication doucement at the start of the rst couplet. The
rst movement of 42:d9 recalls the slow section of the French overture or the en-
tre grave through its stately dotted rhythms and binary structure. But this allusion
to the French style may ultimately derive from Italian works such as the rst
movement of Corellis op. 3, no. 10, which is likewise notated in the overdot-
ted manner.13 With its homophonic texture and dotted rhythms, 42:d6/i is es-
sentially a French prelude in which the rst violins line has been embellished with
an odd mixture of Italian passaggi and French agrments (double cadences, mordentes, tierces
coules, ports de voix, tiratas, and coulades). Given that both manuscript sources for the
work transmit the same mixed embellishments and that written-out ornamen-

example 5.7. Trio in G minor for ute, viola da gamba, and continuo, 42:g15/ii,
mm. 13
Cantabile


Flute c


3
Viola c
da gamba

Continuo

c

6 6 6 6 6 6 6 6 6 7 6 6
4 4
226 The Sonatas

tation of this kind is extremely uncommon in manuscript copies of Telemanns

instrumental music, it is tempting to attribute them to the composer himself. In-
deed, some of the more elaborate passaggi resemble those found in the rst move-
ment of Telemanns Six sonates violon seul (1715).

Trios alla francese

The most popular among Telemanns unpublished sonatas appear to have been his
French-style trios. Mattheson lauded these works, pointing out that they retained
their Gallic avor despite some Italian seasoning:

As concerns the true French trios, vocal as well as instrumental, Lully is still to be
placed rst. For among the more modern Frenchmen who apply themselves to
music are very many who use Italianized frills to such a degree that they become
nothing but aected eccentrics and are not worthy of imitation. Kapellmeister Tele-
mann, on the other hand, deserves to be emulated because his trios, though some-
thing Italian is mixed in, nonetheless ow very naturally and in the old French man-
ner. One sees pieces of this type by him of which Lully himself would in no way
be ashamed, especially since he did not conceal his native style. Whether Telemann
used his Parisian journey to learn or to teach is in doubt. I believe it was more for
the latter than the former purpose.14

In his Versuch, Quantz advised that a beginning instrumentalist ought to practice

well-elaborated duets and trios which contain fugues and are composed by solid
masters, and should continue with them for a considerable time. They will improve
his ability to read notes and rests and to keep time. For this practice I wish to rec-
ommend especially Telemanns trios written in the French style, many of which he
had already fashioned thirty or more years ago. Unfortunately, they may be di-
cult to obtain, since they were not engraved.15

This passage caught Telemanns eye soon after the Versuch was published in
1752, and in an untraced letter to the author he seems to have asked why these
particular worksdecades old and hard to come bywere singled out for praise.
In his January 1753 reply, Quantz justied his choice:

By no means do I set myself up as judge of your trios and quartets. I hope that I am
not said to have intentionally given occasion to such thoughts. In the passage in
which I mention the trioswhich, if you wish to take the trouble to consult it
again, you will nd on page 94I speak only of those composed in the true
 Five Something for Everyones Taste 227

French style; these I had to cite there for my purpose. Others that are not com-
posed wholly in this style are not taken into account at all at this place.16

Which works were at issue here? If the trios had been written thirty or more
years ago, they would date from about 1720 at the latest. And by the true
French style, Quantz would presumably have meant works with little hint of the
mixed taste. An important clue as to the trios identity is provided by the Solfeggi
Pour La Flute Traversiere avec lenseignement, Par Monsr. Quantz, a manuscript collection
of musical exercises and excerpts with pedagogical commentary that provides
valuable insights into Quantzs method of teaching ute. The collection appears
to have originated between 1775 and 1782, probably in the circle of Augustin
Neu, a Quantz student and utist in the Berlin Hofkapelle from 1751 to 1792.
In compiling the manuscript, the unknown copyist drew on various older sources
connected with Quantz.17 Not surprisingly, many of the excerpts from solos,
duets, trios, and concertos, and perhaps all of the anonymous exercises in the
Solfeggi, are by Quantz himself. There are also numerous passages from works by
his colleagues at Dresden and Berlin. However, next to Quantz, Telemann is the
best-represented composer in the Solfeggi, with excerpts from over thirty duets and
trios. These are listed in Table 5.1.18
In the true French style are 42:D16, d11, e11, and A16, collectively identi-
ed in the Solfeggi as Trio alla Frances. di Telemann.19 Of these works, the A-major
trio has no known source. The D-minor trio was considered lost as well until
1994, when manuscript parts for it and the similar 42:c4 and h5 turned up in the
music collection assembled by Count Rudolf-Franz Erwein of Schnborn-
Wiesentheid (16771754).20 As shown in Table 5.2, these six trios were widely
disseminated during the eighteenth century and were oered as a set of works for
2. Flauti coll Basso in the 1763 Breitkopf thematic catalog. A seventh trio in
Breitkopf s set, 42:e14, has vanished without a trace; one can only speculate as to
whether it too was in the French style.21 The recent discovery of Berlin sources for
42:D16 and d11 seems to strengthen the connection between Telemanns trios alla
francese and Quantz.22 That the trios were composed as a set at Sorau or Eisenach
is indicated by the early manuscript transmission of 42:c4: the rst listed source,
in the hand of Johann Georg Pisendel, appears to have been left at Darmstadt by
the violinist in 1711 or 1714; this copy may have been the model for Anton Eber-
hard Helmanns Darmstadt parts of about 1715. Pisendel also copied out the
Dresden source for the trio, on paper that can be dated to between 1707 and
1723.23 Although these and a few other manuscript sources for the trios call for
oboes or violins, the upper parts range (d to e) seems designed for the ute.
Table 5.1 Telemann duets and trios excerpted in Quantzs Solfeggi
Pages in Solfeggi
Work/Movements (modern edition) Principal sources
40:101/ii 90 Sonates sans basse (1727)
40:102/iii 90
40:103/iii 92

40:123/i 75 XIIX Canons mlodieux (1738)

40:124/iii 43, 83, 86 Second livre de duo (1752)

40:125/iiii 43, 83
40:126/i, iii 43, 86, 89
40:127/iiii 86, 89
40:128/iiv 87, 89
40:129/iiii 45, 87, 90

40:130/iii, iv 76, 88 Sei duetti per il auto traverso primo, auto traverso secondo
40:131/iiv 76, 85, 88 (D-Bds, Mus. ms. 21787)
40:132/iii 76, 89
40:133/iii 76, 86, 90
40:134/i, iiiiv 36, 77, 86
40:135/iii 36, 77, 86

40:141/iiii 46, 83, 91 9 sonatas for two utes (D-Bds, SA 3903)

40:142/iiii 46, 91
40:143/iiii 27, 92
40:144/ii, iv 27, 84
40:146/i 84
40:147/ii 92
40:148/iiiv 84, 92
40:149/i, iii 84, 92

42:c1/ii, iv 85 Six sonates en trio dans le goust italien (173133)

42:D4/ii 81
42:d2/i 81
42:e1/ii, iv 8182
42:G12/iv 82
42:A2/ii 81

42:D19 57 ?

42:D16/ii 56 See Table 5.2

42:d11/iiv 5556
42:e11/iii, iv 56
42:A16/i 56
 Five Something for Everyones Taste 229

Table 5.2 Telemanns trios alla francese

TWV 42: Sources Scoring (+ bc)
c4 D-DS, Mus. ms. 1042/28a 2 ob/vn
D-DS, Mus. ms. 1042/28b 2 dessus/ob
D-Dl, Mus. 2392-Q-78 2 vn
D-WD, Ms. 876 2 dessus
Breitkopf catalog, Part 3, col. 10 2
D16 D-Bds, SA 3552 2 dessus
D-ROu, Mus. saec. XVII. 184520 2
D-ROu, Mus. saec. XVII. 185156 2
Quantz, Solfeggi, 56 2
Breitkopf catalog, Part 3, col. 10 2
d11 D-Bds, SA 3904 2 dessus/
D-WD, Ms. 875 2 dessus
Quantz, Solfeggi, 5556 2
Breitkopf catalog, pt. 3, col. 10 2
e11 D-DS, Mus. ms. 1042/81 2 vn
D-ROu, Mus. saec. XVII. 184524 2 vn
Quantz, Solfeggi, 56 2
Breitkopf catalog, pt. 3, col. 10 2
A16 Quantz, Solfeggi, 56 2
Breitkopf catalog, pt. 3, col. 10 2
h5 D-DS, Mus. ms. 1042/16a (score) 2 vn
D-DS, Mus. ms. 1042/16b 2 vn
D-WD, Ms. 873 2 dessus
Breitkopf catalog, pt. 3, col. 10 2

Even a cursory glance at the ve extant trios reveals that Telemanns true
French style admits Italianate elements. Such subtle stylistic mixture went un-
recognized by Quantz, who considered the music of Lully and later generations
of French composers to be cut from the same stylistic cloth: Since, as everyone
knows, the Italian style in music has changed very considerably since the death of
Lully, while that of the French has remained exactly the same, the dierence be-
tween the two has gradually become more and more pronounced since that time.24
Telemanns trios alla francese are Italianate insofar as they contain a few harmonic-
transitional slow movements, through-composed structures, and occasional sus-
pensions in the upper voices. Yet for all this, they are in a truer French style than
the solo and trio suites he composed later in his career. Quantz must have regarded
the trios as eective pedagogical tools for promoting a mixed taste among his stu-
dents, because they are almost the only examples of the French style in the Solfeggi.
Telemanns inspiration for the trios likely derived from French publications of
suites for two treble instruments and bass. In France, instrumental trio suites
230 The Sonatas

example 5.8. Trio in D minor for two treble instruments and continuo, 42:d11/i,
mm. 113

46
Gravement

Dessus 1
Dessus 2
6
4

[ ]

Continuo
46
#

D 6
D 5b 6
2 2 b


9






6 4
2
6

11

6 6 6 5 6 6 3 D
4 3 5 5

arranged from Lullys theatrical music had circulated in manuscript copies from
at least the 1670s. But it was only during the 1690s that French composers, and
a few foreign imitators, began to publish newly composed trios. In the twenty
years following the 1692 publication of Marin Maraiss Pices en trio pour les utes,
violon, & dessus de viole, some thirty-eight publications containing trio suites ap-
peared in Paris and Amsterdam.25 Each of Telemanns trios alla francese consists of
four movements conned to the tonic key and bearing French, or Frenchied, ti-
tles. Although essentially suites with a prelude for the rst movement, they dis-
play the slowfastslowfast movement succession of the sonata da chiesa. As in
 Five Something for Everyones Taste 231

many contemporaneous French suites, four of the preludes are imitative. Note
that in the loure-like prelude of 42:d11, shown in Example 5.8, the mildly imi-
tative texture is moderated through frequent rhythmic unisons between two or all
three voices. Indeed, seldom in the ve trios does Telemann allow himself to de-
part too far from an overall homophonic conception. Most of the movements
following the preludes are indebted to standard French dance types, such as the
canarie, bourre, gavotte, gigue, minuet, passepied, rigaudon, and sarabande. Sev-
eral slow movements make liberal use of agrments (tierces coules, ports de voix, ports de
voix doubles, chtes, and tremblements). The third movement of 42:D16 evokes the the-
atrical sommeil with conjunct quarter-note motion slurred in pairs and suggests
through frequent dynamic contrasts the typical alternation of two utes or re-
corders with a string orchestra. Alternatively, the dynamic contrasts may be an al-
lusion to French galanterie pieces entitled Echo or the like.26 Easily the most dra-
matic slow movement is 42:e11/iii, which would not seem out of place in a
French opera or cantata of the prramiste period. Other stylistic features indicating
the trios close relationship to French models are the sautillant rhythms of the gigue
concluding 42:D16 and the petites reprises of 42:e11/iv and 42:h5/i.

example 5.9. Trio in D minor for two treble instruments and continuo, 42:d11/ii,
mm. 116

En Menuet
Dessus 1 43

4
Dessus 2
3
43

Continuo


6

12







232 The Sonatas

The refrain of 42:d11/ii, a menuet en rondeau, has the iamb-trochee rhythmic

pattern of the Favier-style menuet discussed in chapter 1 (Example 5.9). This par-
ticular melody seems to have had wide currency during the late seventeenth cen-
tury: it is similar to the Minuet pour les Faunes et les Dryades from Lullys 1670
comdie-ballet Les amantes magniques (quoted later that year in Le Bourgeois gentilhomme),
and to menuets by Giovanni Bononcini, Georg Muat, and Alessandro Scarlatti.
Transposed up a fourth, the rst eleven beats of Telemanns Dessus I part cor-
respond exactly to the beginning of the sixth movement of Corellis G-minor
sonata for two violins, violetta, and continuo, WoO2, a work published in 1699.
More striking still, the rst eleven beats of both melody and accompaniment ap-
pear almost note for note at the start of the D-minor Air Menuet I from Er-
lebachs VI Ouvertures no. 4 (1693).27 Regardless of whether Telemann consciously
borrowed from one or more of these composers, it is signicant that his En
Menuet participates in a dense intertextual web implicating French, Italian, and
German composers around the turn of the eighteenth century. By this time, the
movements melody may have been understood as an emblem of the Lullian style.

The True Touchtone of a Genuine Contrapuntist:

Quartets for Strings and Winds

Despite the high regard in which Telemanns contemporaries held his solos and
trios, it was the quartets that were most often singled out for special praise. The
only two theoretical discussions of late-baroque sonatas in four partsby
Scheibe and Quantzboth cite Telemanns works as paradigmatic. In formulat-
ing the following passage, Scheibe drew on what must have been an intimate ac-
quaintance with Telemanns music of the 1730s. Indeed, his recommendation of
ute, violin, and viola da gamba for the upper voices of a quartet, his emphasis
on counterpoint and idiomatic writing, and his advocacy of the French style
likely stem directly from an appreciation of the Quadri (1730) and Nouveaux
quatuors (1738):

In general, it is best if one uses four dierent instruments. In particular, a ute, a

violin, a viola da gamba, and a bass sound best together. Nevertheless, one also
nds quartets in which a dierent disposition of instruments occurs. Two oboes
and two bassoons are also very pleasant to hear. In the case of the rst kind, when
four dierent instruments are used, more alterations and more agreeable writing
are permissible. The contrast of the instruments themselves may aid the composer
therein. And this contrast also makes them clearer and more agreeable to the ear.
In general, these pieces require much thorough work as well as a great deal of ex-
 Five Something for Everyones Taste 233

perience and care. One has three upper voices. All these voices must nevertheless
be given their own melodies. They must all agree exactly with one another. No con-
straint or harmonic lling-in may occur. Everything must be singable and owing.
And to be sure, we will come across few composers who are successful with such
works. The famous Telemann has really surpassed almost all other composers with
his excellent quartets. And whoever wishes to observe and become intimately ac-
quainted with the true essence of these singular musical pieces has only to turn to
the beautiful works of this great composer for instruction. From them we see both
that a certain style of writing having much in common with the French is most
practical, and that one must everywhere take care to observe as exactly as possible
the nature and true properties of the instruments employed.28

Quantzs more detailed discussion reads much like an analysis of Telemanns

works, specic examples of which he cites after enumerating the qualities of a
good quartet:

A quartet, or a sonata with three concertante instruments and a bass, is the true
touchstone of a genuine contrapuntist, and is often the downfall of those who are
not solidly grounded in its technique. Its vogue has never been great, hence its na-
ture may not be well-known to many people. It is to be feared that compositions
of this kind will eventually become a lost art. A good quartet requires: (1) a sub-
ject appropriate for treatment in four parts; (2) good, harmonious melody;
(3) short and correct imitations; (4) a discerningly devised mixture of the concer-
tante instruments; (5) a fundamental part with a true bass quality; (6) ideas that
can be exchanged with one another, so that the composer can build both above and
below them, and middle parts that are at least passable and not unpleasing;
(7) preference for one part should not be apparent; (8) each part, after it has rested,
must re-enter not as a middle part, but as a principal part, with a pleasing melody;
but this applies only to the three concertante parts, not to the bass; (9) if a fugue
appears, it must be carried out in all of the four parts in a masterful yet tasteful
fashion, in accordance with all the rules.
A certain group of six quartets for dierent instruments, mostly ute, oboe, and
violin, which Mr. Telemann wrote some time ago, but which have not been engraved,
may provide excellent and beautiful models for compositions of this type.29

We shall consider the possible identities of the six quartets below, but for
now it is worth noting that although Quantz praises several other composers in
the Versuch, including Corelli, Vivaldi, and Handel, Telemanns trios and quartets
are the only specic works he recommends as models for aspiring performers and
composers.
If the surviving works are any indication, Telemann did not begin to invest
much eort into the quartet until his Frankfurt period. The earliest examples are
234 The Sonatas

likely the three-movement quartet for recorder, violin, viola, and continuo, 43:g4,
and the original string versions of the Quatrime livre de quatuors (discussed below).
The G-minor quartets transmission in a Dresden manuscript of circa 171015
suggests its origin at Eisenach, as does its style. As noted in chapter 4, the two
motives that comprise virtually all of the rst movements thematic material (an
eighth-note turn gure on G followed by sequential Fortspinnung) were borrowed
from an allemande in Bibers Harmonia articiosa-ariosa. Although both Allegros are
strongly informed by the solo concerto (see chapter 6), the close imitation be-
tween recorder and violin suggests the trio sonata as a primary point of departure
for the work; the viola, in fact, seldom shares in the thematic material. Particu-
larly reminiscent of Telemanns early Italianate trios is the second movement, a
lovely sarabanda-like Adagio.
Nearly all of the remaining Telemann quartets transmitted in manuscript
sources (43:C2, D6, d3, F6, G6, G1012, g2, a3, h3) seem to fall into the period
between about 1715 and 1730. These works dispense with the viola as a middle
voice and instead adopt one of three congurations for the obbligato parts: three
trebles, one treble and two basses, or two trebles and one bass. Two of the earliest
quartets in this group, 43:D6 and d3, share a scoring of ute, violin, bassoon or
cello, and continuo, and are transmitted together in a Wiesentheid manuscript
(where they are claimed to be Par Le Sieur Handel). The most noteworthy
movement among them is the expressive opening of the D-minor quartet, a word-
less aria patetica for ute with dotted ostinato accompaniment supplied by an or-
chestra of violin, bassoon or cello, and continuo (Example 5.10). Although lack-
ing the typical double-motto entrance of the singer, this aria opens with a brief
ritornello that, slightly modied, is repeated as an accompaniment to the utes ini-
tial phrase. The lamenting descent of the bass line is heard thrice during the rst
nine measures, but gives way to an E pedal (mm. 911) that becomes the root of
a dominant ninth chord. At this moment of greatest harmonic intensity, the ute
achieves its highest note (d) of the aria, only to counter its angular ascent with a
largely stepwise descent to the dominant (m. 12). Surrounding a tonic repeat of
this dramatic sequence (mm. 712 = 1419) are evaded cadences, the last of
which delays tonal closure by means of the Neapolitan sixth.
The D-minor quartets attribution to Handel, taken seriously for a time, has
been dismissed in recent years.30 Yet its rst movement closely resembles the
opening Grave of the G-minor oboe concerto, HWV 287. As shown in Ex-
ample 5.11, the concertos string accompaniment is built from a remarkably sim-
ilar ostinato, with the two violins trading dotted gures in the manner of the
quartets middle voices. Instead of a chromatically descending bass, the concertos
ritornello features a chromatic ascent in the rst violin (mm. 45). The oboe can-
 Five Something for Everyones Taste 235

example 5.10. Quartet in D minor for ute, violin, bassoon/cello, and continuo,
43:d3/i, mm. 112
Adagio

Flute c
Violin c

Bassoon or
Violoncello

c
c
Continuo
6 6 7 6

7 6 # 6
4 #

6 7 6 7 6 #

7







6 7 6

(continued)
236 The Sonatas

example 5.10.Continued

7
6

# 9
7

#
11




3

6 6 4 #
6
E
5 b 6 4 #
# D
2

tilena oats above the string accompaniment in a way that recalls the quartets
ute part, and though initially less breathless and more melodically conjunct, it
gradually incorporates wider leaps. As in the quartet, the nal return to the tonic
is momentarily deected (m. 25). These suggestive parallels may indicate that one
movement was modeled upon the other. Given the questions surrounding Han-
dels authorship of the concerto,31 one might even entertain the notion that the
same composereither Handel or Telemannwas responsible for both works.
One of Telemanns best quartets, the equal of his nest published works from
the 1730s, is the concerto for recorder, oboe, violin, and continuo, 43:a3. In-
tensely expressive from start to nish, it provides a foil to the identically scored
but much sunnier 43:G6. The rst movement presents an unrelenting succession
of sigh gures and a texture in which material is passed seamlessly among the
three obbligato instruments. The ensuing triple fugue, virtually free of nonthe-
matic material, is the only one of its kind among Telemanns quartets. After an
exposition in which the subject is stated eight times in sixteen measures, the con-
tinuo line becomes fully thematic (it had accompanied the exposition with
rhythms based on the countersubject). Now shorn of its countersubject, the sub-
ject is combined with two new ones. As shown in Example 5.12, the brief third
subject may be stated two or three times during single statements of the rst and
second subjects. Although this section of the movement (mm. 1738) has many
 Five Something for Everyones Taste 237

example 5.11. Handel, Concerto in G minor for oboe and strings, HWV 287/i, mm.
18
Grave
Flute or
Oboe solo c
c
Violin 1
Violin 2 c

Viola

c

c
Continuo
9

9 9 9 6 4 6 #
6 4 #
2

6 7 7 7 7
7
# 7
#

characteristics of the so-called permutation fugue, none of the four voices states
the subjects in a strict order; each follows a dierent pattern. The fugues contra-
puntal density provides an ideal counterweight to the substantial concerted move-
ment that concludes the quartet (see chapter 6). Separating these movements is a
closely imitative Adagio in which a single motive is presented in closely overlap-
238 The Sonatas

example 5.12. Concerto in A minor for recorder, oboe, violin, and continuo, 43:a3/ii,
mm. 2432
24

Subject 2

Recorder c

Oboe c
Subject 1



Subject 3

Violin c
Continuo
c
E 6 6 7 #
3+ 4

26

6 5 4 6 6 6 7 6
3 2 4

29







6 5 # 6

31








7 # 6 6 # #
 Five Something for Everyones Taste 239

ping statements. This pseudo-canonic texture begins to dissolve at the move-

ments midpoint, as the motive rst fragments into a sigh gure and then into a
single, repeated pitch. This now barren sound worldfar removed from the com-
plexity of the opening measurestakes an unexpected turn to the minor mode
before concluding in C major. Likely written during the 1720s, the quartet re-
minds us that Telemanns galant style of the time did not preclude profundity and
baroque complexity.
Nearly as attractive as the A-minor concerto are two quartets with the appar-
ently unique scoring of ute, two violas da gamba, and continuo, 43:G10 and
G12.32 Both treat the gamba parts as completely independent of the continuo
and include one or two fast movements in concerto style (discussed in the next
chapter). These mature works are probably the latest of Telemanns quartets trans-
mitted in manuscript sources. Indeed, 43:G12 in particular displays many char-
acteristics associated with his published sonatas of the 1730s: slow harmonic
rhythm, drum bass lines, prominent use of alla zoppa and triplet rhythms, permu-
tational treatment of musical segments (movement 1, mm. 3341; movement 3,
mm. 4352), passages in which the continuo drops out for long stretches, and
rudimentary sonata-allegro form (movement 4). It is also worth calling attention
to the quartets beautifully expressive slow movements. The Andante of 43:G10
features neo-Corellian suspension chains over a walking bass (compare the open-
ing of 43:A1/iii from the Quadri), whereas both slow movements of 43:G12 are
more galant, the opening Dolce providing an especially ne example of the
singing Aettuoso style.
Let us return once more to Quantzs January 1753 letter to Telemann. Just as
the recommendation in the Versuch of trios written in the French style had con-
cerned Telemann, so too did the unpublished group of six quartets for dierent
instruments, mostly ute, oboe, and violin seem like an unusual choice. Why, he
must have wondered, were published collections such as the Quadri and Nouveaux
quatuors not mentioned instead? Quantzs response was again conciliatory but un-
apologetic:

I am all too convinced, esteemed Sir, that you have indeed already written a great
many [quartets] of equal if not greater quality and possess a superabundance of
the re, invention, and judgment to write many more at any time. But the reason I
have strongly recommended precisely the aforesaid quartets is that they are more fa-
miliar to me than the others; and, since I nd all [the] perfections of good quartets
united in them, I hardly felt that I had to search further. These very quartets are the
ones that rst made me personally most clearly aware of the characteristics of good
quartets and inspired me some years ago to venture into just this eld. Would you
blame me if, without slighting the others, I have a special love for these?33
240 The Sonatas

Identifying Quantzs favorite Telemann quartets is not so straightforward a matter

as locating the trios alla francese.34 If we assume that Quantz encountered them at
Dresden, and prior to his travels to Italy, France, and England between 1724 and
1727 (by which time he was already composing quartets), then three works come
most readily into play.35 One of these is 43:G6 (recorder, oboe, violin, and con-
tinuo), copied out in a study score at Dresden by Quantz himself.36 The others
are 43:g4 (recorder, violin, viola, and continuo), which was apparently in the
Hofkapelles repertory before Quantz joined the organization in 1718, and
43:D6 (ute, violin, bassoon or cello, and continuo), also copied at Dresden by
the mid-1720s. Nothing indicates that these three quartets were regarded as be-
longing to a group, however, and so it may well be that Quantz had other works
in mind. But it is not dicult to see why 43:D6, G6, and g4 might have appealed
to the young composer, for they combine idiomatic writing with a sure handling
of form and texture, not to mention a healthy dose of the Italian concerto style
that was very much in vogue at Dresden from the late 1710s onward.

When Is a Quartet not a Quartet?

Among the most intriguing aspects of Telemanns early quartets is the status of
the obbligato bass part(s) found in most works.37 Depending on how musical
material is distributed among the concertante voices, these quartets may be
likened to a three-way conversation among equals, a dialogue with an unusually
active bass accompaniment, or something in between. Thus two related questions
arise: where does one draw the boundary between trio and quartet, and is such a
distinction meaningful in the rst place? These questions bear closely on the re-
lationship between composition and performance during the early eighteenth
century, for it turns out that a quartets essence could depend as much on its per-
formers as its composer. Providing answers requires us to delve into mostly unfa-
miliar music by Telemanns contemporaries and to explore conceptions of bass-
line variation in both theory and practice.
For a start, let us consider what late seventeenth- and early eighteenth-century
musicians meant by the terms trio and quartet. In the last quarter of the sev-
enteenth century, composers gradually abandoned the sonata a tre, with its two
possible bass-line scoringsmelodic bass (producing an overall scoring of SSB
or SBB) or melodic bass simplied and doubled by chordal continuo (SSBbc or
SBBbc)in favor of the classic trio sonata of the eighteenth century, which ex-
cluded the possibility of an active melodic bass supported by a simpler chordal
continuo, and frequently called for both instruments on the single bass line (SSbc
 Five Something for Everyones Taste 241

or SBbc).38 With the chordal continuo now counted as an essential and inde-
pendent part, the mathematics of sonata scoring was turned on its head: a due
(SSbc or SBbc) became trio, and a tre (SSBbc or SBBbc) became quartet. It is
therefore telling that the 1697 posthumous edition of Henry Purcells sonatas
a tre (SSBbc; composed ca. 1680) describes the works as Ten Sonatas in Four Parts,
whereas Purcells own edition of his identically scored 1683 set is entitled Son-
natas of III Parts. Dening Suonata at the turn of the eighteenth century, Sbas-
tien de Brossard still considered an elaborate melodic bass part a common feature
of sonatas for two violins and continuo: We have Sonatas from one to seven and
even eight parts; but usually they are performed by a single Violin, or with two
Violins and a thorough Bass for the Harpsichord, and frequently a more gured
Bass for the Bass Violin.39 Brossards denition is colored by his reception of
Corellis sonatas (as the revised Suonata article in the third edition of his dic-
tionary makes clear), and indeed opp. 1 and 3 remain the best-known examples
of the sonata a tre. Not only does Corelli provide a separate melodic bass part
(Violone, arcileuto) for his trios da chiesa, but there are tutti passages in his op.
6 concerti grossi (both da chiesa and da camera) where the Violoncello concertino
stops doubling the Basso concerto grosso to play a more elaborate version of
the bass line. The practice of including a melodic bass part in sonatas was main-
tained by some composers in Italy during the 1690s and 1700s, as witnessed by
trios with a violoncello obligato part such as Giuseppe Maria Jacchinis op. 2
(Bologna, 1695), Antonio Caldaras op. 1 (Amsterdam, 1698), and Lorenzo
Balbis op. 3 (Venice, 1710).40 In French solo and trio collections, the practice
may be observed into the 1720s, as in Jean-Franois Dandrieus Sonates en trio
(1705), Jean-Fry Rebels Sonates violon seul melles de plusieurs rcits pour la Viole
(1713), and publications by Jacques Aubert, Charles De la Fert, Louis and
Franois Francoeur, Marin Marais, and Jean-Baptiste Senaill.41
Although most title pages in eighteenth-century German sources refer to four-
part sonatas with obbligato bass as Sonata a 4, Concerto a 4, and (less often)
Quadro or Quatuor, it appears that some musicians during the 1710s and
1720s still regarded such works as trios. In Mathias Nikolaus Stulycks colorfully
scored Concertino 4 Stromenti for oboe, chalumeau, bassoon, and continuo,
the bassoon embellishes the continuo line and plays occasional solos. Yet the oboe
part bears the title Concerto 3, suggesting some indecision on the copyists
part as to whether the work is a trio or quartet. Another Stulyck work, a Sin-
phonia scored for ute, violin, bassoon or cello, and continuo, contains an ob-
bligato bass part that occasionally diverges from the continuo line. Although this
part is labeled Violoncello o Fagotto obligato in one manuscript source, the ac-
companying title page describes the piece as a Sonata a 3, and three of four
242 The Sonatas

parts bear the genre designations Trio or Sinphonia en trio.42 Jan Dismas Ze-
lenka, copying sonatas by his teacher Johann Joseph Fux at Vienna in 1717, also
used seventeenth-century terminology when he entitled one work for violin, cor-
netto, trombone, obbligato bassoon, and organ Sonata 4, and another for two
violins, partially obbligato bassoon, and continuo Sonata / a 3: 2 Violi et Basso
/ con Fagotto un poco / variatio.43 And the partially autograph set of parts to
Zelenkas own sonata for two oboes, obbligato bassoon, and violone or continuo,
ZWV 181/2, bears the following title in a copyists hand: Suonata 2da / 3 /
Oboe 2 / Fagotto Concer: / Violone Basso Contin:.
To judge from the writings of Scheibe and Quantz quoted earlier, the termi-
nological shift from sonata a tre to quartet was complete by the 1740s. Accord-
ing to them, each of the three concertante parts in a quartet must be independ-
ent from and engage in imitation with the others, and be given a proper and
pleasing melody. Furthermore, there must be no harmonic lling-in nor pref-
erence shown to any one of the parts. We have already seen that these prescrip-
tions stem partly from an appreciation of Telemanns quartets, most likely the
Quadri and Nouveaux quatuors in particular. But here it is important to recognize
that these published works, with their extremely active and fully thematic obbli-
gato bass parts, are by no means typical examples of the genre. Together with sev-
eral other works by Telemann (43:d3, e2, G10, G12), Fasch, Heinichen, Stlzel,
and Zelenka, they form a relatively small corpus of music that meets all of
Quantzs and Scheibes criteria for a good quartet.44 Hence both writers obser-
vation that few composers have mastered the genre. What is actually typical of
German obbligato bass quartets from around 1715 to 1740 is a bass-line texture
remarkably similar to that of the older sonata a tre: an active obbligato bass part
that divides its time between doubling a relatively simple continuo line, playing
an elaborate version of this line, and engaging in imitative dialogue with other
concertante parts.
Table 5.3 lists about seventy obbligato bass quartets by Califano, Fasch,
Graupner, Hasse, Heinichen, Lotti, Molter, Stlzel, Stulyck, Telemann, Vivaldi,
Werner, and Zelenka. This lineup establishes the Dresden court as a major cen-
ter for the composition and performance of such works, as it was for quartets
generally. Although the obbligato bass quartets now preserved at the Schsische
Landesbibliothek are limited to just four apiece by Fasch and Zelenka, one by
Hasse, and one by Telemann besides the Quadri and Musique de table, those by Cal-
ifano, Heinichen, and Lotti surviving in other collections were probably com-
posed at the electoral court and must once have belonged to the repertory of the
Hofkapelle.45 To judge from the works of Califano, Heinichen, Lotti, and Ze-
lenka, Dresden composers favored virtuosic writing for two oboes, bassoon, and
 Five Something for Everyones Taste 243

Table 5.3 Obbligato bass quartets in Germany, ca. 171540

Composer
Arcangelo Califano
Johann Friedrich Fasch
Christoph Graupner
Johann Adolf Hasse
Johann David Heinichen
Antonio Lotti
Johann Melchior Molter
Gottfried Heinrich Stlzel
Mathias Nikolaus Stulyck
Georg Philipp Telemann
Antonio Vivaldi
Werner
Jan Dismas Zelenka
Works (scoring + bc)
Quartets in C, Bb, F, a: 2 ob, bn
FWV N:d2, F1, F2, g1, B2: 2 ob, bn
FWV L:C3, N:D1: , vn, bn
FWV N:F4: ob, vn, bn
FWV L:d6: ob, [tr inst?], bn.
Quartets in A, d, g, F, C, e: 2 vn, vc
Quartet in g: 2 rec, vc/vdg
Quartet in F: ob, chal, vc
Seibel 236/257: 2 ob, bn
Seibel 220: , bn/vc, vc
Quartet in D: vn/, bn, b
Quartet in F: 2 ob, bn
MWV IX/2226: , tr vdg, vdg
Quartets in G and e: 2 vn, vc
Quartet in g: /vn, ob, bn
Quartet in G: vn, 2 vc
Quartet in Bb: ob, chal, bn
Quartet in A: , vn, vc
Quadri and Nouveaux quatuors: , vn, vdg/vc
Six quatuors ou trios: 2 /vn with 2 vc/bn, etc.
43:C2 and h3: , vdg, bn
43:D6 and d3: , vn, bn/vc
43:G10 and G12: , 2 vdg
43:G11: , vn, bn/vc
43:g2: ob, vn, vdg
43:e2 (Musique de table III): , vn, vc
43:F6/Anh. 42:F3: vn, hn, vne
RV 801: /ob, ob/vn, bn/vc
Quartet in Bb: 2 ob, bn
ZWV 181/2, 4, 5, 6: 2 ob, bn

continuoa scoring recommended by Scheibe (but not the former Dresden

court utist Quantz) as an alternative to the combination of ute, violin, viola
da gamba, and continuo. The similar style and scoring of Faschs works may stem
from his 1727 visit to the Dresden court.
As in the seventeenth-century sonata a tre, obbligato bass quartets often revert
to a three-part texture in slow or fast movements by doubling the continuo line
with the obbligato bass. An extreme example of such trio scoring occurs in Tele-
manns concerto for violin, horn, violone, and continuo, 43:F6/Anh. 42:F3,
which has been listed in the TWV as both a trio and a quartet. Here the violone
part departs from the continuo line only to play a few measures of bass-line di-
244 The Sonatas

visions. Similarly, in Telemanns concerto for ute, viola da gamba, bassoon,

and continuo, 43:h3, the bassoon and continuo parts are identical throughout the
third and fourth movements. Telemann also reduces the texture from four to three
parts in the slow third movements of 43:C2 and D6. Additional instances of
three-part texture throughout a movement are encountered in works by Califano,
Graupner, Lotti, Stulyck, Vivaldi, and Zelenka; like 43:F6, most of Califanos F-
major Sonata 4 is actually in three parts.
In some quartet movements, three real parts are made to simulate four through
the division of a single bass line between a pseudo-obbligato bass and the con-
tinuo. This procedure is seen in its simplest form in Faschs trio for two oboes and
continuo, FWV N:d1, a work misleadingly listed as a quartet in the catalog of the
composers works. Both manuscript sources for the trio contain a single bass part
(labeled Cembalo e Bassone) in which the cembalo occasionally drops out for a
measure or so, leaving only the bassoon to provide harmonic support for the oboes.
Such alternations are too brief to establish and maintain an illusion of four real
parts, and indeed they are best viewed as written-out examples of what may have
been a common performance practice of the time. At the opposite end of the spec-
trum are works such as Califanos F-major quartet, where the continuo yields to
the bassoon for up to twelve measures at a time, and Zelenkas ZWV 181/2, in
which the bassoon alone provides the bass accompaniment for no fewer than
twenty-eight consecutive measures at one point during the second movement. In
these and similar passages by Lotti, Graupner, and Telemann, when the cembalo or
continuo does play, it doubles the bassoon or other sustaining bass instrument.
One of the most striking features of obbligato bass parts in this repertory is
the emphasis on virtuosic bass-line divisions, particularly in the works of Fasch
and Zelenka. Some of these parts are so elaborate as to resemble diminution ex-
ercises, and it is tempting to view them as the frozen improvisations of bas-
soonists or cellists. As is apparent from Example 5.13, a representative sample
of bass-line divisions from works by Fasch, Heinichen, and Telemann, an in-
crease of activity in the obbligato bass part is usually accompanied by a corre-
sponding decrease of activity in the continuo part. Upon encountering passages
such as these, in which a relatively simple, nonthematic continuo part is juxta-
posed with a more orid obbligato bass part, it may seem that the obbligato bass
is playing the real bass line, while the continuo merely simplies or doubles in
the manner of a basso seguente. Although such appears to be the case in the ma-
jority of seventeenth-century sonatas a tre,46 it is far from universally true among
eighteenth-century quartets. As we shall see, there is evidence to suggest that
composers and performers often viewed the obbligato bass part as an elabora-
tion or variation of the continuo line.
 Five Something for Everyones Taste 245

example 5.13. (a) Telemann, 43:g2/iv, mm. 1012; (b) Fasch, FWV N:F4/ii, mm.
1317; (c) Heinichen, Seibel 220/ii, mm. 1115
(a)

c

10

Viola da gamba

Continuo c

24
(b)


13

Bassoon

Continuo
24
(c)

4
2
11

Violoncello 2

Continuo
2
4

The uid line between trio and quartet is nowhere better demonstrated than
in works transformed from the former into the latter by the addition of a new
line of music. Particularly interesting in this respect are Zelenkas set of six
sonatas for two oboes and continuo, ZWV 181, with a bassoon part that is oc-
casionally obbligato.47 Although considered by some to be quartets, Zelenkas
sonatas are in fact hybrid works that lean more toward the trio in their texture:
the rst and third sonatas, and several movements among the others, are scored in
three parts throughout. Yet at a certain point during the compositional process,
Zelenka began to conceive these works in four parts. The composing score con-
taining all six sonatas switches from three to four staves in the third movement of
the fourth work, and it is here that the bassoon rst achieves some measure of in-
dependence from the continuo line. The bassoon retains its obbligato status
throughout the fth sonata and in the last two movements of the sixth. But Ze-
lenka returns to trio texture in the rst movement of the sixth sonata and divides
a single bass line between bassoon and continuo in the second movement, the two
parts alternating with each other when they are not identical. Most interesting for
our purposes is a partly autograph manuscript of the second sonata containing
two bass parts: one (in the hand of Zelenka) entitled Violone Basso Con-
tin[uo] and another (in a copyists hand) entitled Fagotto. Example 5.14 gives
the opening six measures of the sonata as transmitted in these two bass parts.
246 The Sonatas

example 5.14. Zelenka, ZWV 181/2/i, mm. 16

c

Adagio
Bassoon

Continuo c


4

Zelenka has in eect transformed a trio into a quartet by composing a new, rela-
tively simple continuo part and assigning the original continuo part to the bas-
soon. The same procedure is followed in the third and fourth movements. But in
the second movement, as in the second movement of the sixth sonata, Zelenka
simply divides up the original continuo part between the bassoon and continuo.
Here the division of labor is unequal: the two parts mostly double each other, but
only the bassoon receives solos.
A similar process, but one involving the composition of a new obbligato bass
part rather than a simplication of the original continuo part, may be observed
in the autograph score of Christoph Graupners canonic sonata for two recorders,
cello or viola da gamba, and continuo. This six-movement work was originally
conceived as a trio for two recorders and continuo. Some time after its composi-
tion, Graupner decided to add an obbligato bass part to the rst four move-
ments.48 Lacking empty staves on which to notate the part, he squeezed it onto
the Cembalo sta. Although the new part provides little more than harmonic
ller in the rst and third movements (something expressly forbidden in Scheibes
denition of the quartet), it assumes more of a thematic role in the second and
fourth. Figure 5.1 shows a page from the sonatas third movement. Note in the
top system that the obbligato bass provides harmonic ller, while in the bottom
system it embellishes the continuo line through sixteenth-note divisions.
Graupner also added obbligato cello parts to the autograph score of twelve
trios for two violins and continuo. These parts take the form of notations in
green ink on the continuo sta or on the empty sta separating each system; they
are clearly later additions.49 Sonatas 15 and 11 remain in trio texture, as do
many movements in the revised sonatas 610 and 12. Already in the fugal fourth
movement of Sonata 5, Graupner writes Violoncello and several measures of
rest on the empty sta below the continuo line to indicate that the cello enters
 Five Something for Everyones Taste 247

figure 5.1. Graupner, Canon allunisono, movement 3, mm. 719 (D-DS, Mus. ms.
408)

only at the appearance of the subject in the bass. This tentative attempt at an ob-
bligato bass part gives way rather suddenly, in the second movement of the sixth
sonata, to eighth-note divisions of the continuo line (Figure 5.2). The cellos ob-
bligato material in subsequent movements ranges from complete parts such as this
one, to intermittently notated eighth- and sixteenth-note divisions of the bass
line, to embellishments that integrate the cello into a fugal texture or imitative di-
alogue with the violins. The last two types of interpolation are illustrated in Fig-
ure 5.3, where in the top system a point of imitation is extended to the cello, and
in the bottom system the continuos quarter and eighth notes are divided into
running sixteenths.

figure 5.2. Graupner, Sonata 6/ii, mm. 138 (D-DS, Mus. ms. 472/1)
248 The Sonatas

figure 5.3. Graupner, Sonata 10/i, mm. 925 (D-DS, Mus. ms. 472/1)

To return for a moment to the French repertory, Franois Couperins sonades

provide what appears to be a further instance of a composer adding an obbligato
bass part to a trio after the fact of composition. In La Franoise, published in Les
Nations (Paris, 1726), the basse darchet plays an extended solo consisting of six-
teenth-note guration derived from the basse chire.That the solo, excerpted in Ex-
ample 5.15, was not part of Couperins original conception of the piece is clear
from a manuscript transmitting an earlier version of the work. In this version,
which must date from no later than the mid-1690s, the basse darchet simply dou-
bles the basse chire. Kenneth Gilbert and Davitt Moroney oer the plausible sug-
gestion that the basse darchet solo either is the result of Couperins own left-hand
improvisations in the two-harpsichord version of the piece, or reects the spon-
taneous improvisations of a viol player in the composers circle.50 In fact, three
out of four sonades in Les Nations were given basse darchet solos some time before pub-
lication, although the solo in La Franoise is easily the most extensive. Moreover, in
revisions that recall the newly composed continuo part in Zelenkas second
sonata, Couperin occasionally assigns a simplied version of the original bass line
to the basse chire, allowing the basse darchet to play the more orid version.
Telemanns Six quatuors ou trios (1733) take a somewhat dierent approach to
blurring the line between trio and quartet. The full title of the collection reads:
Six Quartets or Trios, for 2 Transverse Flutes or 2 Violins, and for 2 Cellos or 2
Bassoons, the second of which can be left out entirely or played on the Harpsi-
chord.51 Thus the second cello part, which may function as a continuo line (Tele-
mann supplies it with gures), is entirely optional, and the works are playable as
either quartets (SSBB or SSBbc) or trios (SSB). This is no empty promise in-
tended to broaden the collections appeal, for the Six quatuors ou trios yield satisfy-
ing results in each of these congurations.52 The key to the collections exible
scoring lies in the nature of the rst cello part, which, despite its signicant the-
 Five Something for Everyones Taste 249

example 5.15. Couperin, La Franoise, mm. 13336

8
6
133

Basse d'archet

Basse chiffre
6
8

example 5.16. Telemann, 43:G3/i (Six quatuors ou trios no. 4), mm. 15

Largo

Violoncello 1 4
3

Violoncello 2
3
4

matic content and motivic interplay with the ute parts, often has what Quantz
would call a true bass quality. The simpler second cello usually doubles the ac-
companimental material of the rst, and when the two parts diverge, it is clear
that Telemann, like Zelenka in his second sonata, has derived the optional con-
tinuo line (second cello) from the more elaborate obbligato bass line (rst cello).
Occasionally, as in Sonata 2/iii and Sonata 6/ii, the rst cello plays the kind of
bass-line divisions illustrated in Example 5.16. What is new here is Telemanns
willingness to forgo the harmonic support of a chordal continuo instrument, or
even the continuo line itself.
Bass-line divisions similar to those in sonatas are occasionally found among
concerto movements in trio scoring. In the third movement of Telemanns sonata
or concerto for alto chalumeau, bass chalumeau, unison violins, and continuo,
43:F2/52:F5, the two treble parts are supported by bass chalumeau playing divi-
sions of the continuo line. Likewise, the mostly obbligato cello in the second
movement of Bachs Sixth Brandenburg Concerto, BWV 1051, provides quarter-
note divisions of a continuo part moving mostly in halves and wholes. Only when
the counterpoint between the two violas is particularly dense (mm. 4045), and
at an important structural cadence (mm. 5658), does the texture revert to three
real parts. Several solo passages in the outer movements of Bachs Fourth Bran-
denburg Concerto, BWV 1049, feature the Continuo (harpsichord) playing di-
visions of the Violoncello part.53 These diminutions, some of which are shown
in Example 5.17, are limited to places where the reduced scoring of soloists and
continuo ensures that they will be audible; indeed, when the strings accompani-
mental chords threaten to cover up the harpsichords left hand in mm. 29194 of
the rst movement, the diminutions are played by the cello as well. But why doesnt
250 The Sonatas

example 5.17. Bach, BWV 1049/i, mm. 28696

8
3
286

Violoncello

Continuo
38


291

the cello play all of the diminutions? The answer may be that they reect Bachs
own extemporaneous variation of the continuo line in performance.
The emphasis on bass-line diminution in obbligato bass quartets, and its use
by composersand perhaps performersto turn trios into quartets, relates to a
tradition of improvisatory variation that remained fundamental to compositional
technique throughout the baroque period.54 Indeed, it is no accident that Ze-
lenkas copy of a Fux sonata, mentioned earlier, refers to the obbligato bassoon
part as un poco variatio. Variation, as Brossard informs us, is the dierent
manner of playing or singing the same song, air, or tune, either by subdividing
the notes into several others of less value, or by adding of graces in such a man-
ner, however, as that one may still discern the ground of the tune thro all the en-
richments.55 And Johann Gottfried Walther, using similar language, explains that
Variazione occurs when a simple vocal or instrumental melody is altered and
embellished through the insertion of smaller note values, but in such a way that
one can nevertheless recognize and understand the fundamental melody.56 Thus
one may vary through diminution, as in the French double, or through ornamenta-
tion. Both types of variation were understood by writers of dictionaries and trea-
tises as basically extemporaneous in nature.
Especially relevant to the obbligato bass quartet are several continuo treatises
of the early eighteenth century that devote considerable space to the practice of
varying simple bass lines. Read alongside contemporary accounts of continuo
playing, these suggest that the improvisation of bass-line variationschiey in
the form of divisionswas a common, if somewhat controversial, practice among
continuo players. The extent to which players of melodic bass instruments in par-
ticular took part in this practice remains unclear, but there is tantalizing, albeit
limited, evidence of gambists extemporaneously embellishing bass lines and cel-
lists realizing gured basses in the absence of a chordal continuo instrument.57
The earliest eighteenth-century treatment of bass-line variation is found in the
 Five Something for Everyones Taste 251

example 5.18. Niedt, Handleitung zur Variation, chapters 35

c

c

c

c

c



Original bass c

rst part of Friedrich Erhardt Niedts Musicalischer Handleitung (1700), where two
divisions of a simple bass line are provided.58 Though not particularly notewor-
thy as examples of diminution technique, they anticipate Niedts Handleitung zur
Variation (1706), in which he devotes no fewer than three chapters to the variation
of simple bass lines.59 This part of the Handleitung is essentially a diminution
manual in the tradition of Christopher Simpsons treatise The Division-Violist, and
indeed Niedts bass-line variations are remarkably similar to those that Simpson
terms breaking the ground.60 Following a long series of formulae for lling in
all ascending and descending melodic intervals in chapter 2, Niedt shows in chap-
ters 35 how a bass line moving in even half notes, dotted half notes, or dotted
quarter notes may be composed out so as to intensify its rhythmic and melodic
motion while providing a lateral realization of the harmony. Example 5.18 gives
a selection of his variations, some of which are remarkably similar to the patterns
252 The Sonatas

found in the obbligato bass parts discussed above. As a practical demonstration

of how such variations may serve as the basis of composition, Niedt includes in
his nal chapter a partita of eleven dances elaborated from a single bass line. Un-
fortunately, despite the clarity and abundance of his examples, Niedt provides no
denition of variation. But Johann Mattheson, in his commentary to the 1721
edition of the treatise, denes variation as consisting of

changing certain slow bass notes (while preserving the intervals or [harmonic] pro-
gression) into shorter notes in such a way that the passage maintains its basic char-
acter, yet is embellished, partitioned, and divided so that it receives more life,
strength, gracefulness, and embellishment. What the French call the double (doubled
or doubling), we call (although not very happily) a variation. The name is too gen-
eral and does not express specically what is meant by it. And yet the name has
been adopted and will probably stay in use. This doubling or varying has, in a
way, almost the same quality as gures have in rhetoric, or the so-called compli-
ments in conversation.61

That the type of variation technique illustrated by Niedt and described by

Mattheson was commonand perhaps commonly abusedamong continuo
players at the beginning of the eighteenth century is attested by two French com-
mentators. In 1707 Monsieur de Saint Lambert sanctioned a tasteful embellish-
ment of the bass line (one that does not interfere with the solo vocal line) but
complained about accompanists whose excessive divisions and embellishments
weaken the ensemble:

Contrary to what we have just said, when basses contain few notes and drag on too
much for the liking of the accompanist, he may add other notes to embellish them
further, provided that he is certain that this will do no harm to the Air, nor above
all to the solo vocal part. . . . There are those accompanists who have such a high
opinion of themselves that, believing themselves to be worth more than the rest of
the ensemble, they strive to outshine all of the players. They burden the thorough-
bass with divisions, they embellish the accompaniments, and do a hundred other
things that perhaps are very lovely in themselves but which are at the same time ex-
tremely detrimental to the ensemble, and just serve to show the vain conceit of the
musician who produces them.62

Much the same complaint was registered in 1715 by Pierre Bourdelot, who
faulted Italian continuo lines for being doubly embellished: rst by the composer,
and second by the performers. In the following scenario, players of a harpsichord,
a viola da gamba, and a theorbo compete with each other to drown out the solo
vocal line with brilliant ornamentation:
 Five Something for Everyones Taste 253

In general one hears in [Italian] music only a Basso continuo always ornamented,
which is often a kind of batterie of chords and arpeggios casting dust in the eyes of
those who are not connoisseurs, and which, reduced to its simplest form, is equiv-
alent to ours. These B.C. are only good to show o the swiftness of hand of those
who accompany on either the clavecin or the viol. Also, to outdo these basses al-
ready too much ornamented, they vary them again, and the one who ornaments the
most wins. Thus one no longer hears the subject, which appears all too naked in
the midst of this great brilliance and remains buried under a jolting of very fast
and sparkling sounds, which, passing too lightly, cannot make any harmony against
the subject. It would be better then, if one of the two instruments would play the
simple bass line and the other an ornamented line. These B.C. would pass for viol
pieces rather than for an accompaniment that ought to be subordinate to the sub-
ject and not stand out at all. The voice should dominate and attract the chief at-
tention, but the contrary happens here: one hears only the B.C., which bubbles so
loudly that the voice is smothered. There is also a disadvantage in having the basses
in batteries and ornamenting ad lib., for it is dicult for a clavecin, a viol, and a the-
orbo to be able to play together accurately in the same style of ornamentation, just
as it is for many string instruments or winds; one takes up one gure, another a di-
erent one, which causes an extraordinary cacophony, such that a composer no
longer recognizes his work, which appears disgured; and in the midst of it all, one
contents ones self with admiring the rapidity of the hand that is executing the pas-
sage. However, there you have the style of execution of the Italian music that is so
much extolled today.63

Although part of the problem, as Bourdelot saw it, was surely the thick chords
and rapid guration heard above the bass line (for example, in the right hand of
the harpsichord), the main culprit appears to have been the simultaneous and
uncoordinated variation of the bass line itself. Bourdelots solution would result
in a heterophonic texture familiar from obbligato bass quartets: the original, un-
adorned bass line juxtaposed with an ornamented version. And as the example
of Couperins Les Nations suggests, it is only a small step from this kind of im-
provisatory practice to the notation (by composer or performer) of two sepa-
rate bass parts.
With Bourdelots comments about Italian continuo practice in mind, it should
come as no surprise that Francesco Gasparinis 1708 Larmonico pratico al cimbalo
contains a chapter entitled Diminution or Adornment of the Bass.64 Gasparini
displays a somewhat ambivalent attitude toward bass-line diminutions, stating his
disapproval of them on the grounds that it is very easy to miss or depart from
the intention of the composer, from the proper spirit of the compositionand
to oend the singer, yet admitting their usefulness in ritornellos, in passages
where the singer is silent, and for the expression of capricious sentiments (umor
254 The Sonatas

example 5.19. Gasparini, Larmonico practico al cimbalo, 1058

Diminution c
Original bass
c
6

Diminution 1


Diminution 2
(faster tempo)

Original bass

Diminution 1

Diminution 2



3 3 3 3 3 3 3

3 3

3 3 3 3 3 3 3 3 3 3

Original bass

bizzarro).65 Gasparini evidently had no such reservations about bass-line diminu-

tions when it came to his own compositions, for after providing a limited num-
ber of diminutions (Example 5.19), he quotes an embellished bass line from one
of his Cantate da camera a voce sola (Rome, 1695). This collection consists of twelve
cantatas, three of which (nos. 4, 8, and 11) include embellished accompaniments
in treble or bass range that supplement a simpler continuo line. In his preface to
the collection, Gasparini refers to these three cantatas as having due bassi, and
advises that the embellished accompaniments may be played either by the key-
boardists right hand or by archlute or violoncello.66 Thus in the case of the em-
bellishments in bass range, the archlute or cello assumes the role of an obbligato
bass voice, while the keyboardists left hand supplies the original continuo line.
What Gasparini does not show in Larmonico pratico, however, is that his cantata em-
bellishments directly contradict his prohibition on bass line divisions accompa-
nying the singer. The Cantate da camera appear to have inspired at least one other
cantata collection containing embellished accompaniments: Bernardo Gas Can-
tate da cammera [sic] a voce sola, op. 1 (Rome, 1700), which contains six arias with
written-out accompaniments for violin or violone.67 The apparently widespread
use (and abuse) of bass-line variation in Italy prompted Benedetto Marcello to
 Five Something for Everyones Taste 255

note in his satirical Il teatro alla moda (1720) that a cellist, when accompanying
arias, should alter the bass line as he pleases, playing a dierent variation every
night, even though his variations have nothing at all to do with the vocal line or
the violin part.68
Closest in time and place to our repertory of German obbligato bass quar-
tets are theoretical discussions of bass-line variation by Heinichen, Mattheson,
Quantz, and Scheibe. Heinichens Der Generalbass in der Composition (1728) follows
the treatises of Niedt and Gasparini in providing examples of variations.69 Al-
though his diminutions are perhaps less imaginative than those of his predeces-
sors, he is alone in showing how both of the keyboardists hands may play bro-
ken-chord guration simultaneously. In a note following his examples, he
observes that the best variations always begin with the fundamental bass note
a point also made, with some qualication, by Mattheson in his Groe General-
Ba-Schule (1731).70 Rebutting Gasparinis position in the Larmonico pratico, Hein-
ichen advises that

not all composers are content with these bass variations. Nevertheless, if, for ex-
ample, in a solo, a cantata a voce sola, or in the empty ritornello of an aria without in-
struments, such things are introduced propos and with discernment, they embellish
the accompaniment and are certainly admissible. Only one must not irritate the
singer with these things and [must] not make a prelude out of the accompaniment.71

This is indeed a more tolerant approach to variation than that of Gasparini,

even though the directions for its proper use are essentially those of the Italian.
Where Heinichen departs most sharply from Gasparini and earlier writers is in
his approval of bass-line diminutions in the sonata for melody instrument and
continuo (solo).
Scheibes unpublished Compendium Musices Theoretico-Practicum (172836) deals
briey with the subject of bass-line variation from the perspective of dissonance
resolution, illustrating four ways that dissonances in a chain of suspensions may be
embellished through broken-chord guration before resolving to the following
consonance.72 More interesting is Matthesons illustration of the kind of sim-
plication or negative variation practiced by Telemann and Zelenka. First he
presents a orid bass line containing various types of arpeggiation, or Brechung and
shows how it may be reduced to its simplest form, the anschlagende Haupt-Gnge (Ex-
ample 5.20).73 Quantzs discussion of bass-line variation in the Versuch is found in
a chapter addressing the duties of those who accompany or execute the accompa-
nying or ripieno parts associated with a concertante part. He warns that a cellist
256 The Sonatas

example 5.20. Mattheson, Grosse General-Ba-Schule, 331

3
Vernderungen 4
Anschlagende 43
Haupt-Gnge

6 6 6

4 5



# 6 6 #

6 6 6 7 #

#
5

must take care not to garnish the bass with graces, as some great violoncellists were
formerly in the habit of doing. . . . If, without understanding composition, the vi-
oloncellist introduces extempore graces into the bass, in a ripieno part he will do
even more harm than a violinist, especially if he has a bass part before him above
which the principal part is constantly embellishing the plain air with other addi-
tions. . . . By robbing the bass of its serious movement, the necessary embellish-
ments of the upper part are obstructed or obscured. . . . Only in a solo is a skilful
addition of embellishments permissible. Even there, whenever it is essential that
the principal part add something to the plain notes, the notes of the bass must be
executed entirely without extempore ornaments. . . . If the principal part has rests
or held notes, [the violoncellist] may likewise vary the bass in an agreeable manner,
provided that his principal notes are not obscured, and that the variations are so
made that they express no other passion than that which the piece demands. . . . In
a large ensemble, however, the violoncellist must abstain entirely from extempore
additions, not only because the fundamental part must be played seriously and dis-
tinctly, but also because considerable confusion and obscurity would be caused if
all the other bass players were to take similar liberties.74

This passage may document a change in performing sensibilities between the

early decades of the eighteenth century, when great violoncellists (perhaps in-
cluding Califano, Quantzs former Dresden colleague) were in the habit of gar-
nishing basses, and midcentury, when cellists exercised more restraint (or ought
to have, according to Quantz). Whether or not such a shift actually took place, it
is worth noting that in 1746 the Greiz collegium musicum permitted cellists and
bassists to ornament their parts in a small ensemble but not in an orchestra, where
 Five Something for Everyones Taste 257

they were forbidden to improvise arpeggios between the notes.75 Like Hein-
ichen, Quantz permits tasteful bass-line embellishment in solos, and his concern
over simultaneous variations by multiple bass players echoes Bourdelot.
To sum up, a hard-and-fast generic distinction between trio and obbligato bass
quartet is dicult to maintain, given the frequent occurrence of trio texture in
quartets, the emphasis on continuo-line doubling and diminution in obbligato
bass parts, and composers revisions of three-part sonatas as four-part sonatas. We
have seen that the last two phenomena are grounded in an improvisatory technique
of bass-line variation described in some of the most important continuo treatises
of the early eighteenth century and commonly applied in performance by cellists,
gambists, bassoonists, harpsichordists, and theorbists. It may be only slightly over-
stating the close relationship between the two genres to speak of the obbligato bass
quartet as a variation of the trio. Indeed, this relationship is perhaps one reason
why so few early eighteenth-century writers felt obliged to discuss the quartet. In
the performance of such works, a continuo realization was not always regarded as
essential: Telemanns Six quatuors ou trios are performable in SSB or SSBB scorings;
Lottis F-major quartet omits the continuo part in the second movement, leaving
the bassoon to provide the only bass accompaniment; and manuscripts of Ze-
lenkas second, fourth, and fth sonatas contain no Continuo or Cembalo
parts, but do include parts labeled Violone Basso Contin[uo] (ungured) or
Violone Tiorba (gured). These examples encourage us to take at face value
the scoring of two oboes and two bassoons indicated on manuscript title pages to
works by Califano, Fasch, and Lotti.76 A surprisingly liberal attitude toward im-
provised bass-line variation emerges from the revisions of Couperin, Graupner,
and Zelenka, as well as from theoretical writings of the time. Although current
tastes seem not to encourage members of a continuo group to embellish the bass
line in any signicant way, performers of early eighteenth-century trios may nev-
ertheless feel justied in following Couperin and Graupner by embellishing rela-
tively simple bass parts with elaborate divisions, or in following Mattheson, Tele-
mann, and Zelenka by deriving a new, simplied bass part from an elaborate one.
The sensitive application of such variation techniques might, as Mattheson be-
lieved, lend the bass line more life, strength, gracefulness, and embellishment.

Sonatas in Five to Seven Parts

In the passage from Telemanns 1718 autobiography quoted earlier, the composer
mentions having composed a large quantity of sonatas in two and three to
eight and nine parts while at Eisenach. As we have seen, a number of solos, trios,
258 The Sonatas

and quartets may be placed into this group. Also with a strong claim to mem-
bership are eleven works in ve to seven parts (44:5, 11, 3235, 4143; 50:4;
53:g1); no Telemann sonatas in eight or nine parts have come down to us.78 Once
common during the seventeenth century, such fully scored sonatas became in-
creasingly rare during the early eighteenth century as composers focused almost
exclusively on the solo and trio; even quartets were now somewhat unusual, Tele-
manns special interest in them notwithstanding. Publications such as Johann
Christian Schickardts concertos for two violins, two oboes or violins, and con-
tinuo, op. 13 (Amsterdam, ca. 171012); his concertos for four recorders and
continuo, op. 19 (Amsterdam, ca. 171315); and Johann Christoph Pepuschs
concertos for two recorders, two utes (or oboes or violins), and continuo, op. 8
(Amsterdam, 1718), seem to represent the last gasp of the ve-part sonata. When
Scheibe wrote the following description of such worksthe only one in the the-
oretical literature of the timehe was likely taking a retrospective view:

I must still remark upon another type of sonata. Namely, there are ve-part pieces
that in most respects correspond to four-part sonatas. The best instruments for
these are two utes, two oboes, and accompanying bass. Their arrangement is sim-
ilar to that of the trio, but their composition requires still more diligence than
quartets, for if they are to be really beautiful, one must actually blend ve melodies
with each other. All four upper voices must display a dierent melody. The bass
must not be poor and empty, but at certain times should also receive its own
[melody]. Achieving this becomes easier if, now and then, the second ute and sec-
ond oboe are tastefully employed as simple llers, though this should very seldom
occur. But one will by no means be successful with these ve-part sonatas if no use
is made of double and quadruple counterpoint and canons. These [devices] pro-
vide the best opportunity to combine skillfully and comfortably as many melodies
as there are instruments, and to make them pleasant and owing through adroit
embellishment and several melodic gures, such as the metaphora.77

Despite Scheibes recommendation of four winds for the upper voices, Tele-
manns ve-part sonatas are all scored for strings or a combination of strings and
winds. The A-major sonata for two violins, two violas, and continuo, 44:35, re-
cently discovered in a composite manuscript belonging to the archive of the Sing-
Akademie zu Berlin, joins ve other works with this scoring (44:5, 11, 3234).79
Although four of these quintets (44:3235) have obbligato cello parts that oc-
casionally detach from the continuo line to introduce a sixth contrapuntal voice
(or more accurately, a variation of this line in the manner of the obbligato bass
quartets discussed above), they are fundamentally in ve parts throughout. Both
the scoring with two viola parts and presence of rigorously contrapuntal ve-
 Five Something for Everyones Taste 259

voice fugues suggest the origin of all six works at Eisenach. This seems conrmed
by the Darmstadt sources for 44:5 and 44:32, both of which were copied in Sax-
ony by the teenaged Endler about 171314.
The strongest and most intensely expressive of Telemanns quintets are those
in minor keys (44:5, 32, 33), and among the more impressive movements are two
triple fugues (44:5/ii and 32/ii). Example 5.21 shows a passage in which the
principal, long-note subject is heard rst in the bass (as a false entry), then in the
rst violin (mm. 1618). Below this, the second subject is treated in trio-like im-
itation between the second violin and alto viola (with harmonization provided by
the tenor viola); the third subject, providing a welcome melodic and rhythmic an-
tithesis to the other two, is played by the cello and cembalo. As we move into a
brief episode at measure 19, the cello imitates the violins imitative gure, mo-
mentarily providing a sixth contrapuntal voice. Later in the movement, the fugues
progress is oddly interrupted by a dramatic passage of dotted rhythms in the vi-
olins over a dominant pedal in the bass, music that returns as a codetta. Not all
of the fast movements in the quintets are so densely contrapuntal: one minimizes
the amount of thematic material by presenting each point of imitation in stretto
(44:34/iv), and another renders the violas nonthematic following the exposition
(44:11/ii). The concluding fugues generally strive for a lighter eect through
pithy subjects and regular alternations of subject entries and episodes. Uniquely
among the fugal movements, 44:35/ii has a continuo accompaniment for the ex-
position, episodes in true trio scoring (without the violas), and a conclusion that
runs into the following slow movement.
Five of the opening slow movements (44:5, 3235) and two of the interior
slow movements (44:5, 11) are in an expanded trio scoring in which the violas
function as harmonic llers. The most common types are the sarabanda (44:5/iii,
11/i, 32/iii) and what might be described as the dotted-style Adagio (44:5/i,
33/i, 34/i). Two more interior slow movements (44:33, 34) invoke the recitative
or arioso in their unsettled harmonic progressions and angular melodic contours.
Most interesting of all is the stile antico opening to 44:32. Here the stepwise sub-
ject, close imitation, and suspensions are all suggestive of the sacred vocal reper-
tory in which the stile antico normally resided. One nds other archaisms in these
quintets as well, though the tierces de picardie that end two movements in the minor
mode (44:32/iii, 33/ii) are not so much deliberate references to the musical past
as signs of the works close proximity to seventeenth-century repertories.
A few of these works appear to have been known to the Bach family. In the
1789 auction catalog of C. P. E. Bachs estate (the so-called Bachsche Auction),
lots 33032 are manuscript scores of Telemann sextets (Telemann, Ein Sestett,
in Partitur).80 As vague as this description is, only the string quintets with par-
260 The Sonatas

example 5.21. Sonata in F minor for two violins, two violas, and continuo, 44:32/ii,
mm. 1521

c
15

Violin 1



Violin 2 c


Alto Viola c


Tenor Viola c

Violoncello c
c
Continuo


17

20










 Five Something for Everyones Taste 261

tially obbligato cello, 44:3235, could reasonably be considered sextets (as they
are in the TWV). Although the manuscripts have yet to be positively identied, it
may be more than coincidental that the Berlin Sing-Akademie composite manu-
script mentioned earlier transmits 44:32, 34, and 35 in scores, for this choral so-
ciety was bequeathed a large portion of Bachs musical estate. His likely owner-
ship of these works, and perhaps even the Berlin scores in particular, raises the
question of where he obtained them. Because they are among the oldest instru-
mental works in the auction catalog, it may be that Bach inherited them from his
father, who could have performed the music at Weimar, Kthen, or Leipzig. Cer-
tainly the composite manuscripts origin in Saxony (to judge from its paper) does
nothing to weaken such a hypothesis.
Similar in many respects to the string quintets are the ve-movement sonatas
in E minor and G minor for two oboes, two violins, two violas, and continuo (in-
cluding bassoon), 50:4 and 53:g1, misleadingly categorized as a sinfonia and a
concerto in the TWV. These works combine the German contrapuntal idiom with
elements of sonatas da chiesa and da camera, the dance elements strongly inu-
enced by French music (Endlers copy of the G-minor sonata bears the title Con-
cert Franois). In this respect, they closely resemble the six sonatas/concertos of
Georg Muats Armonico tributo (Salzburg, 1682), later revised and supplemented
by six additional works in the Auserlesene Instrumental-Music (Passau, 1701).
As is common in the Armonico tributo, the E-minor sonata opens with a solemn
chordal movement (Gravement). Canonic imitation and suspensions over long
continuo pedal tones lend the rst twenty measures a monumental eect seldom
matched among Telemanns instrumental works (Example 5.22). The Alla breve
fugue that follows is comparable in contrapuntal density to the fugues of the
string quintets but diers in the particulars of its design. The stile antico subject is
rst presented in stretto pairs over continuo accompaniment. Following the ini-
tial exposition, a second places a new countersubject against the subject, now
without continuo support. A third exposition, excerpted in Example 5.23, intro-
duces two more countersubjects (the second derived from the rst), producing
quadruple counterpoint. The two following movements shift to the French style:
a binary rigaudon (Air) in trio scoring, with winds and strings alternating; and
a chaconne-like movement (Tendrement), complete with written-out agrments,
in ternary form. Another fugue (Gay) concludes the sonata, and as with the
closing fugues of the string quintets, this one is far less academic than the rst.
The G-minor sonata follows a similar mixed-taste trajectory: a sarabande (Grave
e detach) with petite reprise; a ve-voice fugue featuring three countersubjects and
episodes for wind trio; a pair of alternativement loures, the second of which again
highlights the winds; a solemn Grave; and nally a dance-like fugue.
262 The Sonatas

example 5.22. Sonata in E minor for 2 oboes, two violins, two violas, and continuo,
50:4/i, mm. 112
Gravement
Violin 1,


c
Oboe 1

Violin 2,

Oboe 2
c
Viola 1
c
Viola 2
c
c
Continuo

7


[ ]

5 # 5
3

Three seven-part works in F major, A minor, and B-at major, 44:4143, are
all identied as concertos in their manuscript sources (44:42 is also called
Parthie). They are concertos in the broad sense of a work in which parts com-
pete and cooperate with each other.81 Indeed, they exemplify the late seventeenth-
century concertato principle, whereby instrumental groups (pairs of recorders,
oboes, and violins in 44:4142; trios of oboes and violins in 44:43) are treated
as antiphonal blocks of sound. Each work takes full advantage of its colorful
scoring, but the B-at major concerto exhibits the most consistently high level of
invention. All three seem to have originated no later than the Eisenach period, for
44:42 was copied at Dresden around 171011 (it is on the same paper as the
double violin concerto 52:e2).
Slow movements include types familiar from Telemanns string quintets and
ripieno concertos: dotted-style and chordal adagios (44:41/i and 43/ii), a sara-
banda (44:42/iii), an invocation of the stile antico (44:42/i), and a brief harmonic
transition laden with suspensions (44:41/iii; run on from the preceding fast
 Five Something for Everyones Taste 263

example 5.23. Sonata in E minor for 2 oboes, two violins, two violas, and continuo,
50:4/ii, mm. 6574

c
65
Violin 1,

Oboe 1

Violin 2,
c
Oboe 2

Viola 1
c

Viola 2
c
c
Continuo

70

movement). Particularly eective are the opening movement of 44:42, where the
Renaissance-style imitation involves all seven parts (Example 5.24), and the middle
movement of 44:43, which recalls 50:4/i by commencing with six-part canonic
imitation over pedal tones (producing hypnotizing Ivii9I alternations). Fast
movements rely heavily on antiphonal contrast as a structural principle. In
44:41/ii, for example, the recorders and oboes trade o a principal theme and an
array of motives, while the violins counter with a running-eighth gure that be-
comes increasingly interwoven with the winds material. Alternating between
three-, ve-, and seven-voice textures, the movement ends with a long tutti pas-
sage. The nale of the same sonata and the second movement of 44:42 are con-
structed as fugues in which each subject entry is stated by instrument pairs in
thirds. This simulated four-part scoring allows for greater transparency of texture
and facilitates rapid alternations between the three antiphonal groups. Illustrated
in Example 5.25 is the close antiphonal exchange functioning as a kind of refrain
throughout the opening movement of 44:43 (note the modally inected A-at in
mm. 2 and 4 and the motoric continuo eighths). Following a modulation to the
264 The Sonatas

example 5.24. Concerto in A minor for two recorders, two oboes, two violins, and con-
tinuo, 44:42/i, mm. 16
Adagio



Recorder 1 c

Recorder 2 c
Oboe 1 c
Oboe 2 c
Violin 1 c
Violin 2
c
Continuo
c
4

dominant, the second musical paragraph leads from a transposed version of the
opening to new imitative gures and a close in the mediant. A brief caesura then
returns us to a modied version of the opening paragraph in the tonic. Both the
use of a refrain-like idea and modied da capo form are redolent of Telemanns
early solo concertos, so ritornello form may have been one inspiration for the
movement. The works nale, like that of 44:42, is a binary dance. This giga refers
to both of the preceding movements: it is in the modied da capo form of the
opening Allegro (the A section also functions as the binary forms rounded por-
tion) and includes six-part canonic imitation harking back to the Largo.
 Five Something for Everyones Taste 265

example 5.25. Concerto in B-at for three oboes, three violins, and continuo,
44:43/i, mm. 17


Allegro

Oboe 1 c
Oboe 2 c

Oboe 3
c
c




Violin 1
Violin 2 c

Violin 3
c
Continuo
c

Two Parisian Piracies

To conclude his 1740 autobiography, Telemann listed the collections of his music
that had appeared in print since the beginning of his publishing activities in
1715, among them a collection identied as 6 trios for two transverse utes and
continuo, engraved in Paris from a stolen manuscript.82 This was undoubtedly
the Six sonates en trio dans le goust italien (42:A2, d2, D4, e1, G12, c1) for ute, vio-
lin or ute, and continuo, published without attribution by Franois Boivin be-
tween 1731 and 1733.83 That Boivin appears to have sold the anonymous col-
266 The Sonatas

lection largely by the appeal of its title is surely a reection of Frances preoccu-
pation with the got italien, though a later reprint (for utes, violins, or oboes) did
name the composer. Alone among the Parisian editions of Telemanns music is-
sued through the 1730s, the Six sonates had not previously been published by the
composer. Boivins source for the music is unknown, but it seems that the trios
had been circulating in manuscript sets for some time. Scribal copies at Darm-
stadt (for two violins) and Stockholm (for two utes) replace 42:G12 with
42:G3, a sonata that is in fact stylistically more of a piece with the other ve
works. These copies may therefore better represent Telemanns conception of the
collection than the Six sonates. At Dresden, however, copies by Pisendel and oth-
ers (for two violins or ute and violin) show that the six trios as published by
Boivin were transmitted together, and it is probably here that Quantz rst en-
countered them (see Table 5.1).
Although the trios have a ute-like range (de), they are very much in the
Italian idiom of the violin trios discussed above. We may therefore tentatively
place them during the Eisenach or early Frankfurt years, and in any case before
the Six trio of 1718. In the Darmstadt/Stockholm version of the set, all trios save
for 42:d2 have fugues as their rst fast movements. As with the early violin trios,
most of these fugues have thematic bass lines and feature stretti. The C-minor
and A-major fugues also include canonic passages, as do a number of non-fugal
movements throughout the set; the C-minor trios binary nale is in fact strictly
canonic at the unison. Several opening slow movements, including the A-major
Cantabile and D-major Soave, are in the Aettuoso style. Among the most un-
usual interior slow movements is the A-major Lento, which resembles the Largo
e staccato of the C-major concerto for four violins, 40:203, in having an arpeg-
giated accompaniment but no real melody in the upper parts.
Some time between 1752 and 1760, the Parisian publisher Charles Nicolas Le
Clerc issued a set of six Telemann quartets for ute, violin, viola, and continuo
under the title Quatrime livre de quatuors (43:D4, F1, A4, C1, G5, d2).84 This was
indeed the fourth collection of Telemann quartets to be published in Paris, and
the rst since the Nouveaux quatuors of 1738. The publication was almost certainly
unauthorized, for it consists of rather clumsy arrangements of works originally
scored for four-part strings. These string versions are transmitted in nine manu-
scripts at Darmstadt and Dresden copied between 1710 and 1735.85 Le Clercs
ute part is lled with simple octave transpositions designed to avoid pitches
below d, the lowest note on the one-key transverse ute. Because the other parts
are not adjusted accordingly, themes are often heard in two substantially dierent
versions; such discrepancies are particularly noticeable in fugal movements. Le
Clerc also standardized tempo indications (Adagio for slow movements, Alle-
 Five Something for Everyones Taste 267

example 5.26. Quatrime livre de quatuors no. 1/i, mm. 12

Adagio


Flute/Violin 1 c

Violin/Violin 2 c
Alto Viola
(Quatrime Livre )
c
Viola
(Darmstadt)
c
Continuo

c
E

gro for fast movements), switched common or cut time to 2/4 in half a dozen
movements, suppressed dynamic indications, and changed articulations and bass
gures. There are also some alterations that suggest the hand of a skilled musi-
cian: more widely spaced harmonies at nal cadences, eective rhythmic alter-
ations or regularizations, octave transpositions not motivated by instrumental
range, and lling-in of rests in the viola part (Quartet 6/i). The most substantial
variant reading occurs in Quartet 1/i, a rhythmically embellished harmonic move-
ment. Here the original viola line, functioning as a harmonic ller, is replaced by
one that reinforces the undulating texture of the upper voices (Example 5.26).
Stylistically, the Quatrime livre quartets reect Telemanns Italian idiom of
170815. Five of six fugues in the collection are in four voices, paralleling Tele-
manns preference for thematic bass lines in the fugal movements of his early vi-
olin trios and the Six sonates en trio dans le goust italien. As in many of the trios, sev-
eral quartet movements lack a distinct countersubject, presumably in the interest
of highlighting subject entries and maintaining a transparent texture. However,
Quartets 2/ii and 5/ii are more contrapuntally rigorous, exploring dierent con-
trapuntal combinations in near-continuous subject entries; the latter movement
consistently joins the subject with two contrasting countersubjects. Most of the
fugal movements have distinctive, tuneful subjects, while many episodes consist
of display guration typical of Telemanns early concertos and trios. The episodes
in Quartet 1/ii include pedal tones and tremolos, as well as the kind of durch-
brochene Arbeit found in a number of other fast movements (Example 5.27).
Formal and stylistic references to the concerto appear, as mentioned in chapters
3 and 6, in Quartets 4/iv and 6/ii. The only example of the mixed taste in the
collection marks one of Telemanns earliest and, it must be said, most awkward
experiments in combining the Italian and French styles within a movement. In
268 The Sonatas

example 5.27. Quatrime livre de quatuors no. 1/ii, mm. 5866

43
58

Flute

Violin 43
3
Viola
4

Continuo
43
7 7 7 7# 7
#

61

E E

64





6 D 6 6 #
5 5

Quartet 3/iv a trio-like imitative texture is interrupted briey by a chaconne

topic with a descending-tetrachord ostinato bass (Example 5.28). Heard only in
the movements rst half, this reference to the French style (or at least to the dance
itself) comes across as strangely disruptive.
Some of the most interesting movements in the Quatrime livre are in slow tem-
pos. Quartet 2/i, for example, is an accompanied instrumental recitative for ute/
violin. Although this movement, reproduced in Example 5.29, remains remarkably
close to its vocal models in consisting of short, unadorned phrases and stock rhyth-
mic, melodic, and cadential formulas (note especially the descending fourth and
delayed cadence in the last measure), the abundance of wide leaps suggests an in-
strumental, rather than vocal, idiom. Harmonically, it does not aim to shock in the
 Five Something for Everyones Taste 269

example 5.28. Quatrime livre de quatuors no. 3/iv, mm. 1322

43
13

Flute


Violin 43


3
Viola
4
Continuo 43
6 6 6 6 4 3
5

17








6

7 6

6 7 6 7 6
4

manner of the instrumental recitatives discussed in chapter 3. Strong allusions to

arioso style appear in Quartets 1/iii and 4/iii; in the latter movement, the highest
voice seems to shift its identity back and forth between singer (mm. 13, 67,
1012) and orchestral rst violin (mm. 45, 710). Other slow movements vary
widely in expressive range and texture: several, in the Aettuoso style, are essentially
trio movements with an accompanimental viola part (Quartets 2/iii, 3/iii, 6/i),
and the rst movement of Quartet 5 invokes the strict style or stile antico.

The Frankfurt Sonata Publications

Telemann published ve collections of music at his own expense in Frankfurt: the

Italianate Six sonates violon seul, dedicated on 14 March 1715 (the composers
thirty-fourth birthday) to the teenaged Prince Johann Ernst of Sachsen-Weimar;
Die kleine Cammer-Music, solo suites inscribed on 24 September 1716 to the oboists
Franois La Riche, Johann Christian Richter, Peter Glsch, and Johann Michael
Bhm; Johann Ernsts Six concerts violon concertant, dedicated on 1 February 1718
to the now deceased prince; the Six trio, bearing a June 1718 dedication to
Duke Friedrich II of Sachsen-Gotha; and the Sei suonatine per violino e cembalo,
270 The Sonatas

example 5.29. Quatrime livre de quatuors no. 2/i

Adagio

Flute c
Violin c
Viola
c
c
Continuo
___________________
6 6 8 D
4 4

5





___________________

6 5 D 6 6 7 7
4 # 5 #

7 7 6 7
E E
4

13

7 6

_____________________ D 6 7
E
4
 Five Something for Everyones Taste 271

dedicated on 18 September 1718 to Count Heinrich XI Reu zu Schleiz. Tele-

manns role in the physical production of these editions was apparently no more
than supervisory. He hired an anonymous engraver to produce the Six sonates vi-
olon seul and the accomplished Frankfurt engraver Benjamin Kenckel for both the
Sei suonatine and Six trio.86 Die kleine Cammer-Music, on the other hand, used the mov-
able type of Johann Andreae, who printed most of the texts to Telemanns vocal
music at Frankfurt. (By 172728 the composer had apparently run out of copies
of this collection and found the plates for the Six sonates violon seul to be worn
out or damaged, for he now issued engraved second editions of both.) In his ded-
icatory Avertissement to the Six concerts violon concertant, following a title page with
an elaborately engraved cartouche celebrating the late princes musical and mili-
tary attainments, Telemann explains that Johann Ernst undertook to engrave the
collection himself but died (in Frankfurt on 1 August 1715) without having the
pleasure of seeing it completed, and before he could embark on a sequel collec-
tion. In the end, Telemann appears to have hired a professional engraver to exe-
cute the plates.87 Little is known about his marketing and distribution strategies
at Frankfurt, but he did arrange for the booksellers Kloss in Leipzig and Sellius
in Halle to sell the Six sonates violon seul (as noted following the editions preface),
for Andreae to sell the Sei suonatine, and for all ve editions to be sold at the 1718
Leipzig trade fairs.88
The fact that three of four sonata collections were dedicated to aristocratic pa-
trons seems to reect the transitional nature of Telemanns career during the
1710s. Although no longer dependent on such patronage for his livelihood, the
composer had only recently left courtly life and was still actively sought after as a
Kapellmeister. In fact, he continued to hold this post in absentia at the Eisenach
court and would accumulate others after moving to Hamburg. Apart from the
potential monetary benets, oering printed collections to such powerful indi-
viduals was one way to maintain contact with a musical world that he might re-
turn to one day. And if Telemann employed the embarrassingly deferential lan-
guage typical of composers dedications at the time, this was necessary to ensure
that the dedicatee saw himself as the musics primordial inspiration and rst au-
thor, that is, as a composer in his own right.89 By contrast, most of the Hamburg
publicationsissued at a time when Telemann was much further removed from
the yoke of absolutismare dedicated to inuential but less powerful citizens or,
more frequently, to no one at all.
In the case of Prince Johann Ernst of Sachsen-Weimar, Telemann was prais-
ing an amateur composer who had already written a number of concertos (see
chapter 3). The Six sonates violon seul (41:g1, D1, h1, G1, a1, A1) were simulta-
neously a reection of the princes well-developed taste for Italian music and an
272 The Sonatas

homage to Corellis sonatas, the invocation of which in a composers rst opus

had by then become commonplace. Both the inclusion of sonatas da chiesa and
da camera and the presence of orid passaggi in the collections opening movement
(see Figure 7.4) suggest the inuence of Corellis op. 5 and the published solos
by Albinoni, Michele Mascitti, Vivaldi, and others that they inspired.90 As in his
trios alla francese, Telemann imposes a standard slowfastslowfast plan on each
sonata (the da camera ones observe the traditional ordering of allemandacor-
rentesarabandagiga). None of the sonatas makes many demands on the violin-
ists technique, and in fact multiple-stopping is generally avoided; this is music ac-
cessible to most amateurs. The evident popularity of the Six sonates violon seul
motivated not only Telemanns Hamburg reprint, but also John Walshs pirated
London edition of 1722 (Solos for a Violin . . . composd by Georgio Melande).91
Stylistically, the solos are a mixture of conservative and progressive elements.
Replacing the expected fugal movements in the da chiesa works are binary alle-
gros, some having a lightly imitative texture and others displaying a galant rhyth-
mic variety foreign to the Corellian tradition. One fast movement (Sonata 3/iv)
imitates the Vivaldian concerto allegro (see chapter 6), while another (Sonata
4/iv) brings to mind the rst movement of Corellis op. 5, no. 1, in its broken-
chord guration over a continuo pedal.92 Two interior slow movements (Sonatas
1/iii and 3/iii) recall the early Dresden trios in being built upon ostinato basses.
Gestures toward the mixed taste are relatively few, but Swack rightly observes that
the allemandas of the sonatas da camera look more to the French keyboard suite
than to the Italian sonata.93 In a similar vein, the sarabanda of Sonata 6 is ac-
tually a French sarabande.
Most interesting from a generic standpoint are a pair of movements (Sonatas
3/i and 4/iii) that evoke the motto aria by separating two statements of a head
motive with a brief continuo solo. Example 5.30 shows the beginning of an in-
strumental aria di siciliana, where there is also an opening ritornello for the con-
tinuo. Underscoring the generic allusion is the stereotypical prolonged pitch for
the singer, who, in an operatic context, might thrill the audience with a messa di
voce. Eighteen years later, in the Musique de table, Telemann seems to have referenced
this movement at the beginning of his solo for ute and continuo, 41:h4, where
we again nd the B-minor tonality, 6/4 meter, expression marking of
Cantabile, opening continuo ritornello, and entrance of the singer with a
prolonged F-sharp (Example 5.31). The Musique de table movement is, to be sure,
a more sophisticated treatment of this material: the ritornello is richer melodi-
cally, rhythmically, and harmonically; and the ute begins its second entrance not
with the motto, but with material drawn from the ritornello. Yet Telemann evi-
dently found his earlier work an inspirational starting point.
 Five Something for Everyones Taste 273

example 5.30. Six sonates violon seul no. 3/i, mm. 118
Cantabile
Violin 46
Continuo
46

+ +
+
+

# 6 6 # 6 6 6 #

7 6 5 # 6 6 5 #
4 3 4 #

10

+ +
+ +

6 6 6 # 6 5 6 # 4
2

14

6 6 5
4 #

16

+ +

# 6 6 7 6 5
4 3

The four oboists to whom Telemann dedicated Die kleine Cammer-Music (41:B1,
G2, c1, g2, e1, Es1) were all well-known to him. La Riche (1662ca. 1733) had
been a member of the Dresden Hofkapelle since 1699, and Telemann heard him
and the Berlin musician Glsch during visits to the latter city between 1702 and
1706. Richter (16891744), a student of La Riche and the apparent dedicatee
of Telemanns E-minor oboe concerto, worked at Dresden from 1709. Bhm (ca.
16851755 or later) trained at Dresden, presumably under La Riche, then joined
the Darmstadt Hofkapelle; he eventually became Telemanns brother-in-law. In
1716 Glsch and Bhm performed under the composer in Frankfurt.94 Inspired
by these players, Telemann designed Die kleine Cammer-Music to atter the oboe
while accommodating the musician of modest skill. As he noted in the collec-
tions preface:
274 The Sonatas

example 5.31. Solo in B minor for ute and continuo, 41:h4/i (Musique de table, Pro-
duction 1), mm. 19
Cantabile

6
Flute 4

6
Continuo 4

6 6 6 6 # 6 # 6 # 6

6 6 6 #
5
7

____
6 6 6 6 6 6 # 6 # 6
#

To this end I have kept the ambitus as narrow as possible, and avoided both exces-
sively wide leaps and notes that are covered and uncomfortable, but have sought
often to include the brilliant notes that nature has placed in various locations on this
delicate instrument. Apart from this, I have cultivated brevity in the arias, partly to
husband the players energy and partly to avoid tiring the listeners ear through
length. Regarding the harmony, I must confess that there is little or nothing chro-
matic, but only natural and ordinary progressions. This, however, was designed to
please thosemaking up the majoritywho have not yet come very far in the study
of music. Enn, I have endeavored to present something for everyones taste.95

The mixed taste of the collection is reected in the Italian movement titles and
tempo indications of its French partitas. Each suite follows an Italianate Prelu-
dio (a title omitted in the Hamburg second edition) with six Arias, mostly
dances and airs in binary or rondeau form that are equally reective of the Ital-
ian and French styles. Prelude 1 imitates the motto aria (the double-motto open-
ing is heard twice), whereas the second and third preludes are through-composed
dances: a siciliana and sarabanda, the latter similar to those in the early Dresden
solos and trios and the Six sonates violon seul. Preludes 4 and 5 are in the learned
style: the former references the stile antico, with a chromatic subject stated almost
continuously and presented occasionally in stretto, and the latter is a more mod-
ern fugue. Finally, Prelude 6 is a sonata-like Aettuoso.
The outward similarity of the prelude-suite scheme to that of the overture-
suite probably inspired the partitas arrangement for four-part strings, oboes, and
 Five Something for Everyones Taste 275

example 5.32. Kleine Cammer-Music no. 3/vii, mm. 112

Aria 6. Presto

Oboe c
c
Continuo
6 6 6 6

6 6 6 6 6 b

b 6 #

bassoon in a series of Darmstadt manuscript copies (55:B2, G11, c3, g3, e6,
Es5). Swack has shown that two of these manuscripts originated in Leipzig with
Johann Samuel Endler during the period 171722, indicating that the arrange-
ments were undertaken soon after the publication of Die kleine Cammer-Music.96
Telemann himself appears to have been the arranger, for each partita is preceded
by an overture that is found in no other source.97 To expand the scoring from two
to four parts, he added unobtrusive second violin and viola lines that mainly ll
out the harmony. Yet these parts occasionally provide some ne touches of or-
chestration, such as the lively second violin line in the B-at prelude. In the C-
minor and G-minor overtures, Telemann seems to have endeavored to reect the
preludes old-fashioned styles and somber aects; both second sections feature al-
ternations of close imitation and homophony that recall his earliest overtures. In
all but the C-minor and B-at major arrangements, winds double strings through-
out and play solos during overtures. Exceptional is the G-minor partita, where
Telemann provides independent wind writing in nearly every movement.
To return to the original versions of the partitas, the arias are well-crafted
miniatures displaying melodic grace, rhythmic vitality, and not a little wit. Aria 6
of the third partita, a binary bourre, epitomizes this last quality (Example 5.32).
The rst four-measure phrase is almost comically fast out of the gate, with a gal-
loping rhythm. But in measures 58 Telemann gives a few tugs on the reins, mo-
mentarily slowing the movements progress through quarter-rest pauses before the
headlong rush continues toward the dominant cadence in measure 12. Even the
briefest of movements may contain more art than necessary to please the Liebhaber.
A case in point is Aria 5 of the fourth partita, one of the collections catchiest tunes
(Example 5.33, bottom two staves). The movement begins with two sequential
276 The Sonatas

example 5.33. Kleine Cammer-Music no. 4/vi

Aria 5. A tempo giusto

Violin
(55:g3)

c

Oboe
c
Continuo
c
6 5 6 6 6 5 6
5 4 3 5 5 4 3

4 6
2

6 6 5 6b 6 b 6 5 3 6
4 3 5b 4b

6 # 6 6 # 6 6
5

6 6 6 6 6
 Five Something for Everyones Taste 277

11

6 6 4 6 6 # 6
5 2 5 5 6 5
b 4 #

measures built on a repeated-note gure in which B-at and C are rst reiterated
then circled about. Contrast in measures 34 takes the form of more disjunct
melodic motion, wider range, and legato articulation; note, however, the accom-
panimental E-ats echoing the reiterated pitches of measures 12. This much is
repeated in the movements second half. But the dominant cadence in measure 8
elides with a nal phrase that commences in the continuo and features close, two-
part imitation. The imitative gure is derived from the second halves of measures
3 and 7, and through its frequent changes of melodic direction initiates chro-
matic ascents in four implied contrapuntal voices (in the melody instrument:
AB BCC
D and EFF
G; in the continuo, with octave displacement:
FF
GA AB  and DE EF). As the two parts join for the approach to
the nal cadence in measure 11, the continuo makes two further chromatic as-
cents. Telemann must have thought highly of this little dance, for it is the only
one in the collection honored with a double in the overture-suite arrangements (Ex-
ample 5.33, top sta).
The dedication of the Six trio (42:B1, a1, G1, D1, g1, F1) to Friedrich II,
Duke of Sachsen-Gotha (16761732), may have been intended to smooth over
a delicate situation. Telemann had visited Gotha and been oered the vacant post
of Kapellmeister by the duke in 1716 but decided to return to Frankfurt instead.
When the oer was renewed in September or October 1717, Telemann used it as
an opportunity to request additional church singers and an increase in salary from
the Frankfurt town council.98 Friedrich II never did get his manTelemann per-
manently turned his back on courtly life after moving to Frankfurtbut the Six
trio may have helped ease his disappointment. The composers dedication praises
the duke for expressing so delicately the choicest sentiments on the harpsichord
and writing them so uently on paper. He further mentioned the dukes com-
positions in an undated poem published in 1719 and recalled in his 1740 auto-
biography that Friedrich II knew almost as much about music as I did.99
278 The Sonatas

The music of the Six trio, though predominantly Italianate in style, is marked
by the same kind of eclecticism as the later Essercizii musici (Hamburg, ca. 1725).
Each trio calls for a dierent combination of melody instruments (violin paired
with oboe, recorder, ute, second violin, viola da gamba, and bassoon or cello),
an encyclopedic approach to scoring that must have seemed novel in 1718. In-
deed, the third trio is apparently the rst music for transverse ute published in
Germany, and the sixth makes use of bass instruments that were seldom given an
obbligato role in trios. Although certain movements recall types in the Dresden
manuscript trios and Six sonates en trio dans le goust italien, others are more strongly
informed by the galant style. The presence of only three fugues in the collection is
symptomatic of its emphasis on homophony. The third movement of Trio 6, a
bourre or rigaudon, includes what may be the earliest instance in Telemanns in-
strumental music of the so-called Lombard (reverse-dotted) rhythm, rst used
liberally by him in Pimpinone (1725) and an integral part of his musical language
by the early 1730s.100 That the Lombardic taste would have been regarded as pro-
gressive in 1718 is conrmed by Quantz, who credits Vivaldi with introducing it
in Italy around 1722.101 Also pointing ahead to Telemanns Hamburg sonatas is
the second movement of Trio 6, a pastoral rondeau in which the refrains are not
all conned to the tonic.
Movements alluding to the concerto and aria are especially prominent in the
Six trio. As discussed in chapter 6, Trios 1/i and 3/ii make clear references to the
Vivaldian concerto allegro. In the rst movement of Trio 2, the link between Aet-
tuoso style and the operatic aria is made explicit when the recorder, assuming the
role of soprano, enters with a breathless double motto to the accompaniment of
the violins rhythmically unsettled ostinato (Example 5.34). The scoring here for
ute, string ostinato, and continuo support bears comparison with the rst
movement of 43:d3 (Example 5.10). Opening Trio 5 is a more conventional duet
with basso ostinato: the violin and viola da gamba engage in a quasi-canonic di-
alogue over repeated-note gures in the continuo. Twice in the movements course,
intermediate cadences are approached by an expressive vii42VI progression; at
the third iteration, which functions as a codetta, Telemann allows the root and
seventh of the vii42 sonority to clash in the melody instruments as an (at rst un-
harmonized) augmented second. But not all of the collections music is so bold
or stylistically up-to-date. The third movement of Trio 5, for example, is a Corel-
lian Adagio with leapfrogging suspension chains over a walking bass.
The nature of Telemanns relationship to Count Heinrich XI Reu zu Schleiz
(16691726), the dedicatee of the Sei suonatine, remains obscure. But we learn from
the dedication that the composer had previously enjoyed the counts patronage.
Musically, the collection (41:A2, B2, D2, G3, E1, F1) is the least distinguished
 Five Something for Everyones Taste 279

example 5.34. Six trio no. 2/i, mm. 18

Affettuoso

c


Recorder
c
3 3

3 3

3 3
Violin

Continuo
c
6 6 6 5
5 5

3




3

3 3

3 3

5 # D 6 6 6
4 2 5 5

5


3

3 3
3

6 7
6 5 5 #
4 5 #

7





3 3 3
3 3 3 3 3

6 6
7b 7
b 5b 3

among Telemanns Frankfurt publications. Little attempt is made to provide

something for everyones taste: the extremely brief sonatas (hence the diminu-
tive sonatina) mostly avoid the kind of stylistic and generic mixture character-
istic of the Six sonates violon seul, Die kleine Cammer-Music, and the Six trio. This is
supercially charming music in an Italianate style that would probably have ap-
pealed mainly to Liebhaber: the minor mode is avoided except in a few interior slow
movements, textures are predominantly homophonic, and most movements have
simple binary forms (the few rondeaus include only a single couplet). Instead of a
more or less rigid distinction between da chiesa and da camera works, as in the
280 The Sonatas

Six sonates violon seul, the sonatinas freely mix abstract and dance movements,
the latter including examples of the bourre, corrente, gavotta, giga, menuet, sara-
banda, and sarabande (this last being one of the collections few nods to the
mixed taste). The only unconventional movement is the third of Sonatina 5, a
brief arioso that recalls those in the Quatrime livre de quatuors. Tapping into the
large, European-wide market for such uncomplicated music were the reprint edi-
tions of Le Cne in Amsterdam (1724 or 1725) and Le Clerc in Paris (1737).
The pastoral frontispiece of the Sei suonatine, designed by Gioseppe de Angeli
and engraved by Kenckel, merits some attention here for its rich, emblematic nar-
rative, which may be decoded with the aid of Cesare Ripas Iconologia (Figure
5.4).102 To the right of center in the engraving is the androgynous gure of praise
or fame, the trumpet proclaiming, in Ripas words, the Reputation of those who de-
serve Praise, and the wings perhaps indicating the speed at which praise redounds
to Telemann.103 She or he holds a banner on which is written the collections title,
composer, and date. The viewers gaze is drawn from this outstretched arm to the
upper right-hand corner of the engraving, where perched on a hill is a gure play-
ing a lyremusic personied. At left of center, the altar with a ame kindled upon
it represents divine inspiration, the ames themselves Telemanns constant activity,
and the heart that is not consumed by the ames (with the initials G. F. T. for
Giorgio Filippo Telemann) the enduring value of his music. Above, two putti
sprinkle ower petals onto the heart. Four naked children at left likely symbolize
genius, that is, the Inclination to something, for the Pleasure it aords.104 The
open books they study are an emblem of learning, and the pages showas in the
frontispieces to Bibers Sonat a Violino Solo, Corellis op. 5, and Mascittis op. 1the
opening measures of the collections rst sonatina. But beyond this common visual
conceit, Telemann provides a sign of his erudition: the sonatinas theme is pre-
sented with a countersubject (a variant of the bass accompaniment) shown to be
invertible at the twelfth, then is melodically inverted against the countersubject,
and nally is played against itself in retrograde. This is heady stu for an unas-
suming galant theme, and as one writer has suggested, Telemann may have intended
this token of his contrapuntal prowess to demonstrate the compatibility of the
natural and learned styles, and that complexity ought not to be eschewed by those
who favor the simple and agreeable.105 (In 1728Telemann reprinted this ingenious
demonstration in his music journal Der getreue Music-Meister as contrapuntal varia-
tions on the rst measure of the Telemann sonatina.) The Roman wine pitcher in
the foreground, separating the theme-countersubject and its inversion, underscores
the symmetry and elegance of Telemanns contrapuntal play, and indeed both pages
and pitcher are placed directly at the center of the engravings horizontal plane.
If the Sei suonatine are among Telemanns least signicant works, the Frankfurt
 Five Something for Everyones Taste 281

figure 5.4. Frontispiece to Telemanns Sei suonatine per violino e cembalo (Frankfurt, 1718)

sonatas as a whole reveal his mixed taste and galant style beginning to crystallize.
The same process is seen in the quartets of the later 1710s and 1720s. Sonatas
from the previous decade, on the other hand, tend to focus more narrowly on the
Italian style (the Dresden solos and trios, Six sonates en trio dans le goust italien, and
Quatrime livre de quatuors), the French style (the trios alla francese), or an Italo-Ger-
man stylistic mixture (the sonatas and concertos in ve and seven parts) that oc-
casionally involves French elements la Muat (50:4 and 53:g1). Lest these ob-
servations be taken to imply that Telemanns Frankfurt and early Hamburg sonatas
are inherently more eective works than their predecessors, we should recall that
some of the most striking music discussed in this chapter was composed during
the Eisenach years or earlier. Quantzs midcentury advocacy of the trios alla francese
and the contemporaneous publication of the Quatrime livre de quatuors both speak
to the lasting appeal of such stylistically pure works from decades past.
As a postscript to our survey of Telemanns sonatas, it is worth noting that ap-
proximately fty trios and a dozen solos preserved in scribal copies appear to fall
into the decade or so after the Frankfurt sonata publications. Although Telemann
must have written many of these works for professional court musicians or col-
legia musica, the relatively uncomplicated style of others suggests their function
for amateur music making. And because none displays the most progressive sty-
listic features of the Hamburg publications, we may surmise that from the late
1720s onward Telemann was publishing most of his newly written sonatas. More
than a little of this music might be singled out for discussion here, but we may
form a general impression of the repertory through seventeen trios with viola da
gamba preserved at Darmstadt.
282 The Sonatas

Like the string quintets and the works later published as the Six sonates en trio
dans le goust italien and Quatrime livre de quatuors, many of these trios fall into sets ac-
cording to scoring, style, and manuscript transmission. Nine works for either
recorder or oboe, treble viol (dessus de viole), and continuo were copied by sev-
eral Darmstadt scribes during the 1720s (42:C2, c3, d7, e5, F6, G8, g6, g9,
A10). Their style, reminiscent of the Six trio and Essercizii musici, suggests that they
were composed around 171825. As the inclusion of a solo for treble viol
(41:G6) in Der getreue Music-Meister suggests, the instrument was cultivated by am-
ateur musicians in northern Germany during this period, even as it was rapidly
falling into disuse in France.106 Yet it is unclear whether Telemann actually in-
tended the trios for treble viol: the range of the parts is narrow enough to allow
for performance on most treble instruments, and there are no instances of
multiple stops (as there are in 41:G6). These are brief and attractive works in the
galant style, the most noteworthy among them being 42:C2, where the recorder
and treble viol are strictly canonic throughout all four movements. Especially in-
teresting as an example of the mixed taste is the nale of 42:d7, a gavotte en ron-
deau in which the refrain places French dance rhythms above an Italianate running
bass, and the couplets represent the French, Italian, and Polish styles; we shall re-
turn to this movement in chapter 9.
Six more trios, for violin, bass viola da gamba, and continuo, were copied to-
gether by Endler during the late 1730s or 1740s (42:E6, E7, F10, G10, g10,
g11); two companion works have similar scorings of ute and viola da gamba
(42:a7) and violin and viola (42:h6). Although more substantial than the trios
with treble viol, these eight works may be roughly contemporary with them. Fast
movements are predominantly fugal, with the subjects usually conned to the ob-
bligato voices; slow movements are often in the Aettuoso mode. Particularly at-
tractive is the A-minor trio, where vigorous, three-voice fugues are balanced by
beautifully expressive slow movements featuring the heightened rhythmic variety
and drum basses associated with the galant style. The standout from a generic
standpoint is 42:E6, which surrounds a slow movement cast as an operatic duet
with two fast movements in concerto style. This unusual scheme furnishes yet an-
other example of the generic cross-fertilization we have observed throughout this
chapter. It is to such amalgamations of sonata, concerto, and aria that we turn
next in chapter 6.
 Chapter 6
Telemann and the Sonate auf Concertenart

Perhaps no musical works fascinate us more than those speaking in multiple

tongues, for music that refers to more than one style or genre not only poses a
conceptual challenge to the listener, but also invites a number of intriguing his-
torical and aesthetic questions. Were these multiple levels of meaning intended by
the composer and perceived by early audiences? If so, how might they have sub-
verted the so-called generic contract set up between composer and listener, where-
by the two tacitly agree on which gestures and patterns signify a particular genre?1
To what extent did a given work redene its type? What concerns prompted the
composers mixing of styles or genres?
Nowhere do such questions resonate more deeply than in the case of the Sonate
auf Concertenart, a bilingual genre in which the scoring and imitative textures of
the sonata are crossed with gestures and structures evocative of the concerto. Pop-
ular for a brief time, mainly during the 1720s and 1730s, the Sonate auf Concerten-
art is described only once in the eighteenth-century theoretical literatureby
Johann Adolph Scheibe, who coined the term in a 1740 issue of his Hamburg
journal, Der critische Musikus. Because Scheibe tells us considerably less about the
genre than we might wish to know, and because his description is unsupported by
even a single title page identifying a concerto-style sonata as such, evidence for
how these works were understood at the time of their composition is rather thin
on the ground. Indeed, if one views genre as dependent on composer and audi-
ence agreeing upon and using a particular term to describe a certain set of musi-
cal characteristics, then the generic status of the Sonate auf Concertenart is marginal
at best. Yet to the degree that genre is conceived as a exible construct, as a con-
stantly evolving social phenomenon in which meaning may be conveyed between
composer and audience without the mediation of labels, the sonata in concerto
style lays a stronger claim to being a distinct type. There is, as we shall see, docu-
mentary and musical evidence to suggest that a kind of generic contract allowed
early eighteenth-century composers to play on listeners expectations of what

283
284 The Sonatas

constituted a sonata versus a concerto. And if the meanings generated by such

play are dicult to reconstruct almost three centuries later, it is not only because
they were rarely verbalized: the contracts terms undoubtedly crystallized in vary-
ing forms and at varying rates from one locale to the next. Most composers, per-
formers, and listeners seem to have recognized the concerto as intrinsically dif-
ferent from the sonata by the 1710s, but that dierence could be expressed or
heard in a number of ways.
Scheibes description of the Sonate auf Concertenart might have remained ob-
scure were it not for the fact that a handful of works by J. S. Bach can be mapped
onto it, albeit with diering degrees of success. During the 1980s Michael
Marissen and Laurence Dreyfus identied the sonata in A major for ute and
obbligato harpsichord, BWV 1032, and the sonata in G minor for viola da
gamba and obbligato harpsichord, BWV 1029, as especially sophisticated ex-
amples of the Sonate auf Concertenart.2 Jeanne Swack subsequently showed that
Bachs works (also including the E-major violin sonata, BWV 1016, and the
ute sonatas in B minor, E-at major, and E minor, BWV 103031 and 1034)
belong to a modest repertory of sonatas in concerto style composed by his
north German colleagues over a period of several decades.3 Bach, therefore, did
not so much invent the genre as rigorously explore certain of its characteristics.
More recently, David Schulenberg has sought to problematize the study of this
repertory by arguing that modern commentators have read too much into
Scheibes discussionthat, in fact, by recognizing the Sonate auf Concertenart as a
distinct genre, we are imposing postmodernist values onto works that during the
eighteenth century would not have been recognized as purposeful amalgama-
tions of sonata and concerto.4
Postmodern or not, recognition of the Sonate auf Concertenart as a composi-
tional type has given rise to some unconventional interpretations of Bachs
music. Klaus Hofmann hypothesizes that the Second Brandenburg Concerto,
BWV 1047, was originally conceived as a concerto da camera alla Vivaldi for
recorder, oboe, violin, trumpet, and continuo, the ripieno string parts having
been added at some point prior to Bachs copying of the dedicatory score for the
Margrave of Brandenburg.5 For Gregory Butler, the rst movement of the
Fourth Brandenburg Concerto, BWV 1049, is packed with generic allusions to
the solo concerto (Albinoni and Vivaldi), the concerto grosso (Corelli and
Muat), the chamber concerto (Vivaldi again), and the trio sonata (Bach him-
self). The inuence of the last two genres inspires him to turn Scheibes termi-
nology on its head and describe the work as a concerto nach Sonatenart.6 Fi-
nally, the sonata in C minor for ute, violin, and continuo from Das musicalische
Opfer, BWV 1079, is interpreted by Michael Marissen as a Sonate auf Concertenart
 Six Telemann and the Sonate auf Concertenart 285

because the second movements fugal subject can be parsed as a Vivaldian ri-
tornello.7
Without denying that each of these readings illuminates fascinating aspects of
Bachian style, I would propose that some of the premises underlying their con-
ceptions of the Sonate auf Concertenart are open to question. Perhaps the most
deeply rooted of these premises is that the so-called chamber concertos of Vi-
valdi exerted a powerful inuence on Bach and his German colleagues, and that
the Sonate auf Concertenart came into being as a direct reaction to these works and
Vivaldis solo concertos. A related one is that sonatas in concerto style were al-
most exclusively the province of German composers active in Thuringia or Sax-
onyespecially those with connections to the Dresden court, an important cen-
ter for Vivaldi reception. Another is that the generic tensions constructed within
these works puzzled eighteenth-century musicians to such a degree that they
often vacillated over whether to label the music sonata or concerto.
My intent in reexamining each of these premises in this chapter is to fashion
an alternative historical narrative of the Sonate auf Concertenart, one that portrays
the genre as a rather more multifaceted phenomenon than previously recognized.
I shall argue that Vivaldis chamber concertos are unlikely to have furnished mod-
els for the earliest Sonaten auf Concertenart; that the genre may have arisen in Ger-
many before any of Vivaldis concertoschamber or otherwisebecame known
there; that sonatas in concerto style were in fact cultivated rather widely, in France
as well as in various parts of Germany; that contradictory rubrics of sonata and
concerto on title pages probably did not result from scribal critiques of the
musics mixed generic status; and that, far from being an invention of postmod-
ern criticism, the Sonate auf Concertenart may be situated within an eighteenth-cen-
tury aesthetic favoring mixed genres. This aesthetic seems to have spanned the
whole of the century, and its expression was by no means limited to music.
Though the following discussion implicates many composers and compositions,
its focal point is the Sonaten auf Concertenart of Telemann. These works, substantial
in number, broad in chronological span, and uncommonly resourceful in their re-
sistance of convention, oer a virtual history of the genre in microcosm. By con-
sidering them in some detail, I hope to provide something of a counterbalance to
studies of Bachs and Vivaldis sonatas in concerto style.

Dening the Sonate auf Concertenart

That Scheibe is the only critic of his time to discuss the Sonate auf Concertenart is
perhaps symptomatic not only of his zeal for classicationhe was the rst eigh-
286 The Sonatas

teenth-century writer to provide detailed descriptions of many musical genres, in-

cluding the sonata, concerto, and symphonybut of his special interest in hy-
brid types, including two others for which he is also the sole theoretical witness:
the Concertouverture (see chapter 1) and the concerto for one instrument alone
or einstimmiges Concert, exemplied by the Italian Concerto, BWV 971.8 We must
also keep sight of the fact that Scheibe was writing at the end of a decade that
witnessed a peak of interest in concerto-style sonatas, a peak that had long since
subsided when Johann Joachim Quantz published similarly detailed descriptions
of musical genres in his Versuch einer Anweisung die Flte traversiere zu spielen of 1752.
Then, too, his discussion of mixed genres must have been colored by his contact
in Leipzig with the Bach circle and in Hamburg with Telemann. Both composers
wrote important examples of the Sonate auf Concertenart, Concertouverture, and ein-
stimmiges Concert, and Telemann published a number of such works in Hamburg in
the years immediately preceding and following Scheibes arrival there in 1736.9
All in all, the thirty-one-year-old writer was extremely well positioned, both geo-
graphically and chronologically, to describe these mixed types of music.
Scheibes brief observations concerning the Sonate auf Concertenart are scattered
throughout his discussion of the instrumental trio:

I will rst discuss three- and four-part sonatas, of which the former are usually
called trios, the latter quartets; then I will comment upon the others. Both
types of sonatas that I will discuss rst are properly arranged in one of two ways,
namely as proper sonatas or as sonatas in concerto style. . . .
The proper essence of [trios] is above all the presence of a regular melody in all
parts, especially the upper voices, and a fugal working out. If they are not arranged
in concerto style, one may introduce few convoluted and varied passages; rather,
there must be a concise, owing, and natural melody throughout. . . .
The ordering that one usually observes in these sonatas is the following. First a
slow movement appears, then a fast or lively one; this is followed by a slow move-
ment, and nally a fast and cheerful movement concludes. But now and then one
may omit the rst, slow movement, and begin immediately with the lively one. One
does this particularly if composing sonatas in concerto style. . . .
The fast or lively movement that follows [the rst, slow movement] is usually
worked out in fugal style, if it is not in fact a regular fugue. . . . Should the trio be
concerto-like, one [upper] part can be worked out more fully than the other, and
thus a number of convoluted, running, and varied passages may be heard. In this
case the lowest part can be composed less concisely than in another, regular sonata.10

Thus a sonata in concerto style may have three, rather than the usual four
movements (presumably in imitation of concertos); one upper voice that is
 Six Telemann and the Sonate auf Concertenart 287

worked out more fully than the other, that is, an instrument assuming the role
of soloist and accordingly playing contrasting and perhaps virtuosic gurations
(convoluted, running, and varied passages); and a bass line that is less concise
than those in regular sonatas.
All of this is vague enough that one can hardly resist the temptation to esh
it out interpretatively, though this carries with it the risk of inadvertently nar-
rowing or broadening the terms of such a exible denition. Scheibe is anything
but prescriptive, mentioning what one can or may do in a Sonate auf Concerten-
art, as if to suggest that a sonata might be concerto-like in other ways as well.
Only in the discussion of the trios rst fast movement does he oer any sub-
stantive points of style, and this, combined with his subsequent description of
the nale as more pleasant, owing, charming, and attering with a concise
(bndig) melody, leaves one with the impression that slow and concluding move-
ments are seldom auf Concertenart. This is in fact the case; important exceptions
such as BWV 1016/iv and several works by Telemann will be discussed later.
Likewise, Scheibes failure to mention concerto-style solos for one instrument
and continuo is in keeping with the relative scarcity of such pieces. We learn noth-
ing concrete about the structure of auf Concertenart movements, though ritornello
form, discussed earlier in Der critische Musikus in connection with the concerto and
the einstimmiges Concert, would seem especially well suited to one instruments being
worked out more fully than the other. Because this texture is described within
the context of a fugal movement, one wonders if Scheibe envisioned what is now
frequently called a concertante fugue, in which solo episodes alternate with to-
nally closed ritornellos cast as fugal expositions.11 On the other hand, his failure
to mention ritornello form could mean that it is primarily a texture emphasizing
one upper partperhaps generating a tutti-solo contrast but not a particular
structural patternthat marks a trio as concerto-like. Why the bass part should
be composed less concisely in a Sonate auf Concertenart is hard to imagine, unless
it is called upon to play convoluted solo material (as often happens in einstim-
mige Concerten).
Since Scheibe does not explicitly draw a connection between his two types of
virtual concertos (the einstimmiges Concert and the Sonate auf Concertenart), the ques-
tion arises as to how closely related they may have been in the minds of his con-
temporaries. Swack reasonably speculates that the arrangement of concertos for
keyboard, as practiced at Weimar by Bach and Johann Gottfried Walther, may
have provided Telemann the impetus to write sonata movements in concerto
style.12 In this context, Scheibes own participation in the tradition of keyboard
arrangements is not without signicance, for not only did he make a copy of
288 The Sonatas

Bachs concerto arrangement BWV 972, but he also transcribed Vivaldis concerto
op. 3, no. 5 (RV 519). More important, he composed a Concerto per il Cem-
balo that signies the concerto through motivic gesture, virtuosic guration, and
harmonic scheme even as it shuns ritornello form.13 But equally plausible as a link
between the concerto and Sonate auf Concertenart are ensemble arrangements of con-
certos, such as one made of the eighth violin concerto from Giuseppe Matteo Al-
bertis Concerti per chiesa, e per camera, op. 1 (Bologna, 1713). This arrangement, scored
for two violins and cembalo, was undertaken around 1715 at the Wiesentheid
court of Count Rudolf Franz von Schnborn.14
The parallels between the einstimmiges Concert and the Sonate auf Concertenart seem
more immediate when one recognizes that the former was not invariably for solo
keyboard. Before Scheibe sings the praises of the Italian Concerto, he notes that
one also writes concertos for one instrument alone, without the accompaniment
of others. Keyboard and lute concertos in particular are composed in such a
way.15 Now, a repertory of unaccompanied lute concertos has yet to be identi-
ed. But rather than puzzle over the apparent loss of such works, we might con-
sider the possibility that Scheibe was alluding to a practice of extemporaneous
transcription. Writing about Sylvius Leopold Weiss in 1727, the lutenist Ernst
Gottlieb Baron observed that he is a great improviser, for he can play extempo-
raneously the most beautiful themes, or even violin concertos directly from their
notation. Baron also cautions that lute transcriptions, including those of con-
certos and trios, be fashioned only in the players head: But today, since it has a
completely dierent reputation, transcription should take place only in thought,
when someone has heard something pretty, and for this considerable practice is
required. The lute is so rich in tone that we need nothing else, and we have many
beautiful concertos, trios, and other music that sounds much less forced.16 Blue-
prints for writing concertos for unaccompanied melody instrument are furnished
by two ritornello-form movements among Telemanns violin fantasies, published
the year before Scheibe arrived in Hamburg.17 And it is Telemann who, in his ear-
lier collection of keyboard fantasies, further underscores the close relationship
between the einstimmiges Concert and the Sonate auf Concertenart with two ritornello-
form movements that are modeled upon (or provide models for) his own quar-
tets in concerto style.18
Two of Telemanns einstimmige Concerten provide an appropriate prelude to our
consideration of the Sonate auf Concertenart, for they exhibit some of the same com-
positional strategies commonly employed by their more fully scored relatives. Ex-
ample 6.1 excerpts one of Telemanns most elaborate ritornello-form movements
for keyboard, published in the VI Ouverturen nebst zween Folgestzen.19 Here the com-
 Six Telemann and the Sonate auf Concertenart 289

example 6.1. Suite in A major for keyboard, 32:6/iii (VI Ouverturen nebst zween Folgestzen
no. 2), mm. 123

cPresto

c
Clavier

10

15 Solo 1

20

poser underscores his generic reference to the concerto allegro by contrasting

such stereotypical orchestral gestures as opening hammerstrokes and an allunisono
texture in the ritornellos with lighter scoring in the solo episodes. Though it
may seem counterintuitive that the ritornello is more virtuosic than the episodes,
this reversal of identities invests the former with the gravity or brilliance it would
otherwise take on through sheer weight of sound in a conventionally scored con-
certo.20 In Example 6.2, the beginning of an einstimmiges Concert for solo violin, the
ritornello also aspires to a brilliant, orchestral eect through its feigned fugal tex-
ture (m. 2), soloistic Fortspinnung, and multiple stops. The rst episode is eec-
tively set o from the ritornello by its running passages and sparser texture. We
immediately sense that the soloist has entered.21
290 The Sonatas

example 6.2. Fantasia in B-at for unaccompanied violin, 40:14/ii (Fantasie per il violino
senza basso no. 1), mm. 115
Allegro
Violin c

4

10

12

14

Titles as Signiers of Genre

As much as the musical texts of Sonaten auf Concertenart inform us about the nexus
between sonata and concerto during the early eighteenth century, their accompa-
nying verbal texts are also potentially valuable guides to how these genres were un-
derstood by composers, performers, and audiences. That some composers of
Sonaten auf Concertenart found it necessary to alert listeners to the unconventional-
ity of their music is clear from the use of solo and tutti rubrics and from
pointed juxtapositions of concertos with sonatas or suites. This appears to
have been the case primarily for published collections, whose broad audience may
have needed the musics generic status spelled out rather clearly. If composers per-
ceived less of a need for verbal signiers in their unpublished works, it may have
been because such bilingual music spoke for itself among a courtly audience well
acquainted with the generic conventions of sonatas and concertos. In any event,
it seems that neither composers nor the musical Kenner and Liebhaber of the early
eighteenth century felt a need, like Scheibe, to coin a hybrid term to describe this
hybrid music.
 Six Telemann and the Sonate auf Concertenart 291

Or did they? As we observed in chapter 1, at least a few musicians prior to

1740 attempted to describe works crossing the concerto and suite in terms re-
markably similar to Scheibes Concertouverture. Thus Johann Philipp Eisel called at-
tention to the Concert-Ouverturen of the famous Kapellmeister Telemann, a scribe
described the overture-suite 55:E3 as a Concert en Ouverture, lost works by Jo-
hann Christian Hertel were entitled Ouverture alla Concerto or Ouverture
alla Concertino, and title pages to two works by Johann Melchior Molter coined
the term Concerto en Suite. These are, to be sure, exceptional cases, redolent of
Beethovens Sonata quasi una fantasia (op. 27) and Chopins Polonaise-Fan-
taisie (op. 61). But they suggest that formulations similar to Scheibes Sonate auf
Concertenart may not have been unknown.
What, then, can we learn from the titles that we do have? Swack sees evidence
of copyists indecision in several Telemann quartets auf Concertenart identied as
both Sonata and Concerto in manuscript copies (see Tables 6.2 and 6.3
below). Thus one work is transmitted in three manuscript sources, twice as a con-
certo and once as a sonata (43:G6); two others have sources in which the title of
Concerto has been carefully altered by a second scribe to read Sonata
(43:F2/52:F5 and 43:g2); and another, like a trio by Johann David Heinichen,
has had its designation of Concerto superseded by Sonata, sheepishly added
in small letters by another hand (43:Es1).22 To these we might add a number of
Molters four-part works discussed below (called Sonata, Concerto, or Con-
certino), as well as three Telemann trios with dual genre labels: 42:A9, in which
the original designation of Concerto is superseded by Trio; 42:E6, bearing
conicting titles (Sonata on the title page/wrapper, Concerto on two of three
parts); and 42:G1, published by Telemann as a Trio but designated a Con-
certo in a manuscript apparently copied from the print.23
One might be inclined to agree that such conicting genre labels as these are
symptomatic of the confusion engendered by the hybrid nature of [Sonaten auf
Concertenart].24 But just how confused were the copyists in question? And did
their confusion actually stem from critiques of the works generic status, from a
realization that the music had transgressed the boundaries of its type? It is re-
markable, rst of all, that nearly every altered title involves the replacement of
Concerto by Sonata or Trio, for if the generic ambiguity of Sonaten auf Con-
certenart was really the source of much head scratching in scribal circles, one would
expect to nd the reverse just as often. Yet aside from the manuscript copy of
42:G1, copyists of sonatas were evidently not moved to replace Sonata or
Trio with Concerto, no matter how clear the ritornello structure or how
sharp the distinction between solo and tutti instrumental roles. This suggests that
292 The Sonatas

other motivations lie behind the conicting titles, a notion that we may put to the
test by examining the modest repertory of conventional (that is, non-concerto-
like) sonatas designated Concerto.
Consider two further Telemann concertosneither making any obvious
references to the concerto through style or structurethat had their names
changed after the fact of copying. The trio in A major for two scordatura violins
and continuo, Anh. 42:A1, bears the title CONCERTO / 3 / 2 Violini Dis-
cortati / e / 1 Violone / del Sigr: / MELANTE. Beneath the TO in CON-
CERTO, a second hand has added the word Sonat in small letters.25 Because
the manuscript was copied by Telemanns Frankfurt colleague Johann Balthasar
Knig around 171215, it is probable that the original title stemmed from the
composer; the secondary designation must have been added by a musician at the
Darmstadt court. Similarly, at the top of a score to Telemanns sonata in E minor
for two oboes, two violins, two violas, and continuo, 50:4, Christoph Graupner
crossed out his original designation of Concerto and wrote Sonata to the
left. Only Sonata appears on the scores title page/wrapper and on Graupners
accompanying set of parts.26 Conventional trios and quartets with contradictory
genre labels like those of 42:E6 are found in manuscript collections at Dresden,
Herdringen, Karlsruhe, Rostock, and Wiesentheid. These include two quartets by
Gottfried Heinrich Stlzel and one by Heinichen, all of which are styled
Sonata and Concerto within single manuscripts; ve trios by Molter labeled
variously Sonata, Concerto, or Sinfonia; a trio by Ernst Christian (?) Hesse
called Concerto 3 and Sonata by the same copyist; and an anonymous trio
that is referred to as both a Trio and a Concerto 3.27 Nor, on the other
hand, is it dicult to locate sonatas in three to ve parts that are unambiguously
designated Concerto but lack ritornello forms, a single dominant upper part,
orchestral gestures, and, in many cases, even soloistic guration that might be
associated with concertos. Among such works known to me are two ve-part
sonatas, nine quartets, and three trios by Telemann; two quartets apiece by Bch-
ler (Pichler?) and Johann Friedrich Fasch; one quartet each by Johann Adolf
Hasse, Heinichen, and Mathias Nikolaus Stulyck; and one quartet and three trios
by anonymous composers.28
Two conclusions may be drawn from this concerto repertory. First, to the
extent that German musicians considered these works concertos, they were surely
using the word not in its narrow, eighteenth-century sense of a work pitting one
or more soloists against a larger group, but in its broader, seventeenth-century
sense of a piece for instrumental ensemble in which the individual parts work to-
gether or consort (as in the Italian concertare and the Latin conserere). This older
 Six Telemann and the Sonate auf Concertenart 293

sense of concerto is reected in such works as the three-voice Concerti da

camera of Giovanni Bononcini (op. 2, Bologna, 1685), Giuseppe Torelli (op. 2,
Bologna, 1686), and Pirro Albergati (op. 8, Modena, 1702) and survives at least
until the 1740s, as witnessed by Rameaus Pieces de clavecin en concerts (Paris, 1741).
Second, it is clear that quartets, whether auf Concertenart or not, were much more
likely than trios to be named Concerto. (The large number of four-part scor-
ings among the works cited above is all the more striking when one considers how
raried a genre the quartet was during the early eighteenth century.) Apparently
many German musicians active during the 1720s and 1730s assumed that a piece
for three or more instruments and continuo was a concerto on the basis of the
number of parts. Vivaldi, too, reserved the term concerto for such works (RV
87108); his trios with ritornello-form movements are all designated Sonata
in the autograph sources. For some musicians, sonatas in four or more parts may
have been concertos because they approximated the scoring, if not the style, of
solo and ripieno concertos, most of which were performable with only four to six
musicians.29
Why were titles sometimes changed from Concerto to Sonata? Probably
because by the 1720s, the consort meaning of concerto was rapidly falling into
disuse, as the term became increasingly associated with works featuring tutti-solo
opposition, ritornello structures, ripieno string doublings, and so on. Thus, when
composers published their three- and four-part concertos during the 1730s,
they could likely count on their audience to associate them with the solo con-
certo. A similar terminological shift may be observed in the case of the word
sinfonia, which by the 1720s was seldom applied to concertos and sonatas. This
is presumably why, on a title page to a quartet for two oboes, bassoon, and cem-
balo by Werner, the designation of Sinfonia has been crossed out and re-
placed by Sonata in another hand.30
Nowadays it is common to refer to concerto-like works for small ensemble by
the terms chamber concerto and Kammerkonzert, which have gained wide
currency in the critical literature on Vivaldis twenty or so works in concerto style
for two to six instruments and continuo; more descriptive terms such as Con-
certi senza orchestra, Concerti fr Kammerensemble, and Concerti senza
Ripieno have failed to catch on.31 The rst two terms have also been applied to
German works as diverse as the Second, Third, and Sixth Brandenburg Concer-
tos; the concerto in C major for two harpsichords, BWV 1061a; and the Sonaten
auf Concertenart 43:D1 and G1.32 Swack remarks that the line between the Sonate
auf Concertenart and the chamber concerto is ne indeed and uses these terms and
concerto 3 synonymously. In speculating why Scheibes discussion of the
294 The Sonatas

Sonate auf Concertenart is sui generis, she reasons that most theorists probably con-
sidered such works to be chamber concertos.33
Yet what eighteenth-century theorists such as Quantz, Kirnberger, Trk, and
Koch actually understood by concerto da camera and Kammerkonzert was a
concerto for one soloist and accompanying strings, as opposed to a concerto with
multiple soloists (a concerto grosso).34 Consider the discussion by Quantz, who
is alone in stipulating that Kammerconcerte may have accompaniments that are
large (stark) or small (schwach), that is, with or without extensive ripieno doublings:

Concertos with one concertante instrument, or so-called chamber concertos, are also of
two classes. Some demand a large accompanying body, like the concerto grosso,
others demand a small one. And if this distinction is not made, neither type pro-
duces the desired eect. The class to which a concerto belongs may be perceived
from the rst ritornello. One that is composed seriously, majestically, and more
harmonically than melodically, in which many unison passages are interspersed,
and in which the harmony does not change by eighth notes or quarter notes but by
half and whole bars, must have a large accompanying body. A ritornello that con-
sists of eeting, jocular, gay, or singing melodies, and has quick changes of har-
mony, produces a better eect with a small accompanying body. . . .
Anybody who knows how to write a concerto of this kind [a serious concerto for
a single solo instrument with a large accompanying body] will nd it easy to fashion a jocu-
lar and playful little chamber concerto. Thus it would be superuous to deal with it sep-
arately here.35

Quantzs discussion of orchestral size brings to mind Johann Abraham

Schmierers observation that, if need be, the suites of his Zodiaci musici (1698)
were playable one on a part, as they say, alla camera.36
On the few occasions when early eighteenth-century musicians called a specic
work concerto da camera or the like, it was usually to describe a solo concerto
with accompanying strings in three, rather than the usual four, parts. This is true
of two concertos by Johann Georg Pisendel, who balances a solo violin with Vi-
olini Unisoni (two performing parts), viola (two performing parts), and con-
tinuo.37 Similarly, a cello concerto by Antonio Caldara with a ripieno of two vi-
olins and continuo is transmitted at Wiesentheid as a Concerto per Camera,
and an anonymous concerto for ute, two violins, and continuo (misattributed to
Vivaldi and cataloged as RV 89) is called Concerto di Camera 4 in a Stock-
holm manuscript.38 The sole Concerto di Camera by Telemann, 43:g3, is
scored for recorder, two violins that play mostly in unison, and continuo.39 Styl-
istically, none of these works makes any nod toward the sonata. Rather, they be-
long to a not inconsiderable repertory of German and Italian solo concertos with
 Six Telemann and the Sonate auf Concertenart 295

reduced string accompaniment, one including the Fifth Brandenburg Concerto

(ripieno of violin, viola, and continuo); seven Quantz ute concertos (QV 4:
17) and a Fasch oboe concerto (FWV L:G3), all lacking viola parts; several
works by Molter (see below); and over a dozen other works by Telemann (ripieno
of divided violins, or [unison] violin[s] and viola, or two violas with continuo:
51:D57, F2, f2, G1, G9, Anh. G1, A5; 52:D4, a1; 53:D3, F1).40 Such works
appear to echo a tendency in the Roman and Neapolitan concerto repertories to
omit viola parts.41 In both eighteenth-century theory and practice, then, a con-
certo da camera was a solo concerto, especially one with a small number of play-
ers or parts in the accompanying body.
Even more sonata-like in their scoring are concertos with a two-part ripieno, or
Concerti 3. Besides 43:g3, there are three Telemann concertos for one or two
soloists, violins in unison, and continuo: the concerto/sonata for two chalumeaux
43:F2/52:F5, referred to earlier, and the violin concertos 51:F3 and G6/G6a.42
Not surprisingly, modern critics are divided over what to call these works.
Siegfried Kross omitted all four from his thematic catalog of Telemanns concer-
tos, implying that they are sonatas.43 The TWV, on the other hand, categorizes the
recorder work as a quartet, the double-chalumeau work as both a quartet and a
concerto (mirroring the conicting genre designations in the manuscript source),
and the solo violin works as concertos. Swack considers 43:F2/52:F5 and
51:G6/G6a to be Sonaten auf Concertenart, while Wolfgang Hirschmann views them
and 51:F3 as concertos; neither addresses the status of 43:g3.44 Despite their out-
ward appearance as trio sonatas, these works inhabit the stylistic world of the con-
certo, where multiple players commonly converge on a single melodic line (vio-
lini allunisoni), tutti-solo oppositions persist throughout each movement, and
imitative dialogue between solo and tutti is minimized. Texturally, they register as
instrumental analogs to the operatic aria for voice, unison strings, and continuo.

Reimagining the Sonata (Concerto)

Let us turn now to the music itself, rst with a brief survey of concerto-style
sonatas composed in Germany from the 1710s to the 1740s. This survey will not
only supplement that provided by Swack, but will also introduce us to several
composers who have yet to gure in the story of the Sonate auf Concertenart. Their
widely diering responses to the concerto seem to validate the broad language of
Scheibes description; a number of works, for example, make their generic point
with little or no reference to ritornello form. Although the music is decidedly un-
even in quality, one is struck by its diverse instrumentation and geographical
296 The Sonatas

breadth, from which it appears that the sonata in concerto style was well-known
in south German musical circles.
We begin with several works by Johann Christian Schickhardt (ca. 1682
1762) which, if they do not impress us as full-edged Sonaten auf Concertenart in
Scheibes terms, speak to the impact that Italian concertos had on the sonata dur-
ing the 1710s. Schickhardt, active before 1720 in the Netherlands and Hamburg,
published twenty-six opera of instrumental chamber music (sonatas in two to
four parts, airs, dances, and instrument methods) in Amsterdam between 1709
and 1727. Not surprisingly, the concertos opp. 13 (ca. 171012) and 19 (ca.
171315) are the most fully scored.45 Of particular interest is the op. 19 set for
four recorders and continuo, works that seemingly go out of their way to refer to
the concerto. Although all six concertos are in four movements, they begin with
a fast movement alluding to the concerto through a distinctive opening ritornello
that may (nos. 1 and 6) or may not (nos. 2 and 3) return later in the movement,
or through a relatively clear-cut alternation of solo and tutti textures featuring vi-
olinistic guration in the soli (nos. 4 and 5). However, no movement corre-
sponds to textbook ritornello form, Vivaldian or otherwise; Schickhardt seems
uninterested in pursuing the implications of his initial structural patterns. Fur-
ther signifying the concerto are such stereotypical devices as the unison ritornello
(no. 2) and opening hammerstrokes (no. 3), as well as other gestures evocative of
a massed string sound. Such formal, textural, and gestural features are, of course,
not altogether absent in more conventional sonatas. But presented in combination,
under the banner of Concerto, and within the context of a ve-part scoring, they
convey a generic message that could not have been wholly lost on Schickhardts au-
dienceespecially in Amsterdam, where Italian concertos were regularly issued by
his publisher, Estienne Roger. Indeed, if there was any place in the 1710s where
composers and audiences could establish generic contracts relating to the sonata
and concerto, it was surely Amsterdam.46
Returning to the lute repertory, ve Sonaten auf Concertenart survive by Baron,
who held various positions in Thuringia and Saxony before spending the latter
portion of his career in the service of Frederick the Great. Both a D-minor con-
certo for lute and violin and a C-minor concerto for lute, oboe, and cello open
with ritornello-form movements. Lute and melody instrument are highlighted as
soloists in turn, and the D-minor movement also features an allunisono ritornello.
The outer movements in the G-major concerto for lute, ute, and cello are also
ritornello based, and the virtuosic writing for the ute suggests that this piece
may have been intended for Quantz at Berlin. All of this music is attractive but
formally conventional, with three or four ritornellos surrounding two or three
 Six Telemann and the Sonate auf Concertenart 297

solo episodes; little is oered by way of textural interest. Most interesting for our
purposes are the rst movements of the G-major duetto for lute and ute
featuring eective sonata-like dialoguing in both ritornellos and episodesand
the C-major concerto for lute, violin, and bass. In both cases the rst episode
is marked solo, by which Baron (or at least the copyist of the manuscript) sig-
nals an important change in the performers role, which of course implies some-
thing about the movements generic status. None of Barons sonatas can be dated
accurately, but it is worth noting that the G-major duetto apparently circulated
in Leipzig while Bach was living there.47
Barons colleague, the lutenist Adam Falckenhagen (16971754), also experi-
mented with blending elements of the sonata and concerto. Employed at Weis-
senfels, Jena, Weimar, and Bayreuth, Falckenhagen published two collections of
concertos for lute, treble instrument (ute, oboe, or violin), and cello between
1741 and 1743.48 The twelve works take the form of four-movement trios in
which the quick second movement crosses rounded binary and ritornello forms.
In these hybrid structures, the lute begins with a lengthy unaccompanied solo,
after which the treble instrument and cello repeat the opening material. This and
subsequent alternations in texture between solo lute and the full ensemble are in-
dicated in the lute part by markings of solo and tutti. In the second half of
the form, the opening material is presented in the dominant and tonic, with in-
tervening episodes sometimes placing the treble instrument in the role of soloist.
Two Concertos for ute or violin and obbligato cembalo by the Nuremberg
organist Johann Mattias Leoth (170531) underscore the intimate connection
between the obbligato keyboard trio and the Sonate auf Concertenart observed by
Swack in roughly contemporary works by Bach, Sebastian Bodinus, Christoph
Frster, Johann Gottlieb Graun, Quantz, and Telemann.49 Around 1730 Leoth
published a D-major Concerto per il Cembalo oblig: con Flauto Traversa Violino, and about
1734 there followed a posthumous publication of his F-major Concerto per il Cem-
balo concertando con Violino.50 Both concertos are laid out as four-movement works in
the mixed taste: two imitative slow movements in the Italian style, a fast second
movement alluding to the concerto, and a concluding French dance. The fast
movements, in fact, are idiosyncratic concertante fugues in which the second epi-
sode takes the form of a harpsichord solo, during which the ute or violin falls
silent. These solos are substantial and virtuosic, with fashionable hand crossings
and triplet gures emerging at their midpoints. Not only the F-major solo, but
virtually all the material in the movementincluding the subjects hammer-
strokes and sequential Fortspinnung, as well as the guration dominating both the
exposition and episodesis strongly informed by the solo concerto. Whether or
298 The Sonatas

not Leoths concertos had much of an impact on his contemporaries is hard to

gauge. But it is worth noting that both Bach and Scheibe could have encountered
them at Leipzig, where they were sold at the book fair in 1731 and 1738.51
Also largely overlooked as composers of Sonaten auf Concertenart are the Saxons
Stlzel and Fasch, both of whom wrote sonatas that strongly allude to the con-
certo. The rst movement of Stlzels Quadro in G major for two violins, cello,
and cembalo features a structure that at least in its broad outlines resembles ritor-
nello form: a tonally closed period lled with contrasting ideas returns later in the
movement, abbreviated and at dierent pitch levels, in alternation with brief epi-
sodes featuring the cello as soloist.52 However, because the movement is domi-
nated by the ritornello, itself featuring soloistic passagework in the cello part,
one is left with only a weak sense of the movement as a solo concerto. As for
Fasch, it is mildly surprising, given his interest in the concerto and close contact
with the Dresden court, that none of his sonata movements is in anything ap-
proximating ritornello form. Yet Sandra Mangsen argues persuasively that the
four-movement sonata in G major for ute, two violette or recorders, and con-
tinuo, FWV N:G1, is in concerto style insofar as it establishes the ute as soloist
and the other instruments as accompanists.53 This opposition remains in eect
throughout the rst, second, and fourth movements, despite passages in which the
ute temporarily assumes membership in the tutti.
One of the most important German composers to work largely outside the
Thuringia-Saxony region during the early eighteenth century was Molter (1696
1765), violinist and eventually Kapellmeister at the Karlsruhe court of Margrave
Karl-Wilhelm of Baden-Durlach from 1717 to 1733 and again from 1743 until
his death.54 During his rst period at Karlsruhe, he composed thirteen works en-
titled Sonata 4dro for conc[ertato] ute, oboe, violin, or treble viol with an
accompaniment of violin, viola, and continuo (MWV IX/19, 16, 1921).
Each is laid out in three brief movements, the rst and third of which are usually
in ritornello form with sharply dened solo and tutti roles. At times, however, the
line separating these roles unexpectedly goes out of focus. Example 6.3 gives the
beginning of the Sonata 4dro in E minor for oboe, violin, viola, and con-
tinuo, MWV IX/19, as transmitted in Molters composing score. Following the
opening ritornello, the solo oboe enters to the accompaniment of the bass and
written-out continuo chords in the strings. But beginning in measure 22, the oboe
and violin trade o guration in a manner suggestive of the trio sonata. After this
passage, the violin steps back into its role as ripienist, and the movement proceeds
as a normal concerto allegro. As revealing as this example is of Molters inter-
est in breaking down the distinction between concerto and sonata (or at least be-
tween solo and tutti), it is actually one of only a few such textures in his quartets,
 Six Telemann and the Sonate auf Concertenart 299

example 6.3. Johann Melchior Molter, Sonata 4dro in E minor for oboe, violin,
viola, and continuo, MWV IX/19/i, mm. 129
[Allegro]

Oboe 43

Violin 43

43

[Viola]

[Continuo]
43

5







9 Solo 1

14

(continued)
300 The Sonatas

example 6.3.Continued


20

24

27

most of which are stylistically indistinguishable from his solo concertos in the
standard ve voices.55 He may have considered these works sonatas primarily be-
cause of their relatively modest scoring and dimensions. Yet copyists producing
sets of parts to them some years later interpreted their generic status dierently,
relabeling them Concerto or Concertino.56
It is tempting to think that Molters quartets/concertos inspired, or were in-
spired by, the published Sonaten auf Concertenart of his Karlsruhe colleague Bodi-
nus.57 Whatever the case, Bodinuss interest in the genre could have been sparked
during his service at the Wrttemberg-Stuttgart court (172328), where at least
one sonata in concerto style was performed by the Hofkapelle. Among the
anonyma at the Universittsbibliothek in Rostock is an untitled trio in F major for
 Six Telemann and the Sonate auf Concertenart 301

ute, violin, and cello concluding with an auf Concertenart movement inexplicably
labeled Allegro Angloise. The manuscript parts, belonging originally to the
music collection assembled by Prince Friedrich Ludwig of Wrttemberg-Stuttgart
between 1716 and 1731, are in the hand of an unidentied scribe whose copying
job appears to have been done in some haste.58 In the third movement, the violin
takes the role of soloist in each of the three episodes, playing scalar and broken-
chord gurations to the accompaniment of the ute and cello. Considerable tex-
tural interest attaches to the rst and third episodes, where the ute momentarily
shakes o its accompanimental role to engage the violin in trio-like imitation or to
play with it in thirds and sixths. On the whole, the work reveals the hand of a com-
petent, if somewhat unimaginative, composer. But more interesting than the trio
itself is what the manuscript almost contained. Crossed out on the top two staves
of the cello part are the rst one and a half measures of a keyboard work, notated
by a dierent copyist in soprano and bass clefs (Figure 6.1). This turns out to be

figure 6.1. First page of the cello part to an anonymous trio for ute, violin, and cello
(D-Rou, Mus. saec. XVII.18.5167.)
302 The Sonatas

the beginning of an otherwise unknown transcription of Vivaldis concerto in E

major for violin and strings, RV 265 (op. 3, no. 12), also transcribed by Bach at
Weimar (BWV 976). The fragment departs signicantly from Bachs version, and
from a lost, anonymous transcription of the same concerto formerly at Darm-
stadt.59 To its right is a partially erased attribution (relating to the arrangement or
to the trio?), aborted after Del and the beginning of what may have been the rst
letter of the composers name. If nothing else, the Vivaldi fragment vividly under-
scores the familial relationship between keyboard arrangements of concertos and
sonatas in concerto style, for here an einstimmiges Concert and a Sonate auf Concertenart
share the same page.

The Vivaldi Cult at Dresden and the Origins of the Sonate auf Concertenart

Although composers in many parts of Germany wrote sonatas in concerto style,

the Thuringia-Saxony region is especially well represented by such works. Indeed,
Swack reveals the Dresden Electoral court to have been an important locus for
the genre from the mid-1710s through the 1730s.60 Not only trios and quartets
in concerto style by resident composers such as Heinichen, Quantz, and Jan Dis-
mas Zelenka, but also similar works by composers with connections to the court,
including Carl Heinrich Graun, Telemann, and Vivaldi, were performed by the
Hofkapelle.61 Swack traces this local fascination with integrating concerto and
sonata to the dual inuences of Vivaldis chamber concertos and his concertos in
more conventional scorings. Representative of this repertory and perhaps espe-
cially inuential, in her view, are two of the former works with Dresden sources:
the concerto in G minor for ute, oboe, violin, bassoon, and continuo, RV
107; and the suonata in C major for oboe, violin, and obbligato organ, RV 779.
The dating of the autograph score of RV 779 to between 1706 and 14 Decem-
ber 1709 means that it could easily have been brought to Dresden from Venice
by the violinist Pisendel following his studies with Vivaldi in 171617. Alterna-
tively, it may have accompanied the sixteen-year-old Saxon Crown Prince
Friedrich August II on his return to Dresden from a 1712 visit to Vivaldis Vene-
tian workplace, the Pio Ospedale della Piet.62 In either case, Vivaldis sonata
would have been in the chronological position to spawn imitations by Dresden
composers.
But it would be well to sound a note of caution here, for in the absence of per-
forming material copied in Dresden, we cannot conrm that RV 779 was actu-
ally heard at court. And if the score was indeed presented by Vivaldi to Friedrich
August, it would almost certainly have remained in his personal collection, likely
 Six Telemann and the Sonate auf Concertenart 303

inaccessible to court musicians. RV 107, on the other hand, is transmitted in a

Dresden set of parts copied by the court scribe Johann Gottfried Grundig (also
known as Dresden Copyist A) during the late 1720s or early 1730s.63 It would
therefore have belonged to the music collection of the Hofkapelle and been per-
formed by its musicians. Yet Paul Everetts dating of the Turin autograph score of
RV 107 to 1720 would seem to rule out the possibility of the works having ar-
rived in Dresden much before the copying of the parts; it may well have been
among those works sent by Vivaldi to the court during the 1720s and 1730s, that
is, somewhat after the earliest Dresden Sonaten auf Concertenart were composed by
Heinichen and Zelenka.64 The same may be true of two further Vivaldi sonatas
in concerto style copied by Dresden Copyist D (Johann Gottlieb Morgenstern or
Johann Georg Kremmler) and Grundig: the trio in D major for ute, violin, and
continuo, RV 84; and the trio in D minor for ute, violin, partially obbligato bas-
soon, and continuo, RV 96.65
Striking though it may be that all four Vivaldi chamber works in three to ve
parts transmitted at Dresden are auf Concertenart, the nature of their relationship
to similar works by German composers proves rather dicult to gauge. Michael
Talbot, however, has hypothesized a direct relationship: the 171617 visit to
Venice by Pisendel and several of his colleagues in the Dresden Kammermusik
could have been the catalyst for the creation of Vivaldis chamber concertos. If so,
it follows that lost source material for RV 84, 96, and 107 might have been
brought back to Dresden in 1717, then remained in the private collection of
Pisendel or another musician until court copyists were instructed to add the
works to the Hofkapelles repertory a decade or more later. Talbot also suggests
that the sonata in C major for ute, oboe, bassoon, and continuo, RV 801 (for-
merly RV Anh. 66), copied at Herdringen around the 1720sthe only non-
Dresden German source for a Vivaldi chamber concertocould also have had
some impact on the Sonate auf Concertenart.66 Despite a lack of supporting evidence,
both of these scenarios are plausible. Yet unless we are willing to imagine earlier
repertories of Vivaldi chamber concertos at Dresden and elsewhere in Ger-
manyrepertories that have vanished practically without a traceit would ap-
pear that this music played a less than decisive role in the development of the
Sonate auf Concertenart. Thus Vivaldis works and those of his German contempo-
raries may be seen as parallel, or at best indirectly related, responses to the solo
concerto.67
This view is borne out by additional concerto-style sonatas at Dresden by Al-
binoni, Handel, and Telemann, none of which appears to have taken Vivaldis
chamber concertos as models. Albinonis sonata in B-at major for violin and
continuo is transmitted in a composing score inscribed to Pisendel during the vi-
304 The Sonatas

olinists visit to Venice.68 The sonatas fourth movement exhibits a three-ritornello

plan in which the second and third ritornellos are abbreviated and somewhat al-
tered but remain in the tonic key. Both solo episodes are lengthier than the sur-
rounding ritornellos but employ similar gural patterns, which, along with the
two-part scoringthe only German parallels for which are BWV 1034/ii, sev-
eral solo movements by Telemann, and the rst movement of Quantzs ute
sonata QV 1:273means that the movements tutti-solo opposition is weakly
articulated.69 Still, Albinonis movement could have served Dresden musicians as
a paradigm for the sonata in concerto style.
Handels only Sonate auf Concertenart, the trio in B-at for two violins and con-
tinuo, HWV 388, is transmitted in two Dresden manuscript scores.70 Its fourth
movement provides an especially straightforward example of ritornello form, and
is unmistakably indebted to Vivaldis concertos. Handel divides his homophonic
ritornello into brief, detachable modules that are sharply dierentiated from one
another through rhythm, harmony, and dynamic level; the momentary turn to the
parallel minor with a dynamic echo eect in measures 910, just preceding the
drive to the tonic cadence, seems a particularly Vivaldian gesture (Example 6.4).71
The movement follows a conventional tonal scheme (IVviiiI), with interior
ritornellos abbreviated and sometimes including interpolations of new material.
Each solo episode consists primarily of display passages for the violins, with the
rst violin being (in the words of Scheibe) worked out more fully than the sec-
ond. The second violin, curiously enough, takes the initiative in the two lengthi-
est episodes (mm. 1325 and 4655), only to be abruptly silenced by the rst
violinhardly the kind of give-and-take one expects among the soloists in a dou-
ble concerto. Only in the nal episode (mm. 5967) is it allowed to utter as much
as a second phrase, and it is reduced to the role of ripienist in what may be heard
as either the second solo episode or a solo interpolation within the second ritor-
nello (mm. 3236). Such an unequal workload among the soloists could be in-
terpreted as a strategy for achieving formal clarity through textural contrast: the
ritornellos are always in three parts, while the solo episodes are substantially in
two. But it may also be viewed as an ironic commentary on the double life led by
the obbligato instruments in a Sonate auf Concertenart: whereas the rst violin seems
perfectly comfortable with switching identities from ripienist to soloist, the sec-
ond violin, try as it might, cannot quite ease intoor is actively prevented from
fully assumingthe role of soloist; it seems to nd its voice only as a member of
the ripieno. That Handel might have been deliberately exploring such a social dy-
namic is suggested by the absence of comparable identity crises (or the snubbing
of one soloist by another) in other Sonaten auf Concertenart. Formal and generic am-
biguity in similarly scored double concertos is, as we shall observe, usually gen-
 Six Telemann and the Sonate auf Concertenart 305

example 6.4. George Frideric Handel, Trio in B-at for two violins and continuo,
HWV 388/iv, mm. 126

Allegro
Violin 1

c

Violin 2 c
c
Continuo

6 6 6 6 6 6 6 6

5






6 5b 4b

p pp f

pp
p f

pp f
6 5 4 p b b 6

12 Solo 1

p
9 7 6 6 6 6 6 6 6 6 6 6
5

16




6 7 6 6

(continued)
306 The Sonatas

example 6.4.Continued

19

6 6 6 6 6 6

22

6 6 6 6 7 6

Ritornello 2

24

6 6 6
f 6 6 6

erated by a ripienists elevating himself to the status of soloist, or by a soloists

momentarily joining the ripieno, after the instrumental roles have been clearly es-
tablished at the outset.
Under what circumstances did Handel create this unusual piece? Current schol-
arly consensus assigns it to around 171718 based on Handels use of material
from the rst three movements in the sinfonia to Esther, HWV 50, written no later
than March 1719. Comparing the two works, Terence Best has suggested that the
trio was written rst, though he also observes that there is no conclusive evidence
one way or the other.72 If, however, we allow that the trio (or at least its fourth
movement) is slightly later than the sinfonia, then its composition might be placed
at Dresden in September 1719, when Handel attended the ceremonies surround-
ing the wedding of Crown Prince Friedrich August II to Maria Josepha, Arch-
duchess of Austria. Two facts speak for this possibility: rst, one of the Dresden
scores is written on paper that was used at court only during the late 1710s and
early 1720s, and that appears in the violin concerto Telemann wrote at Dresden
for Pisendel in 1719 (51:B1);73 and second, the trios nale is more overtly Vival-
dian than practically any other ritornello-form movement in Handels output.74
 Six Telemann and the Sonate auf Concertenart 307

This last quality could arise from Handels having oered the work as an homage
to the Vivaldian leanings of Pisendel and his colleagues. In an arranging process
that parallels Vivaldis recycling of several chamber concertos as works for ute and
strings (RV 90, 98, 101, and 104 as RV 428, 433, 437, and 439), Handel recast
the trios nale in 1735 as the second movement of the organ concerto, HWV
290 (op. 4, no. 2). Perhaps to bring the movement in line with expectations of
length and virtuosity in solo concertos, he expanded each of the episodes (tailor-
ing the solo guration to the keyboard) and added a concluding episode-ritornello
complex. Except for the second ritornello, now divided between the organ and
strings, the trios ritornellos were adopted with only minor alterations.
Swack has already called attention to the two Dresden sources for Telemanns
quartet for recorder, violin, viola, and continuo, 43:g4, a work that most likely
dates from the composers Eisenach period (see chapter 5). Telemann blurs the
outlines of the fast movements ritornello forms by deriving nearly all of the solo
recorders material from that of the ritornello, and by emphasizing trio-like imi-
tation between soloist and accompanists. Although in the rst movement one is
hard-pressed to distinguish ritornellos from solo episodes after the rst ten mea-
sures, the third movement has a clear ritornelloda capo form in which the three-
ritornello A section opens with a double Devise or motto entrance of the soloist
(Example 6.5a), and the B section comprises a ritornello framed by two solo epi-
sodes, the second of which cadences in the relative major. There is nonetheless
enough sonata-like dialoguing in episodes and interior ritornellos that at any
given moment the listener may be unsure where he or she is in the form. In a clever
role reversal, Telemann assigns the ritornello in the B section to the recorder, while
the strings momentarily become the soloists (Example 6.5b). Though Swack as-
sumes the Vivaldian concerto as a point of departure for the quartet, there is
in fact nothing particularly Vivaldian about its style or structure. Neither ritor-
nello, for example, displays the modular quality already common in Vivaldis op.
3. More likely models are to be found among earlier concertos of Torelli and Al-
binoni, and similar works written by Telemann at Eisenach.
Four other Telemann sonatas preserved in Dresden sets of parts from the 1710s
or early 1720sthe trios 42:C3, D14, and g12, and the quartet 43:d2provide
additional evidence that the early Sonate auf Concertenart looked to models other than
Vivaldis concertos. The C-major and D-major trios, scored for two violins with
continuo and likely dating from before 1712, both frame a sarabanda-like slow
movement with fast movements having ritornello, or ritornello-like, structures. In
the third movement of the C-major trio, the nearly unvarying ritornellos are or-
ganized as compact, tonally closed fugal expositions and follow a modulatory plan
(IVviI) typical of early Italian concertos. The rst movement, by contrast,
308 The Sonatas

example 6.5. Quartet in G minor for recorder, violin, viola, and continuo, 43:g4/iii:
(a) mm. 118; (b) mm. 6371
Allegro
(a)
Recorder

c

Violin c

c
Viola

c
Continuo

7 7

7

7 7

4





7
6# 6 6 # #
# 5

8







7 7 7 7 7

12

6# 6 6 # 6#
5
 Six Telemann and the Sonate auf Concertenart 309

16







6 7 7 7 7
5

(b)


63








7 7 7 7 7

67

6# 6

69

6 6 #
310 The Sonatas

comprises two imitative periods (the rst tonally open) surrounding a central epi-
sode with display passages for each of the violin soloists. In the D-major trios
rst movement, three episodes alternate with abbreviated versions of the opening
ritornello in the dominant and tonic. Instead of concluding with a ritornello, how-
ever, the movement ends with a ashy coda that extends the tremolo guration of
the last two episodes to all three parts. The trios third movement employs double
stopsseemingly to simulate a massed-string soundonly in the rst and last of
four ritornellos, while three episodes introduce contrasting material. Stylistically
similar to the trios, the second movement of the quartet has a four-ritornello
structure in which solo episodes for the two violins alternate with abbreviated and
reordered statements of a modular ritornello; as in the rst movement of the D-
major trio, the nal ritornello gives way to a soloistic coda. Most unusual formally
is the opening movement of the G-minor trio, where the initial ritornello is im-
mediately repeated in an abbreviated version that modulates to the dominant.
It seems possible, given the tonally open eect at the start of 42:g12/i, the
four-part string scoring of 43:d2, and the brevity of the episodes in all four works,
that Telemann took his cue as much from the ripieno concerto as the solo con-
certo. Fast movements in the former genre, as we noted in chapter 3, tend to al-
ternate soloistic episodes for one or more upper parts with tonally open or closed
periods that return, sometimes abbreviated, at dierent pitch levels. And insofar as
ripieno concertos call upon the same instruments to play ritornello and episodic
material, they would seem natural models for early Sonaten auf Concertenart.75

Telemanns Sonaten auf Concertenart

One might expect the Sonate auf Concertenart, like other genres and subgenres, to
have undergone a series of redenitions during its brief history. Over time, the
expectations it aroused and the meanings it conveyed presumably changed both
for composers and their audiences. One way of tracing such a process would be
to assemble a critical mass of securely datable works by a wide assortment of
composerssomething that presently lies beyond our reach. Our expanding
count of Sonaten auf Concertenart notwithstanding, the repertory remains compara-
tively small; most composers, it appears, chose only to dabble in the genre (Bach,
with half a dozen works, ranks as one of the most prolic). Alternatively, the
genres peregrinations might be charted through the works of a single composer.
And here we could do no better than to turn once more to Telemann, who pro-
duced a steady stream of concerto-style sonatas over several decades. The ve
 Six Telemann and the Sonate auf Concertenart 311

Dresden sonatas discussed above led to a considerable number of works in two

to four partsmany of them published in widely disseminated collectionsthat
imaginatively explore the Sonate auf Concertenart from nearly every conceivable angle.
Tables 6.16.3 list forty-one Telemann solos, trios, and quartets auf Concerten-
art, each containing at least one fast movement in ritornello form.76 To these
might be added ve trios and quartets containing concertante fugues.77 It is evi-
dent from this tally that Telemann considered quartets the most fertile ground for
mixed-genre experimentation, for no fewer than 38 percent of his four-part
sonatas (15 of 40) contain at least one movement in concerto style. This com-
pares with 13 percent of his trios (17 of 130) and only 10 percent of his solos
(9 of 87).78 At least in his trios and quartets, Telemann validates Scheibes ob-
servations that Sonaten auf Concertenart often have a three-movement formal scheme
(fastslowfast) and that the characteristic texture of soloist versus accompani-
ment tends to be concentrated in the initial fast movement. Telemanns concerto-
style trios are in fact twice as likely as his trios overall to be in three movements,
while all four of his three-movement quartets are auf Concertenart.
Where Telemann chose to publish his Sonaten auf Concertenart also reveals some-
thing of his attitude toward the genre. They are found principally in his rst
sonata collections (the Six sonate violon seul and Six trio) and those that are the
most ambitious in terms of scope or technical demands (the Quadri, Nouveaux
quatuors, Musique de table, Essercizii musici, Six concerts et six suites, XII Solos, and Der ge-
treue Music-Meister). Few Sonaten auf Concertenart were included in the less ambitious
publications, many of which are overtly didactic or popular in conception (for
example, the two sets of Sonate methodiche and the Kleine Cammer-Music, Sei suonatine,
Nouvelles sonatines, III Trietti methodichi e III scherzi, Scherzi melodichi, Six quatuors ou trios,

Table 6.1 Telemanns solos auf Concertenart

TWV 41: Scoring (+ bc) Sources
e3/ii Vn/ Nouvelles sonatines (1730 or 1731)
e4/iv Vn/ XII Solos, violon ou traversire (1734)
e8/iv Vn D-Bds, N Mus. ms. 10353
e11/ii Fl B-Bc, XY 15115
g6/ii Ob Musique de table (1733)
g7/iv Vn/ XII Solos, violon ou traversire (1734)
A5/iv Vn/ XII Solos, violon ou traversire (1734)
a3/iv Ob Der getreue Music-Meister (1729)
h1/iv Vn Six sonates violon seul (1715)
312 The Sonatas

Table 6.2 Telemanns trios auf Concertenart

TWV 42: Scoring (+ bc) Sources Title
C3/i, iii 2 vn D-Dlb, Mus. 2392-Q-1 Sonata
c2/ii Rec, ob Essercizii musici (1727 or 1728) Trio
D-DS, Mus. ms. 1042/36 Sonata
D-Dlb, Mus. 2392-Q-79 Trio
D6/ii Fl, cemb/vn Six concerts et six suites (1734) Concerto
D14/i, iii 2 vn D-Dlb, Mus. 2392-Q-9 Sonata
E6/i, iii Vn, vdg D-DS, Mus. ms. 1042/74 Sonata
e4/i Vn, va Scherzi melodichi Scherzo
e10/iv Fl, vn D-DS, Mus. ms. 1042/64 Sonata
F14/i Rec, hn D-SWl, Mus. ms. 5400/1 Concerto
G1/ii Vl, vn Six trio Trio
Vn/, vn D-SWl, Mus. ms. 5400/2 Concerto
g2/ii Fl, cemb/vn Six concerts et six suites (1734) Concerto
g12/i Ob, vln D-Dlb, Mus. 2392-Q-49 Sonata
A3/ii Fl, cemb/vn Six concerts et six suites (1734) Concerto
A6/ii Fl, cemb Essercizii musici (1727 or 1728) Trio
D-DS, Mus. ms. 1042/41 Sonata
D-DS, Mus. ms. 1045/5 Trio
A9/i Fl, vn D-DS, Mus. ms. 1042/23 Sonata
Fl, ob dam/vn D-Dlb, Mus. 2392-Q-55 Concerto
Fl, ob dam D-ROu, Mus. saec. XVII.18.4523 Concerto/trio
Fl, ob dam B-Bc Litt. V, No. 16.932 Trio
Fl, ob dam D-Bds, Mus. ms. 13216 Trio
Fl, ob dam Breitkopf (1766), p. 49 Trio
a2/iv Fl, cemb/vn Six concerts et six suites (1734) Concerto
B1/i Ob, vn Six trio (1718) Trio
h1/ii Fl, cemb/vn Six concerts et six suites (1734) Concerto

and Sonates corellisantes). Apparently, then, Telemann believed that the conceptual
and technical challenges posed by the genre rendered it inappropriate for certain
purposes or audiences.
The absence of slow movements in Tables 6.16.3 will by now come as no sur-
prise. Yet at least nine of Telemanns slow sonata movements from the 1720s and
1730s can be heard as referring to the concerto. These have a central cantabile
section framed by a brief ritornello, a movement type found, as mentioned in
chapter 3, in a number of concertos by Telemann, Bach, and Vivaldi.79 That the
allusion is to the concertoand perhaps ultimately to the ariais clear enough,
not least because half of the movements in question abut one or more in ritor-
nello form. In the third movement of 43:A1 (sandwiched between two concer-
tante fugues), Telemann unexpectedly extends the orchestral texture into the
 Six Telemann and the Sonate auf Concertenart 313

Table 6.3 Telemanns quartets auf Concertenart

TWV 43: Scoring (+ bc) Sources Title
D1/i, iii Fl, vn, vdg/vc Quadri (1730) Concerto
D7/ii 2 ob, tpt D-Dlb, Mus. 2392-Q-56 Concerto
d1/ii Rec, 2 Musique de table (1733) Quatuor
d2/ii Fl, vn, va Quatrime livre de quatuors (175260) Sonata
2 vn, va D-DS, Mus. ms. 1033/53 Concerto
2 vn, va D-Dlb, Mus. 2392-Q-22
G1/ii Fl, vn, vdg/vc Quadri (1730) Concerto
G2/ii Fl, ob, vn Musique de table (1733) Quatuor
G6/i Rec, ob, vn D-DS, Mus. ms. 1033/5 Concerto
D-DS, Mus. ms. 1042/88 Sonata
D-Dlb, Mus. 2392-Q-77 Concerto
G10/i Fl, 2 vdg D-DS, Mus. ms. 1042/68 Sonata
G12/ii Fl, 2 vdg/vn D-DS, Mus. ms. 1042/90 Sonata
G13/ii [Fl], vn, ob dam D-SWl, 5400/12 Concerto
g2/ii Ob, vn, vdg D-DS, Mus. ms. 1033/8 Concerto/Sonata
D-DS, Mus. ms. 1042/5 Sonata
g4/i, iii Rec, vn, va D-Dlb, Mus. 2392-Q-42
D-Dlb, Mus. 2392-Q-82
a2/i Fl, vn, vdg/vc Nouveaux quatuors (1738) Quatuor
a3/iv Rec, ob, vn D-DS, Mus. ms. 1033/6 Concerto
NL-DHgm, Hs ds II Sonata
h2/i Fl, vn, vdg/vc Nouveaux quatuors (1738) Quatuor

central section: each of the three solo periods is peppered with brief tutti inter-
jections played by whichever instruments are not singing at the moment. An
even more aria-like eect is created by the middle movement of 43:D1, a tender
siciliana for ute and violin that casts the viola da gamba/cello in the orchestral
role. The opening ritornello is played by an orchestra of strings (multiple stops
in the gamba/cello) and winds (interjections from the ute and violin), after
which the ute and violin enter as vocal soloists. The distinction between or-
chestra and soloists is maintained throughout the movement, though it is mo-
mentarily weakened when the gamba/cello sings in thirds and sixths with the
soloists and the violin adopts several accompanimental gures (mm. 3943 and
4950). Although the opening ritornello does not appear again intact, the move-
ment ends with the ritornellos cadential phrase, now rescored to include the ute
and violin.
Another parallel with the ariaand with Telemanns own concertosis the
occasional presence in fast movements of double-motto solo entrances, some-
times combined with da capo repeats.80 Telemann often resists convention by hav-
314 The Sonatas

ing more than one episode begin with a double motto (42:h1/ii; 43:G1/ii, G6/i,
g2/ii), writing a double motto only in an interior episode (43:a3/iv), providing
non-ritornello material for the orchestral interlude separating statements of
the motto (42:F14/i, B1/i), or by assigning dierent instruments to play the two
motto statements (43:G1/ii). Relatively conventional in terms of form, on the
other hand, are several movements with three- or four-ritornello structures for
their A sections and an extended episode, cadencing in the mediant or relative
minor, for their B sections (41:A5/iv; 42:A6/ii, G1/ii; also the einstimmiges Con-
cert movement 32:6/iii). As we have already observed, 43:g4/iii follows this pat-
tern but includes a ritornello statement in the B section. Two sonata movements
from the 1730s (43:G2/ii and h2/i) are large-scale da capo forms in which the
tonally open B section is virtually a second movement, set apart from the A sec-
tion through changes in meter, tempo, and key. Such structures have close paral-
lels in the rst two movements of 53:e2 and 54:F1 and in the sets of fantasies for
unaccompanied violin and keyboard.
The importance that Telemann attached to the Sonate auf Concertenart is demon-
strated by the inclusion of three in his rst published collections of solos and
trios: the Six sonates violon seul (1715) and Six trio (1718). These appear to be the
earliest printed sonatas to include movements in ritornello form. The nale of the
third solo (41:h1) leaves the listener with little doubt as to its generic pedigree,
for each of the ritornellos begins with a hammerstroke motive, and the episodes
are given over to extroverted gural patterns associated with solo concertos. As
Swack notes, the movement also fuses binary and ritornello forms, so that each
half frames a solo episode with two ritornellos.81 This is a structural experiment
that Telemann repeated only once in his sonatas, in the nale of the trio 42:e10;
such fusions also occur among his concertos.82 The rst of the trios (42:B1)
opens with a concerted movement in which much of the solo oboes material is
derived from the violins ritornello, not unlike the process in the Dresden quartet
43:g4. Further obscuring the functional distinction between the instruments are
passages in which they play o one another in trio-sonata fashion. Similar ambi-
guity informs the rst movement of the third trio (42:G1), in which the ute
plays solo to the violins tutti. The opening measures for violin and continuo di-
vide harmonically and motivically into Vordersatz, Fortspinnung, and Epilog segments.
Essentially a repetition of the ritornello, the rst episode features a reorches-
trated Fortspinnung (adapted to the ute) and an Epilog cadencing in the dominant.
Already in the second ritornello, the solo-tutti distinction begins to dissolve: the
Vordersatz is stated in unison by the ute and violin, while the ute provides a new
counterpoint to the Fortspinnung and plays the Epilog alone. In the B section of this
 Six Telemann and the Sonate auf Concertenart 315

ritornelloda capo form, the violin unexpectedly elevates itself to the status of
soloist for a time. The shifting nature of the relationship between the two treble
instruments here brings to mind Handels contemporaneous B-at trio. Unusu-
ally for a Sonate auf Concertenart, Fortspinnung material from Telemanns ritornello oc-
casionally migrates to the bass line, which might therefore seem (to quote Scheibe
once more) composed less concisely than the bass in a regular sonata.
Probably written within a relatively short span of time during the 1720s or
early 1730s, and never published by the composer, are four stylistically similar
quartets auf Concertenart that take a dierent approach to the genre. The opening
movements of 43:G6 (a double concerto for recorder and oboe) and 43:G10 (a
triple concerto for ute and two violas da gamba) both have ve-ritornello struc-
tures in which the fourth solo separates two virtually identical ritornellos in the
tonic, a pattern not duplicated elsewhere among Telemanns Sonaten auf Concerten-
art.83 In the former movement and the second of 43:g2 (a solo concerto for
oboe), the tutti instruments achieve a prominence nearly equaling that of the
soloists, so vigorously do they punctuate the episodes with ritornello material.
The eect is heightened by ritornellos that are, if anything, more virtuosic than
the episodes. The G-minor movement and the second of 43:G12 (another triple
concerto for ute and two violas da gamba) are linked by the recapitulatory eect
of their nal episodes, which substantially quote the opening solo material; in the
former case, the quotation even includes the oboes double-motto entrance. For
all their formal and textural interest, however, none of these quartets places an
emphasis on shifting instrumental roles. Even in the rst movement of 43:G10,
where the three upper parts do double duty as soloists and ripienists, the episodes
are relatively free of formal ambiguity: the soloists patiently wait their turn to
shine, then quickly slip back into their tutti roles as the spotlight falls elsewhere.
Only toward the end of 43:G6/i, when the two soloists join in with the or-
chestral violin during the nal two ritornellos, does Telemann slightly upset the
textural applecart.
But the standout among the Sonaten auf Concertenart Telemann left unpublished
is the concerto in A minor for recorder, oboe, violin, and continuo 43:a3. Its
fourth movement is remarkable not only for blurring the tutti-solo distinction,
but also for ingeniously fusing ritornello form with the concertante rondeau, a
movement type in which interior statements of the refrain often appear in keys
other than the tonic and one or more couplets feature display passages in the man-
ner of concerto episodes.84 Here Telemann has it both ways formally: the open-
ing period is recognizable as a ritornello through its easily separable phrases,
quasi-unison texture, and vigorous guration but, like a rondeau refrain, is pre-
316 The Sonatas

sented almost exclusively in the tonic. The solo episodesfor the recorder, oboe,
and violin in turnfeature unusually virtuosic and idiomatic writing, as if to em-
phasize the movements generic credentials as a concerto, yet conclude in a for-
mally ambiguous manner. Table 6.4 outlines the movements structure. As shown
in Example 6.6a, the ritornello is divided into three segments of roughly equal
length: two statements of a sequential Vordersatz, functioning as an antecedent-
consequent pair, and an Epilog. The rst episode ends with a dominant statement
of the Vordersatz consequent phrase, now soloistically rescored and supported by
a bassetto bass played by the orchestra (oboe and violin). Although appearing
at rst to be the second ritornello, this statement of the consequent phrase is ret-
rospectively perceived as solo material: Telemann signies the beginning of the
true second ritornello, and with it the full orchestra, by restoring the continuo
to the bass line and returning to a slightly rescored version of the quasi-unison
texture (Example 6.6b). Similarly, the second episode, divided by a brief ritor-
nello fragment containing the Epilog phrase, ends with a rescored tonic version of
the Vordersatz antecedent phrase, which is followed by an orchestral statement of
the consequent phrase. (The principal melodic line of the antecendent phrase is
given not to the oboe, as one would expect, but again to the recorder.) This epi-
sode further obscures the distinction between solo and tutti material by opening
with a double motto in the oboeanother signier of the concertothat clev-
erly embellishes the Epilog phrase. Here we are treated to the rare spectacle of a
soloist interrupting the beginning of his own episode to momentarily rejoin the
ripieno. There is an attractive formal symmetry in this return of the Epilog phrase
at the movements midpoint, framed as it is by the Vordersatz phrases of the episodes
and interior ritornellos, themselves enclosed by two statements of the complete
ritornello period. Perhaps it was to establish this symmetry that Telemann avoided
any formal ambiguity in the third episode, which would be perfectly at home in
one of his violin concertos. Interestingly, in the Hague parts to the work, only this
episode is marked Solo in the violin, cello, and cembalo parts.85 Did Telemann
(or the copyist) regard this passage as more concerto-like than the others?

Table 6.4 Structure of 43:a3/iv

Measures 118 1851 5163 6384 8488 88102 1028 10850 15067
Material R13 S2 R12 S3 (motto) R3 (frag.) S1 R2 S R13
Key i v i III III i i i i
Soloist Recorder Oboe Oboe Violin

Note: Superscript numbers in the material column (R = ritornello; S = solo episode) refer to segments of the
ritornello, as identied in Example 6.6a.
 Six Telemann and the Sonate auf Concertenart 317

example 6.6. Quartet in A minor for recorder, oboe, violin, and continuo, 43:a3/iv:
(a) mm. 118; (b) mm. 3752

43
(a) Vivace 1 (Vordersatz, antecedent)

Recorder


Oboe 43
3
Violin
4
Continuo
43
6 6 6 6 6 6 6 6

5 2 (Vordersatz, consequent)








6 6 6 6 6 6 6 6 6
4

9













6 6# 6 6 6 6 6 #
4 4

13

3 (Epilog )




#

(continued)
318 The Sonatas

example 6.6.Continued

16







# 6 #

(b)


37

3 3

3 3 3 3

3 3 3 3 3
3

6# 6

# #

41

3 3 3 3


3 3
3

3 3
3
3

6 6 6 6 6
7 6
5 6
5 5 #

4 4 3
# #

46

 Six Telemann and the Sonate auf Concertenart 319

49 Ritornello 2

6 6 6 6

By the 1730s Telemann seems to have associated the Sonate auf Concertenart most
closely with a four-part texture: quartets in concerto style appear in three of his
published collections from this decade (the Quadri, Musique de table, and Nouveaux
quatuors), while trios and solos appear in only one or two collections apiece (the
Nouvelles sonatines, Six concerts et six suites, and XII Solos). The earliest of these collec-
tions, the Quadri (1730), contains two Sonaten auf Concertenart entitled Concerto
(43:D1 and G1; both triple concertos) and two Sonatas containing concer-
tante fugues with especially soloistic episodes (43:g1 and A1). Perhaps unex-
pectedly, many of the most striking moments in these works occur in the con-
certos ritornellos.
The second movement of the G-major concerto opens with what might be de-
scribed as a telescoped fugal exposition: three distinct subjects are presented si-
multaneously by the ute, violin, and viola da gamba, and only during the two in-
terior statements of the ritornello does Telemann present the subjects in imitation.
Thus the movement walks a ne line between ritornello form and concertante
fugue. Interestingly, all three episodes (one for each obbligato instrument) open
with a double motto, the last two wryly beginning with the wrong instrument.
In a bold departure from the usual concern in Sonaten auf Concertenart with intro-
ducing orchestral textures and gestures in at least the opening ritornello, both
outer movements of the D-major concerto have ritornellos that are packed with
motivic material and thoroughly imbued with sonata-like imitation. Because the
ritornello of the rst movement is never abbreviated when it returns (though it is
transposed and its motivic material redistributed among the instruments), the for-
mal structure seems especially transparent. But following the third and nal epi-
sode, which ends with a canonic passage for the three soloists over a dominant
pedal (a gesture more evocative of the sonata than the concerto), the ritornello
fails to accompany the return to the tonic. Instead, Telemann unexpectedly intro-
320 The Sonatas

example 6.7. Quartet in D major for ute, violin, viola da gamba/cello, and continuo,
43:D1/iii (Quadri, Concerto 2), ideal ritornello

Vivace

Fortspinnung 1

8 3
Vordersatz

Flute


Violin 38
38
Viola da gamba

3
8
6

4

5
3

6
4
5
3
6

Continuo
________
6
4 3 __ 6
4 7 __ 6

Fortspinnung 2

7 6 6 46

5+ __ 6 __ 6 5+ 6
6
4
11


Epilog

6 5 ________ ________

3 3
5

4

7 6 7# 8 7 6
4 4

15

6
4
5
3

7 7 6 3
4
 Six Telemann and the Sonate auf Concertenart 321

duces a new imitative gure accompanied by the ritornellos octave motive, leaving
us to wonder whether this concluding passage is a modied ritornello or an ex-
tension of the third episode. The idea of wedding a sonata-like ritornello with
sonata-like episodes is taken up again in the concertos third movement. Example
6.7 gives what Dreyfus would call the movements ideal ritornello: a hypotheti-
cal, precompositional conception of the ritornello that does not actually occur in
the piece.86 What Telemann actually provides at the outset is rather dierent: the
polonaise-like Vordersatz phrase is softly echoed by the violin, a soloistic point of
imitation is inserted between the Vordersatz and rst Fortspinnung phrases, the second
Fortspinnung phrase is repeated after the Epilog phrase, and an expanded second state-
ment of the Epilog phrase concludes allunisono, a gesture that strengthens the fore-
going musics credentials as a ritornello. More than any other ritornello in Tele-
manns Sonaten auf Concertenart, this one threatens to overshadow the episodes
through its contrapuntal activity, motivic density, and sheer length.
Among Telemanns last four published quartets auf Concertenart, all of which
feature a single soloist, that from the second part of the Musique de table (43:d1)
oers the most complex interplay between soloist (recorder) and tutti (two
utes). Depriving himself of the usual diversity of range and timbre seems to
have stimulated Telemann to combine the instruments in unusual ways: the epi-
sodes in the second movement are frequently animated by material from the mo-
tivically rich ritornello, and two interior ritornellos include the soloist. An espe-
cially deft touch occurs at the opening of the rst episode, where the second
statement of the recorders motto is accompanied by the initial motive of the
ritornello. This leads to a passage (mm. 3841) in which the opening measures
of the ritornello are rescored to include the soloist, leaving one unsure whether
this is a tutti interjection or still solo material. Later, after the third and fth ri-
tornellos have also involved the recorder, a fermata on a V7 chord oers the
soloist an opportunity to reassert its primacy through a cadenza.
When placed alongside the works discussed so far, the ve auf Concertenart
movements in the Six concerts et six suites make an odd impression. One senses that
in this collection Telemann wished to see how far he could go in adapting ritor-
nello form to the imitative textures of the sonataan experiment with only
partly successful results. Breaking with his usual practice, he adopts a formal tem-
plate for the opening of each movement, whereby the ute initially assumes the
tutti role and the harpsichord/violin enters with episodic material largely derived
from the ritornello. The close thematic connection between these opening peri-
ods is atypical for auf Concertenart movements, but of course entirely characteristic
of normal trios. Moreover, the rst episode, though it assigns the leading role
to the harpsichord/violin, tends to contain more trio-like imitation than is usu-
 322 The Sonatas

ally found in concerto-style sonatas. With the tutti-solo opposition thus estab-
lished, Telemann lets the movements ritornello structures dissolve to varying de-
grees. In the rst, second, and sixth concertos (42:D6/ii, g2/ii, and a2/iv), the
dissolution process is already complete by the second ritornello. Subsequent
cameo appearances of ritornello segments and allunisono gestures in the D-major
and G-minor movements seem like self-conscious, and largely ineective, at-
tempts to reestablish the concerto-like feel of the opening measures. Though the
A-minor movement initially seems more concerto-like because the initial episode
introduces new thematic material, it is even less concerned with keeping up ap-
pearances; instead, it soon busies itself with a trio-style exploration of the inter-
esting chromatic motives presented in the opening measures.
But ritornello structures in the third and fth concertos (42:A3/ii and h1/ii)
dissolve only partially. In the A-major movement, passages treating ritornello ma-
terial canonically are easily heard as third and fourth ritornellos (starting in mm.
53 and 73). And though the harpsichord/violin has now become an equal par-
ticipant in tuttis, its status as soloist during the episodes remains clear enough.
The B-minor movement takes a more inventive approach to form, and not sur-
prisingly it is the one selected by Swack and Dreyfus as a foil to Bachs Sonaten auf
Concertenart for melody instrument and obbligato harpsichord.87 Table 6.5 shows
the movements ritornello structure. Through to measure 40, the form resembles
that of the other auf Concertenart movements in the collectionwith the exception
that the rst episode includes a double-motto entrance of the soloist (the two
statements separated by the ritornellos second Fortspinnung segment). The three
periods that follow the second ritornello, where the Vordersatz makes its last ap-
pearance, are readily identiable as episodes for the harpsichord/violin, ute, and
both instruments together. As both Swack and Dreyfus note, what is here identi-
ed as the third episode simulates the ritornello by repeating the rst episodes
opening measures, where the soloist enters with a phrase derived from the Vorder-
satz. To further remind us of the ritornello, Telemann reintroduces the Epilog seg-
ment at the episodes conclusion. The fourth episode brings a change to a homo-

Table 6.5 Structure of 42:h1/ii

Measures: 114 1436 3640 4059 5983 8398 98112
Ritornello/solo: R1 S1 R2 S2 S3 S4 R3
Key: i III i iv v i i
Ritornello material: V, F1, F2, E Motto (F2) V Motto (F2), E F2 F1, F2, E
 Six Telemann and the Sonate auf Concertenart 323

phonic texture, which helps it stand in for the missing ritornello, and a variation
of the second Fortspinnung segment. Having returned to the tonic in measure 98, we
are now inclined to hear the following statement of the rst Fortspinnung segment
absent since the start of the movementas marking the beginning of the third
and nal ritornello; this is the tonal and thematic double return we have been
expecting. Here the Fortspinnung phrase is stated imitatively by both instruments
before they continue with variations of other ritornello segments. Despite the
missing ritornello, Telemanns manipulation of the movements opening material
has brought about a structural clarity indebted in equal measure to ritornello form
and sonata-like imitation. And though it must be counted among the composers
most idiosyncratic fusions of sonata and concerto, this movement deserves a bet-
ter reception than that given it by Dreyfus, who, proceeding from the question-
able assumption that Telemann was primarily concerned here with evoking more
imposing works for a greater number of parts and for dierent instruments,
nds the thematic connection between the Vordersatz and opening solo phrase too
close for comfort, the unorthodox handling of the ritornello as evidence of Tele-
manns disinclination to invest deeper thought in the movement, and the varia-
tion of ritornello segments to be unmotivated.
Finally, a striking counterexample to Telemanns tendencies during the 1730s
toward formal experimentation and textural integration of solo and tutti is fur-
nished by the prelude to the second of the Nouveaux quatuors (43:a2). Here, as in
the prelude to the fourth quartet of the collection (a concerto for viola da
gamba/cello), Telemann precedes a suite of French dances with a concerto-style
movement.88 What is unique about this Allgrement, however, is its close ad-
herence to the solo concerto model and eschewing of sonata-like gestures. In the
ritornellos Telemann simulates a massed-string sound by punctuating the Vorder-
satz phrase with multiple-stops in the strings, repeating the phrase in octaves, and
by maintaining an unusually homophonic texture (Example 6.8a). Noteworthy is
the assignment of the solo ute to the role of orchestral rst violin during each
ritornello, a practice otherwise unknown among Telemanns Sonaten auf Concerten-
art with a single soloist. During the two solo episodes the strings provide an ac-
companiment typical of the solo concerto: written-out continuo chords (piano)
alternating with short interjections in octaves (forte). Only toward the end of the
movement (mm. 4951), when the soloist and orchestra briey state a gure
from the rst solo episode in imitation, is there any motivic integration of solo
and tutti. Uniquely in his Sonaten auf Concertenart, Telemann provides a brief, writ-
ten-out cadenza for the ute (mm. 5253), further underscoring the movements
generic status (Example 6.8b).
324 The Sonatas

example 6.8. Quartet in A minor for ute, violin, viola da gamba/cello, and continuo,
43:a2/i (Nouveaux quatuors no. 2): (a) mm. 114; (b) mm. 4954
(a)
Prelude. Allgrement
c

Flute
Violin c


Viola da gamba c






Continuo
c

6 6 6 6 6 6 6 6 6 6 6 6 6


6

6 6 6 _____ _____ _____ # 4#

9 Solo 1







p

6 6 #
5
 Six Telemann and the Sonate auf Concertenart 325

12

(b)
49






p

p


6 6 # 6 6 4#

52

3 3 3 3

7 # 6 6 6 6
#
326 The Sonatas

The Sonate en concert and French Vivaldisme

It is probably no coincidence that Telemann wrote his most overtly concerto-like

quartet movement for Paris, where the Italian concerto had recently come into
vogue. The publication in 1727 of Joseph Bodin de Boismortiers op. 15 concer-
tos for ve unaccompanied utes opened a veritable oodgate of more conven-
tionally scored works by Jacques Aubert, Boismortier, Michel Corrette, Jean-
Marie Leclair, Jacques-Christophe Naudot, and othersall taking Vivaldis
concertos as their point of departure.89 Although Telemanns sensitivity to this
trend may explain why he took pains to underscore the genre of his prelude, it is
also possible that he modeled the movement on specic works. Among the
Parisian virtuosos who gave the rst performances of the Nouveaux quatuors, and
who presumably invited Telemann to Paris, was the utist Michel Blavet. Judging
from his one surviving ute concerto, also in A minor, Blavet favored brilliantly
Vivaldian fast movements featuring some of the devices in Telemanns prelude: al-
lunisono textures, abrupt dynamic contrasts, and written-out cadenzas for the
soloist.90 To the extent, then, that Telemanns prelude was intended as a compli-
ment to Blavets talents as a performer and composer, it may be read as a German
composers impression of a French composers imitation of a Vivaldi concerto.91
Such an unusual potpourri of genres and styles would surely not have gone un-
noticed by the movements Parisian audience.
Well before Telemann arrived in Paris in 1737, the idea of transferring the style
and structure of fast concerto movements to sonatas had taken hold among several
leading French composers, who in essence reinvented the Sonate auf Concertenart two
decades after its rst appearances in Italy and Germany. Like Telemanns A-minor
prelude, these early French examples are more concerned with reproducing the eect
of pieces for larger scorings than with the subtle interplay of generic conventions.
They appear to look directly to Italian solo concertos for their inspiration, though
one cannot rule out the possible inuence of Telemanns Sonaten auf Concertenart and
Vivaldis chamber concertos.92 Given the privileged position of binary form in
French sonatas of the 1730s and 1740s, it is not surprising that ritornello forms
are often superimposed on a two-part structure, in the manner of 41:h1.
Following his op. 15, Boismortier continued to experiment with concertos in
unusual scorings. His op. 21 Six concerto for two utes, violins, or oboes and con-
tinuo (1728) are essentially Sonaten auf Concertenart that may be played en trio or
with a ripieno part that doubles the rst treble instrument. The three principal
parts have solo markings during episodes and tutti markings during ritor-
nellos (where the ripienist joins in). Considerably more sophisticated is the ve-
part concerto Boismortier appended to his op. 37 V Sonates en trio (1732). Here
 Six Telemann and the Sonate auf Concertenart 327

it would appear, given the scoring for ute, violin, oboe, bassoon, and continuo,
that he was emulating Vivaldi chamber concertos such as RV 107. In both fast
movementsthe rst in ritornello form, the third a concertante rondeaueach
obbligato instrument receives its own solo episode.
Jean-Marie Leclair may have been the second French composer to introduce
ritornello form into the sonata. The fourth of his op. 3 Sonates deux violons sans
basse (1730) opens with a concerted movement in which the violins are soloists in
two episodes and ripienists in three ritornellos. A few years later he included two
concerto-like movements in his op. 4 Sonates en trio for two violins and continuo.
In the binary nale of the third sonata (each half consisting of two ritornellos
framing a solo episode), the modular ritornellos Epilog segment ends with an al-
lunisono texture. Though considerably less clear formally, the nale of the sixth
sonata evokes the solo concerto through its virtuosic guration, the ritornello-
like reappearances of opening material, and an allunisono conclusion.
Concerto-style movements also appeared in the newly popular genre of the
trio for violin and obbligato keyboard. The sixth of Jean-Joseph Cassana de
Mondonvilles op. 3 Pices de clavecin en sonates avec accompagnement de violon (173738)
contains two ritornello-form movements. Its opening Allegro bears the title
Concerto, just above and to the right of SONATA / VI. As if thistogether
with the ritornellos hammerstrokes and allunisono texturewere not enough to
signal the genre of the work, Mondonville has supplied us with solo rubrics in-
dicating the violin as soloist in the rst and third episodes, and the harpsichord
in the second. Neither performer is ever in doubt as to his role from moment to
moment, for unlike the sonatas by Baron, Leoth, and Telemann, with their spo-
radic solo and tutti rubrics, this work is engraved in score.93 Perhaps
inuenced by Mondonville, Michel Corrette concluded the fourth of his op. 25
Sonates pour le clavecin avec un accompagnement de violon (1742) with a movement that
crosses ritornello and binary structures.94 The ritornello here also opens with a
hammerstroke gesture and includes an allunisono phrase that is the basis for all in-
terior ritornellos. By ending the rst half of the form with a brief solo passage,
Corrette happily avoids the usual back-to-back ritornellos. And his placement of
a soloistic coda at the end of the second half brings to mind the non-ritornello
endings of several German auf Concertenart movements.95

The Aesthetic of Mixed Genres

What was it about the Sonate auf Concertenart that intrigued so many composers of
the early eighteenth century? Perhaps the novelty of concerto style oered an op-
328 The Sonatas

portunity to redraw the boundaries of what had, by the 1720s, become a relatively
conservative genre.96 Jerey Kallberg reminds us that generic hybrids have always
held a particular attraction to composers whose musical language is in ux,97 and
certainly few German composers active in the 1710s and 1720s did not rethink
their personal styles in reaction to the Italian concerto. Furthermore, as Dreyfus
suggests, such syncretic works meshed well with contemporary notions of the
mixed tastethough only so long as the constituent genres retained their identi-
ties.98 For some composers, blending the sonata with the concerto may also have
satised a roguish impulse to disconrm listeners generic expectations. More
practically, such amalgamationsparticularly in published Sonaten auf Concerten-
artmade the public (or courtly) music of concertos available to the growing
private market for printed music. This domestication of orchestral style might
be considered an early manifestation of what Leonard Ratner sees as the role of
the chamber style in classic musicto assimilate material from other genres and
deliver it to the rapidly growing musical public of the late 18th century in neat and
manageable packages.99 Indeed, it is possible that the modest popularity of con-
certo-sonata hybrids in the rst half of the century owed something to a broader
and more long-lived fascination with mixing genres, one not limited to music. I
wish therefore to consider, by way of concluding, what similarly mixed reperto-
ries might have to tell us about the allure of the Sonate auf Concertenart.
Echoing Scheibes account at the distance of half a century, Augustus
Friedrich Kollmann notes in his Essay on Practical Musical Composition (1799) that
Solos, Duets, Trios, Quartetts, Quintetts, etc. may be set in the style or charac-
ter of a Symphony as well as a Sonata, if their author is able and disposed to dis-
tinguish the two Characters, then recommends some good Symphonies for a
Keyed Instrument only by C. P. E. Bach, Georg Benda, and Johann Schobert.
Charles Burney also praises Schoberts music for introducing the symphonic or
modern overture style upon the harpsichord, and by light and shade, alternate ag-
itation and tranquility, imitating the eects of the orchestra.100 Like Scheibe
who would no doubt have called works of this ilk einstimmige Sinfonien or
Sonaten auf Sinfonie-Artneither writer addresses the extent to which con-
sumers of this music might be able and disposed to recognize its hybrid nature.
For Burney and Kollmann there was presumably less to be gained by writing a
sonata set in the style or character of a concerto, for the symphony had long
since surpassed the concerto in terms of prestige.
Yet Mozart produced three concerto-style sonatas during the early 1780s: the
E-at quintet for horn, violin, two violas, and cello, K. 407 (end of 1782), with a
ritornello/binary-form Andante featuring a horn soloist who leads the ensemble
into a cadenza-like passage toward the movements end; the B-at piano sonata, K.
 Six Telemann and the Sonate auf Concertenart 329

333 (Linz and Vienna, 178384), the last movement of which is a rondo for
piano and orchestra culminating in a fully notated cadenza for the soloista
model einstimmiges Concert; and the more subtly auf Concertenart E-at quintet for
piano, oboe, clarinet, bassoon, and horn, K. 452 (March 1784), in which all the
instruments take turns as soloists and members of the tutti (again, the concluding
rondo includes a cadenza). These hybridizations are, of course, consistent with
Mozarts fondness for mixing musical genres and topics. But it is noteworthy that
he seems never to have made such explicit reference to the concerto in keyboard
and chamber music before or after 178284, the start of his most intense period
of concerto writing. Evidently Mozart, like composers of previous generations,
was for a time fascinated by the potential of the new concerto stylethis one of
his own devisingto enrich other genres. In Haydns case, the primary recipient of
such enrichment was the string quartet: a number of movements written between
the 1750s and 1790s reveal, in Floyd K. Graves view, an abiding preoccupation
with concerto-like (or aria-like) texture and formal syntax. Perhaps the strongest
allusions to concerto style come in a number of through-composed slow move-
ments with a solo rst violin that may play an improvised cadenza. Several fast
sonata-form movements from the 1780s and 1790s, though exhibiting a struc-
tural ambivalence engendered by concertante eects and ritornello-like returns of
principal themes, allude to the concerto less transparently.101
Another generically mixed repertory returns us to the early eighteenth century.
Consider Jonathan Swifts Gullivers Travels (1726), a work contemporary with the
main repertory of Sonaten auf Concertenart. Nominally belonging to the genre of the
travel book, it nonetheless alludes to a multitude of other literary genres common
at the time. Many of Swifts generic references are eeting, however, and none is
ultimately reliable as a guide to reading the book. As a result, Frederik N. Smith
has argued,

reading Gullivers Travels is a more complex activity than reading a travel book, a
novel, an allegory, or a comedy. Swifts text defamiliarizes itself, making it clear that
no one genre is the key to its interpretation. . . . The readers experience has been
(as with any well-written text) one long education in how to read the book he or
she is reading, and Swift has taught us how to deal with increasing degrees of com-
plexity, how to accept ambiguity, and how we need not always look at either liter-
ature or life through the restrictive eyes of any one genre.102

The multilayered generic meaning of Gullivers Travels seems not to have gone
unnoticed among Swifts contemporaries. As Smith observes, it is implicit in the
famous 1752 discussion of the book by John Boyle, Earl of Orrery, for whom it
330 The Sonatas

was at once a satire, an allegory, a series of voyages, a moral political romance,

a philosophical romance, and an irregular essay.103 Nor was Swift the only
writer among his compatriots to be concerned with blurring boundaries of type.
Margaret Anne Doody nds that Augustan poetry, like its Restoration an-
tecedents, exhibits extreme generic self-consciousness, and a constant search for
new and mixed genres, as well as an extreme stylistic self-consciousness born out
of seeing the possibilities of parody, burlesque or alienation in every poetic idiom
or voice.104 Much poetry by John Dryden, Alexander Pope, and Lord Rochester
in eect creates its own kind by repudiating established genres. And not only
poems, but English hymns of the eighteenth century had a tendency to undergo
generic alterations, so that sometimes you may be brought up short by a verse
making you utter sentiments not originally foreseen when you began the song.105
The sensation of being brought up short by an unexpected turn of events is,
of course, part and parcel of the Sonate auf Concertenart, where instrumental iden-
tities and alliances may shift from one moment to the next. And like Gullivers Trav-
els, the cleverest works defamiliarize themselves enough to cause the listener di-
culty in xing their genre (sonata or concerto? solo concerto or double
concerto?), not to mention the identity of the protagonists (ripienist or soloist?)
and the setting of their interaction (ritornello or episode?). This is especially true
of the arresting concerto-style movements in J. S. Bachs A-major sonata, BWV
1032; Handels B-at major trio, HWV 388; and Telemanns A-minor quartet
43:a3, and it is therefore unsurprising that modern critics have oered sharply di-
vergent interpretations of the rst work.106 Clearly Bachs movement is too much
of its own kind for multiple listeners to parse it the same way. Such ambiguity
is of course part of the works appeal, and so perhaps we should not regret the
fact that Sonaten auf Concertenartunlike much genre-conscious Augustan litera-
turecome with no revealing subtitles or prefatory remarks addressed To the
Reader that point out how the music relates to established styles and genres.
Although the Augustan poets were apparently still unknown in Germany dur-
ing the 1720s, a Hamburg translation of Gullivers Travels by Telemanns close as-
sociate Christoph Gottlieb Wend appeared in 172728.107 Des Capitains Lemuel
Gulliver Reisen became extremely popular with German readers, who seem to have
regarded it primarily as an example of fantastic travel literature. Orrerys Remarks
was immediately translated as well, and native critics interpreted the book vari-
ously as a satire, a moralischer politische Roman, a politische Fabel, and an example of
Reiseliteratur.108 Its success was such that Telemann felt moved to include the In-
trada, nebst burlesquer Suite, 40:108, a programmatic violin duet inspired by
episodes in the Reisen, in a 1729 issue of his music periodical Der getreue Music-Meis-
ter. One wonders, naturally, how much Telemanns interest in Swifts book owed to
 Six Telemann and the Sonate auf Concertenart 331

his involvement with hybrid musical types, especially because the suites grotesqueries
reect the Augustan fondness both for generic amalgamation and burlesque. The
Lilliputsche Chaconne is anything but stately as it ashes by (at least on the
page) in a blur of sixty-fourth and one-hundred-twenty-eighth notes in 3/32
time, while the Brobdingnagische Gigueno doubt inspired by the English jig
Gulliver plays with great eort on a sixty-foot spinetis danced in giant steps,
trudging along in twenty-four whole notes to the measure. The Reverie der La-
putier, nebst ihren Aufweckern, a humorous contrast movement that does not al-
2
lude to a dance type, teases the reader with a nonsensical time signature ( 3 2 )
4
in an apparent allusion to the Laputans love for, and incompetence in, mathe-
matics. And the suites nal movement simultaneously mocks two disparate gen-
res, the furie (Furie der unartigen Yahoos) and the loure (Loure der gesitteten
Houyhnhnms), by presenting them together in the two violin parts. It may be
seen to reect not only the intertwined lives of the human Yahoos and equine
Houyhnhnms (perhaps especially their antagonistic relations), but also the mul-
tivalent nature of Swifts book. Beyond such literary allusions, it is a potent
metaphor for the sometimes uneasy alliance between sonata and concerto em-
bodied in the Sonate auf Concertenart.
This page intentionally left blank
 Part IV
The Hamburg Publications
This page intentionally left blank
 Chapter 7
Telemann in the Marketplace
The Composer as Self-Publisher

On 9 October 1772 the English music historian Charles Burney arrived in Ham-
burg, one of the last stops on his long tour of Germany. At once struck by the
citys air of chearfulness, industry, plenty, and liberty, he had come not only to
soak in its rich musical history, shaped during the preceding three generations
by Reinhard Keiser, Johann Mattheson, and Georg Philipp Telemann, but to see
C. P. E. Bach, whose compositions Burney found so admirable that he wanted
no other musical temptation to visit this city. It is not hard to imagine his con-
sternation, then, when Bach greeted him by expressing embarrassment over the
present state of music in Hamburg: You are come here, said he, fty years too
late. After hearing a wretched performance of Bachs music before an inattentive
audience in the Katharinenkirche, Burney could only agree that this is not a bright
period for music at Hamburg.1
It was, in fact, nearly fty-one years to the day since Telemann, Bachs godfa-
ther and predecessor at Hamburg, had been installed as the citys Director mu-
sices and Kantor of the Johanneum Latin school. Coming from less cosmopol-
itan Frankfurt am Main, he found his new surroundings ideally suited to his
wide-ranging ambitions as a church musician, opera composer, impresario, man
of letters, and entrepreneur. Less than two years into the post Telemann cheer-
fully reported to his Frankfurt friend Johann Friedrich Armand von Uenbach
that whereas music meanwhile goes downhill there, here it is on the rise; and I
do not believe that any place can be found that encourages the spirit of one work-
ing in this science more than Hamburg.2 Given a mandate to reshape the citys
musical life, Telemann responded by providing a succession of new cantata cycles
and Passion oratorios for the citys ve main churches, supplying vocal works for
numerous civic occasions, composing nearly twenty major stage works for the
Gnsemarkt Opera (also serving as the Operas director from 1722 until its de-
mise in 1738), founding a collegium musicum to give public concerts, and es-
tablishing his own music-publishing business.

335
336 The Hamburg Publications

This last aspect of Telemanns creativity provides an important link between

him and his godson, for at the time of Burneys visit Bach had just launched his
Selbstverlag, or self-publishing business. During the period 177287 he issued f-
teen editions of musicplacing newspaper advertisements, gathering subscribers
through an extensive network of agents, and hiring Johann Gottlob Immanuel
Breitkopf in Leipzig to do the printing. Bachs success with self-publishing his
works by subscription has been attributed not only to his musics broad appeal,
but also to his considerable administrative skills, a favorable publishing climate in
Germany during the 1770s and 1780s, and the positive model of his father. As
Peggy Daub puts it, Much of what C. P. E. Bach did was done by his father be-
fore him . . . and also was being espoused by writers and intellectual leaders
throughout Germany. He promoted his art extremely well, but he did not stand
alone. . . . [Bach] unquestionably proted from the lessons learned in his fathers
house about taking the reins of publication and later seized the further opportu-
nities of his own day.3
Yet for all that Bach undoubtedly learned from his father about the publish-
ing world, he may have gleaned as much or more from the Selbstverlag of Telemann,
whose editions were apparently well represented in the elder Bachs musical house-
hold at Leipzig during the 1720s and 1730s.4 More successful in the marketplace
for printed music than any of his German colleagues, Telemann brought out
forty-two entirely new publications of his own works at Hamburg and Paris be-
tween 1725 and 1739; a further two were second editions of Frankfurt publica-
tions, one more was a second edition of an earlier Hamburg print, and ten more
editions appeared under other publishers imprints in Germany and Paris between
1727 and 1765.5 The vastness of this enterprise may be gauged from Table 7.1,
which lists the self- and authorized editions in rough chronological order.6 Such
a publication list would be impressive in any period, but it is especially so for the
early eighteenth century. Whereas Bach was operating in an increasingly interna-
tionalized music trade that allowed composers to publish and distribute their
works more eciently than ever before,7 Telemann worked at a time when the
German music-publishing industry was at a low ebb and many celebrated com-
posers saw little, if any, of their music into print. Bach was able to exploit the suc-
cessful marketing system set up in 1773 by Friedrich Gottlieb Klopstock for his
book Die deutsche Gelehrtenrepublik (attracting 3,609 subscribers who ordered 6,656
copies);8 Telemann had to assemble his own subscriber network from scratch. In-
stead of hiring a publishing rm to create the physical products, as Bach did, Tele-
mann undertook much, if not all, of his own engraving; he exercised complete
control over all aspects of production aside from the actual printing process. Nor
was he content to limit his publications to a few popular musical genres and
 Seven Telemann in the Marketplace 337

Table 7.1 Telemanns self- and authorized Publications, 172565

Title Publication date Comments
Harmonischer Gottes-Dienst 172526 Preface dated 19 Dec. 1725
Sonates sans basse November 1726 Edition dated 1727
Auszug derjenigen musicalischen . . . Arien 7 January 1727 Hamburg: Kiner
Lustige Arien aus der Opera Adelheid 1727 or early 1728 Lost
Six sonates violon seul 1727 or early 1728 Second edition
Essercizii musici 1727 or 1728
Pimpinone, oder Die ungleiche Heirat January-April 1728
Sonate metodiche January-April 1728
Sept fois sept et un menuet 21 April 1728
La petite musique de chambre 1728 Second edition
Helden-Music, oder 12 neue musicalische
Marches late 1728 Lost
Der getreue Music-Meister 172829
Fast allgemeines evangelisch-musicalisches
Lieder-Buch 17 January 1730 Second edition, 1751
Zweytes sieben mal sieben und ein Menuet 6 February 1730
Ouvertre und Suite March-June (?) 1730 Lost
Quadri 4 July 1730
Zwo geistliche Cantaten 19 December 1730
Nouvelles sonatines 1730 or 1731 Extant copy incomplete
XX Kleine Fugen 24 September 1731
Sechs Cantaten 1731
III Trietti methodichi e III scherzi 1731
Fortsetzung des harmonischen Gottesdienstes 173132 Preface dated 29 Dec. 1731
12 Fantaisies travers. sans basse 1732 Title page lost
Fantaisies pour le clavessin 173233
Continuation des sonates mthodiques 12 November 1732
Musique de table 1733
Six quatuors ou trios 1733
Lustige Arien aus der Opera Adelheid 1733 Second edition
Singe- Spiel- und General-Bass-bungen 173334
XII Solos violon ou traversire 1 March 1734
Scherzi melodichi 19 June 1734
Six concerts et six suites 1734
Lustiger Mischmasch oder scotlndische Stcke 173435 Lost; some works by Telemann
Fugirende und veraendernde Choraele 1735
XII Fantasie per il violino senza basso 1735 Only ms copy extant
Sonates corellisantes 1735
VI moralische Cantaten [I] 1735
Telemanns Canones 2, 3, 4 1735
Duos travers. et violoncell 1735 Lost
12 Fantaisies basse viole AugustNovember
1735 Lost

(continued)
338 The Hamburg Publications

Table 7.1 Continued

Title Publication date Comments
Six ouvertures 4 ou 6 1736 Only ms copies extant
VI moralische Cantaten [II] 1736
Nouveaux quatuors 1738 Published in Paris
XIIX Canons mlodieux 1738 Published in Paris
Fugues lgres et petit jeux 1738 or 1739
6 Symphonien 1738 or 1739 Lost
Sonates en trio 173842 Paris: Vater
Vier und zwanzig theils ernsthafte, theils
scherzende Oden 19 June 1741 Hamburg: Herold
Musicalisches Lob Gottes 1744 Nuremberg: Schmid
VI Ouverturen nebst zween Folgestzen 1745 Nuremberg: Schmid
Music vom Leiden und Sterben des Welt
Erlsers 1746 or 1747 Nuremberg: Schmid
Engel-Jahrgang 1748 Hermsdorf: Lau
Second livre de duo 1752 Paris: Blavet
De danske, norske og tydske undersaatters
glaede 1757 Hamburg: Schnemann
Symphonie zur Serenata 1765 Hamburg: Bock
Note: Publication dates including both day and month are those given in the editions preface.

styles, as were most of his contemporaries: the variety and quality of much of the
music is no less remarkable than its quantity.
Telemanns self-publishing business has long been something of a blind spot
for historians of music commerce. Surveys of music printing and publishing dur-
ing the early eighteenth century often gloss over or fail to mention Telemanns ac-
tivities in Hamburg, even though his was arguably the most active music-publish-
ing business in Germany during the late 1720s and 1730s.9 If Telemanns editions
have made any impact on histories of the music trade, this is due primarily to the
lists of subscribers appended to the Musique de table and Nouveaux quatuors. Several
decades ahead of their time, at least on the European continent, these lists bear
witness to complex processes of marketing, production, distribution, and recep-
tionprocesses that remain insuciently understood, despite a wealth of sur-
viving documentation.10 The account of Telemanns Selbstverlag oered in this
chapter outlines its practices in some detail, exploring the means by which he es-
tablished and maintained a base of subscribers for his publications, how he set up
a distribution network rivaling those of the leading music publishers in London
and Amsterdam, how his practices as a music engraver bear on the publications
appearance and chronology, and the reasons he stepped away from his self-pub-
lishing business in 1740.
 Seven Telemann in the Marketplace 339

Let us rst consider the prospects for self-publishing composers during Tele-
manns lifetime. Simply put, the bottom had dropped out of the German music-
publishing industry by the time he began to issue his own music in the 1710s. It
may therefore have been by necessity, rather than choice, that Telemann began to
self-publish. The underlying causes for this state of aairs are still imperfectly un-
derstood, but among them were changes in musical style, the limitations of print-
ing technology, and the nancial risk associated with music publishing. Stephen
Rose notes that in Germany music-printing was at unprecedented heights be-
tween 1604 and 1624, then fell o dramatically in the late 1620s and 1630s as
a result of the Thirty YearsWar. Although the industry appears to have made at
least a partial recovery around the middle of the seventeenth century, the market
for printed vocal concertos contracted from the 1630s onward as increasing tech-
nical demands and sophistication rendered the music unsuitable for amateur
music making.11 Such musical complexity also posed technical challenges for
publishers, most of whom continued to use movable type well into the eighteenth
century. As an heir of the Nuremberg bookseller Christoph Endter observed in
the foreword to Johann Rosenmllers Sonate of 1682: With the advancement of
the art [of music], the deciencies of the music printed to date have nally be-
come so great that amateurs would rather copy their pieces with their own hands
than submit to such irritation.12
These words were written at the start of a steady decline in German music
publishing that lasted through the early decades of the eighteenth century.13 The
mere trickle of titles issued by the Endter family of booksellers between 1703
and 1731after a fairly robust output from the 1640s through the 1690sis
one symptom of this shrinking trade in printed music.14 But even as the industry
gathered considerable momentum after the 1720s, and engraving on copper
plates banished the old movable type to examples in books, manuscript dissemi-
nation seems to have remained the rule. Writing in 1758, Jacob Adlung echoed
Endters heir in noting that amateurs were reluctant to purchase printed editions:

When a publisher has sunk his fortune into [engraved music], he sometimes sells
only one copy in a large city. Thirty or more amateurs make manuscript copies
from it, and the publisher is stuck with his copies. Who can consent to this? That
is why publishers do not want to pay for music, and artists either work for noth-
ing or not at all, to the detriment of the entire realm of Jubal.15

Adlungs remarks also recall those of Johann Gottfried Walther over twenty
years earlier: The publishers fear that [the printing of music] would be to their
detriment because for every amateur who spends money on it, ten or more copy
340 The Hamburg Publications

it out; and thats the truth. . . . In such circumstances one doesnt dare to self-
publish.16 Low fees paid to composers by publishers also seem to have been com-
mon in London during the early to mid-eighteenth century. Payments made to
Handel for several of his operas, and to Arne for his songbooks, are roughly
equivalent to the 26 pounds earned by a scribe for copying Rinaldo.17 But com-
posers could apparently count on receiving a certain number of salable prints: Jo-
hann Ulrich Haner in Nuremberg advertised in 1759 that those German and
Italian composers who sent him sonatas would be entitled to six free copies of
any resulting edition.18 That same year, as we shall see below, Telemann oered
works to the Breitkopf rm in exchange for a number of copies of the pro-
posed publications.
With composers receiving little or no remuneration from booksellers, it is un-
derstandable that some chose to act as their own publishers. Self-publication
seems to have been least common during periods when the music-publishing in-
dustry was ourishing. For example, in early eighteenth-century England (where
the trade in printed music was especially strong) just a dozen among 180 printed
collections of opera arias and other songs were self-published between 1703 and
1726.19 Composers in early seventeenth-century Germany were largely successful
in nding professional publishers willing to print their music. Yet some nanced
their own editions, perhaps for lack of commercial support, or in order to main-
tain tighter control over the printing process. Of these, Michael Praetorius and
Hermann Schein were the most active, together accounting for at least thirty-two
editions between 1605 and 1631. Both Praetorius and Heinrich Schtz received
signicant subsidies from their noble employers (Schein was employed by the mu-
nicipality of Leipzig), so it may be that in their cases self-publication was not
so much an entrepreneurial venture as a subsidized operation to boost the courts
prestige.20 Subsidies were also provided for the self-publications of later court
musicians, such as Johann Joachim Quantzs Sei sonate a auto traversiere solo, op. 1
(Dresden, 1734), executed by the Dresden court engraver Moritz Bodenehr. We
learn from Walther that the author did not have to lay out so much [money], as
the printing and paper were paid for.21
In Germany following the Thirty Years War, self-publication appears to have
reached its peak during the 1720s and 1730s. Andrew Talles statistical survey of
German solo keyboard music printed between 1660 and 1750 reveals, rst, rela-
tively little publishing activity between the 1660s and 1710s (49 editions, 13 of
which were self-published), then a signicant increase during the next two
decades (36 editions in the 1720s, 29 self-published; 76 editions in the 1730s,
half self-published), and nally a ood of professionally published works in the
 Seven Telemann in the Marketplace 341

1740s and 1750s (217 editions, 7 self-published).22 Thus Telemanns eorts dur-
ing the period 171540, however extraordinary in scope, were in keeping with a
trend toward self-publication. Yet by the time he dissolved his business, all but a
few composers were entrusting their music to professional publishers. One fur-
ther measure of the changing climate for published music in eighteenth-century
Germany is provided by advertisements run in Nurembergs Friedens- und Kriegs-
Currier between 1715 and 1770.23 Although such noticesplaced primarily by
booksellerscan provide only a very rough idea of which editions were available
to the journals readership, they help document broad publishing trends over
much of the century. The rst half of this period saw a modest jump in the num-
ber of advertised prints, from 11 in the 1710s and 1720s to 43 during the
1730s. But thanks in large measure to the advent of Nuremberg publishing con-
cerns specializing in music (Balthasar Schmid from 1738 and Johann Ulrich
Haner from 1742), readers of the Currier were informed of some 500 musical
publications between the 1740s and 1770s.
Telemann was by no means the only composer to self-publish in early eigh-
teenth-century Hamburg, where the citys mercantile spirit may have encouraged
this kind of musical entrepreneurship. As one German visitor remarked in 1707,
Even those foreigners who do not like to admire anything but their own father-
land write expressly that at the trade fairs in Frankfurt am Main a great number
of people [gather] during times of peace and plenty; but in Hamburg practically
every day is a trade fair.24 Johann Mattheson, in addition to nancing his nu-
merous writings, also undertook the publication costs for two of his earliest mu-
sical editions, the Arie scelte dellopera dHenrico IV. Re di Castiglia (1711) and Sonate pour
le clavecjn (1713); more than two decades later he self-published the fugues of his
Die wol-klingende Finger-Sprache (1735 and 1737). Reinhard Keiser partnered with
the widow of the Hamburg bookseller Benjamin Schiller to bring out four vocal
collections during the 1710s.25 Two more of Telemanns colleagues nanced their
own keyboard works: Vincent Lbeck, the seventy-four-year-old organist at the
Nikolaikirche (Clavier Uebung, 1728); and Carl Christoph Hachmeister, organist
at the Heiliger-Geist-Kirche (Clavirbung, by 1754). Other Hamburg self-publi-
cations include Conrad Hurlebuschs Compositioni musicali per il cembalo (ca. 1735),
Johann Christian Scholtzs Une douzaine de tjerces musjcales la te traversire et la viole
avec la basse (1736), and Joachim Erasmus von Moldenits Sei sonate da auto traverso
e basso continuo (1753).
Among the chief obstacles facing early eighteenth-century composers who
sought to publish their worksespecially those nancing editions themselves
was the cost of having their works typeset or engraved. Very little information
342 The Hamburg Publications

relating to publishing costs exists for the period, and practically none at all for
Germany. But it may be that typesetting or engraving represented a publishers
single biggest expense. In 162930 the Leipzig printers fee for Samuel
Michaels Ander Theil newer Paduanen was more than 50 percent higher than the
cost for paper.26 Consider as well William Forsters estimate in 178687 that
engraving the plates for Haydns Seven Last Words of Our Saviour on the Cross would
represent half the total cost of producing the edition. He further reckoned that
plates and printing would each make up about a sixth of the cost, the paper
about an eighth, and the engraved title and other lettering roughly a twentieth.27
Cost was one thing, but composers also had to locate engravers and printers who
were experienced with music and had time for the job. In Leipzig during the
1720s and 1730s, J. S. Bach appears to have been frustrated by the high fees and
unavailability of Johann Benjamin Brhl and Johann Gottfried Krgner Senior,
the only two local professionals to whom he could turn for music engraving. He
therefore hired past or present students, often in other cities, for most of his en-
graving work.28 Bach was not alone in his frustrations: in 1736 Walther com-
plained that Krgner was unavailable to take on his variations on Allein Gott
in der Hh sei Herr because the engraver was busy with music by Georg
Friedrich Kaumann.29 Even in a major publishing center such as London,
Henry Carey had to inform subscribers to his cantatas in 1724 that publication
was to be pushed back in part because of unaccountable delays from the Cop-
per Plate Printers. A few years later, Peter Fraser spent a considerable while
in search of the proper hands to engrave his Delightfull Musical Companion
(1726). And Richard Mearess edition of Handels Radamisto was advertised as
engraving on Copper plates in July 1720 but was not completed until the fol-
lowing December.30
Of course, editions printed with movable type could also be held up by over-
committed artisans. The twelve solo sonatas of Johann Matthesons Der brauchbare
Virtuoso languished in the print shop for three years, and his resulting displeasure
at one of his publishers, the Hamburg bookseller Johann Christoph Kiner, is
scarcely veiled in the editions preface:

These works were nished and placed at the publishers disposal three years ago;
however, he did not deem it advisable to publish them until now. Now, although I
readily submit to all sensible opinions (and I cannot help but boast that I have
[never] been associated with [such] a skilful, erudite, and active man as Herr
Kiner), I feel that in practical music three years matter greatly and change many
things, and that, were I for example to compose twelve such sonatas now, they
would have to be somewhat more galant.31
 Seven Telemann in the Marketplace 343

Matthesons commentary on the rapid rate of stylistic change is striking in it-

self, and his apparent anxiety over being perceived as less than au courant recalls sev-
enteenth-century composers fear of having their reputations damaged by mis-
prints in typeset editions.32 It was no doubt to help preserve his good name that
Mattheson included a list of errata, as did Telemann in his typeset cantata cycle
Harmonischer Gottes-Dienst (also printed by Kiner).
Given the diculties associated with hiring professional engravers and letter-
press printersthe expense, potential delays, and partial surrendering of control
over the nished products accuracy and appearanceit is not surprising that
composers occasionally undertook to engrave their own music. In 1679 the or-
ganist Benedikt Schultheiss engraved his Muth- und Geistermunternde Clavier-Lust for
the Nuremberg booksellers Michael and Johann Friedrich Endter.33 Christoph
Graupner seems to have both engraved and published at his own cost the Monatliche
Clavir Frchte . . . meistenteils vor Anfnger (Darmstadt, 1722).34 Balthasar Schmid took
up engraving in the mid-1720s and engraved and published as many as ten edi-
tions of his own music before becoming articled as a publisher in 1738.35 Ac-
cording to Walther, Bachs former Weimar student Johann Gotthilf Ziegler stud-
ied engraving when he could not nd a publisher for his Neu-erfundene musicalische
Anfangs-Grnde and Neu-erfundene Unterricht vom General-Bass: Since he has so far been
unable to nd a publisher [for these treatises], the author took instruction in cop-
per engraving and etching this past summer (and has already executed various
plates) in order to make both available to the public himself.36 In 1731 Ziegler
supervised C. P. E. Bachs engraving of the Menuet pour le clavessin par C. P. E.
B., the teenaged composers rst publication.37 Leopold Mozart also engraved his
opus 1, the Sonate sei per chiesa e da camera (Salzburg, 1740), and later in the century
Georg Simon Lhlein engraved his Six sonates pour le clavecin, op. 6 (Leipzig, 1776).38
Self-publishing composers also had to arrange for distribution of their printed
products. In this respect, the activities of Schtz and Schein are remarkably sim-
ilar to those of Telemann and the Bachs, as outlined below. Starting in the 1640s,
Schtzs editions were distributed by the composer, a network of church-musi-
cian agents, and at least one professional bookseller. Like Johann Theile, he also
sent editions with merchants traveling to the Leipzig trade fair. Although Scheins
editions were sold primarily by booksellers, he complained of being ignored by
them. Such neglect might have reected his status as an industry outsider lacking
the right professional contacts or guild memberships, or perhaps his desire for
monetary payment from booksellers who were accustomed to bartering printed
stock.39 The distribution channels of composer, musician agents, booksellers, and
trade fairs remained those available at the turn of the eighteenth century. In-
344 The Hamburg Publications

structive as an example of a self-publishing composer in the decades immediately

preceding Telemanns activities is Johann Kuhnau in Leipzig. Kuhnau nanced
three of his published keyboard collections, each of which was periodically reis-
sued with alterations over the following decades: the Neuer Clavier bung erster Theil
(1689); Neuer Clavier bung andrer Theil (1692); and Musicalische Vorstellung einiger bib-
lischer Historien (1700).40 To distribute his editions, Kuhnau worked with local
booksellers: from 1695 to 1724 Johann Herbord Kloss distributed both parts of
the Neuer Clavier bung; and both Kloss and his colleague Friedrich Groschhu
oered the collections at the Frankfurt and Leipzig trade fairs. Perhaps to gener-
ate some advance sales, the Neuer Clavier bung andrer Theil, like the Frische Clavier
Frchte (1696), was advertised the year before it was published. Kuhnau was also
something of a pioneer in having his music engraved rather than printed with
movable type, for there was no tradition of engraving keyboard music from cop-
per plates in the Leipzig area.41
Against this background, Telemanns activities impress one as much for their
boldness as for their breadth. In seeking to increase his productivity by employ-
ing pewter plates and hammer-driven punches, a method then apparently un-
known in the German music-publishing industry; in soliciting subscribers to
many of his publications and sometimes printing their names; in enlisting agents
across northern Europe to help distribute his wares; and in advertising his stock
through printed catalogs sent to customers in various cities, Telemann was acting
more like a professional bookseller than a composer dabbling in music publish-
ing. In the process he created a new paradigm for the composer as self-publisher.

Setting up Shop

Prior to taking up his position at Hamburg, Telemann had published ve collec-

tions of music at his own expense between March 1715 and September 1718 (in-
cluding Prince Johann Ernst of Sachsen-Weimars Six concerts violon concertant). Yet
it would be seven more years before his reentry into the marketplace for printed
music, a hiatus that one might attribute in part to the professional and personal
upheavals of the early 1720s. Besides the strain of moving to Hamburg and ac-
climating himself to his new civic duties, founding and directing his collegium
musicum, and taking up the reins of the Gnsemarkt Opera, Telemann wrote or
revised eight operas for Hamburg and Bayreuth between July 1722 and Septem-
ber 1725, and he applied for and turned down the position of Cantor zu St.
Thomae et Director Musices in Leipzig in 1722.
 Seven Telemann in the Marketplace 345

Shortly after his arrival in Hamburg, Telemann engaged the Hamburg book-
seller Theodor Felginer to sell his four Frankfurt sonata publications.42 He also
began to have printed and to sell the librettos to his yearly Passions with the bless-
ing of the Hamburg city council, which was apparently ignorant of a seventeenth-
century privilege that granted the Ratsbuchdrucker (city printer) an exclusive right to
print books, calendars, histories, songs, and other things.43 His predecessor at
Hamburg, Joachim Gerstenbttel, had clashed with the city printer Conrad Neu-
mann over the issue of printing music texts; a 1699 council decree armed
Neumanns prerogative to print Passion librettos, and a 1708 newspaper item an-
nounced that henceforth the Lenten sacred songs and Sing-Passion would be
available only from the Ratsbuchdrucker. When Neumann complained in January
1722 that Telemann had hired the Gennagel rm to print his Passion libretto, the
council quickly ruled in the composers favor. Succeeding years saw a series of
Pyrrhic victories for both sides in the dispute. The new Ratsbuchdrucker, Conrad
Knig, paid the composer 150 Marks for the 1724 Passion libretto in the hope
of securing his business over the long term (this was either in addition to or in
lieu of the 300 printed copies that Telemann was entitled to receive gratis from
the Ratsbuchdrucker). But after Telemann promised the 1725 libretto to the printer
Rudolph Beneke, Knig petitioned the council and successfully reclaimed the
right to print Passion librettos (perhaps wisely, he waited to make his move until
the composer was out of town). The council did, however, arm Telemanns right
to receive monetary remuneration. As a result of Knigs 1739 complaint that li-
bretto sales had declined, and with them his prots, this amount was reduced
from 100 Marks to 80 Marks. In 1749 Telemann again requested that either he
have the exclusive right to print and sell his Passion librettos or that his honorar-
ium from the Ratsbuchdrucker be increased to 150 Marks. The council instead
granted him an increase to 90 Marks. Telemann reasserted his rights once more
in 1757, after Knig died owing him money and the new Ratsbuchdrucker, Jeremias
Conrad Piscator, sought to alter the 1749 arrangement. As he now informed the
council, the thirty-ve-year-old controversy had left him feeling bitter.
By 1723, with his position in Hamburg solidied as a result of the Leipzig
oer, Telemann was ready to contemplate publishing music again. An advertise-
ment in the Staats- und Belehrte Zeitung des hollsteinischen Correspondenten of 4 December
stated that the composer had begun work on a new cantata cycle, to be published
in four quarterly installments.44 Apparently in reference to this project, Telemann
informed Uenbach in October 1724 of a cycle that would be printed in two
parts around Easter 1725 and the following Michaelmas (29 September). Mean-
while, in March 1725 he proposed that Uenbach write and engrave the texts to
346 The Hamburg Publications

a half or full dozen sacred-moral cantatas suitable for performance in church

or at private concerts, and he further suggested that Uenbach engrave or etch
Telemanns musical settings as well.45 Although the sacred cantata cycle contin-
ued to be delayed and the project with Uenbach never came to fruition, Tele-
mann must already have been investigating production and distribution costs, es-
tablishing a network of agents both within and outside Hamburg, and gauging
the nature and needs of his potential market. For as he well knew, there was no
music press in Hamburg or elsewhere in Germany capable of helping him realize
his publishing ambitions.
Finally, on 26 October 1725 Telemann announced in the Staats- und Belehrte
Zeitung des hollsteinischen Correspondenten that his 172526 cycle of post-sermon
church cantatas would be published by subscriptiona project that dwarfed his
Frankfurt publications and whose nancing depended in large measure on per-
suading buyers to pledge their money before the music was printed:

At the beginning of the coming new year, Herr Georg Philipp Telemann intends
to publish an annual cycle of music, specially designed for general use and for all
Sundays and feast days. Each individual piece shall be issued four weeks before [the
occasion to which it is appropriate], so as to allow time for it to reach out-of-town
locations and be performed there. The edition is in score format in order that it
may serve a single person who can both play and sing, two or three people making
music together, or, especially, as something indispensable to someone who directs
performances of such an annual cycle. It consists throughout of cantatas for a
voice and instrument with continuo. . . . This annual cycle, the texts of which are
by a practiced pen and pertain to the respective Epistles, will be published com-
plete and as separate pieces. Since it will comprise 67 works altogether, those who
wish to have it complete pay 20 Marks or 6 Reichstalers, 16 Groschen, so that each
quarter they pay in advance 5 Marks or 1 Reichstaler, 16 Groschen, which is less
than 5 Schillings or 212 Groschen [per cantata]. Individual works will be no less
than 6 Schillings or 3 Groschen.46

In an apparent eort to reassure his subscribers that they had invested wisely,
Telemann opened the preface to the Harmonischer Gottes-Dienst with an explanation
of why publication had been delayed and a promise that the cycle would continue
as planned:

It has already been more than two years since I decided to publish an annual cycle
of music for all Sundays and Feast Days. . . . The work would have appeared in
print long ago had the poet [Reverend Brandenburg from Lbeck] not found him-
 Seven Telemann in the Marketplace 347

self obliged, partly through indisposition, partly through overwhelming ocial

duties, to leave a gap in the order of the annual cycle now and then. But as he has
given us good reason to hope that all of the pieces that have been missing up to
now will be forthcoming, and since I have sometimes been inspired to various un-
common ideas by his ingenious and profound work, lovers [Liebhaber] of edifying
church services may have little doubt that we will both keep our promise.47

In the event, Brandenburg seems not to have lled in his gaps, for many of the
cantata texts were supplied by the Hamburg poets Michael Richey and Matthus
Arnold Wilckens.
That Telemann was able to publish the Harmonischer Gottes-Dienst and at least
fourteen other editions by subscription over the following two decades (Table
7.2) is remarkable, for gathering enough subscribers to cover production costs
was a dicult task at a time when copying out works by hand was preferred to
purchasing costly prints. Indeed, such ventures often met with disappointing re-
sults. Nothing appears to have come from Vivaldis attempt in late 1724 to nd
the 100 subscribers needed to nance a set of twenty-four concertos.48 In Lon-
don, Francesco Geminiani took over two years to nd 200 subscribers to his
opus 4 violin sonatas (1739), and lack of subscriber interest in his treatise Guida
Armonica (ca. 1752) delayed its publication for more than a decade.49 Conrad
Hurlebusch in Hamburg had to abandon plans to print a collection of cantatas
when he failed to attract the requisite number of subscribers in 1737.50 Also
in Hamburg, a lukewarm response to C. P. E. Bachs Auferstehung und Himmel-
fahrt Jesu, Wq. 240/H. 777 (1784) forced him to put o publication in 1781
and 1784.51 And the number of subscription copies ordered for any of the
Cluer and Creake or Walsh editions of Handels operas, oratorios, and concer-
tos never exceeded 192 (for Atalanta in 1736), and dipped as low as 80 (for Scipio
in 1726).52
Yet publication by subscription remained attractive to composers and pub-
lishers because it promised to minimize the nancial risk associated with print-
ing music. Living in a city with close trade ties to England, Telemann was likely
aware that the publication of books and music by subscription was steadily gain-
ing in popularity in London and that there had been some notable successes with
the method. Indeed, certain prints met with an enthusiastic response: Attilio Ar-
iosti gathered no fewer than 765 subscribers for his cantatas of 1724, and in the
same year Cluer and Creake found 465 subscribers for 992 copies of A Pocket
Companion for Gentlemen and Ladies.53 By one count, some 334 editions of music were
published by subscription in eighteenth-century Britain. This was the method of
choice for operas, oratorios, and large collections of vocal music, all of which rep-
348 The Hamburg Publications

resented a substantial nancial risk for the publisher, and for smaller publications
unlikely to sell well because of their limited appeal or the relative obscurity of
their composers.54 In May 1725, ve months before Telemann called for sub-
scribers to the Harmonischer Gottes-Dienst, Handel published his rst volume by sub-
scription (Rodelinda). Given the long and apparently close friendship between the
two composers, it would not be surprising if their correspondence from this time
touched upon the ins and outs of publishing by subscription. But Telemanns in-
spiration for his own subscription enterprise need not have come from London:
he had already gained rsthand experience with the process in 1724 by lining up
buyers for Matthesons Critica musica.55 During the previous year, he had solicited
subscribers to the collegium musicum concerts he gave in his home.56
With the Harmonischer Gottes-Dienst Telemann hedged his bet that he would
nd a sucient number of subscribers by selling individual works as they be-
came available (at least, this was the plan announced in October 1725 and in the
editions preface), a practice he followed with several subsequent publications. If
collecting subscriptions allowed him to estimate how many copies to print be-
fore the movable type was broken up for use in another job, publishing the can-
tatas serially rather than as a complete cycle meant he could avoid a large initial
outlay of time and money. Moreover, it was possible that his subscriber base
would grow after publication commenced. (Similar considerations may have
played a role in J. S. Bachs decision to issue the engraved partitas of Clavier-
bung Ihis initial foray into the eld of self-publicationin six installments
between 1726 and 1730. Bach did not, however, collect subscriptions to this or
any of his subsequent publications.) But not all details of Telemanns plan were
settled by the time of the October 1725 announcement, which gives the total
number of cantatas as sixty-seven (seventy-two eventually appeared) and fails to
indicate how long the subscription price of twenty Marks would be valid. He
rst announced the publications title in early 1726, and in April he set the non-
subscription price at thirty Marks. Sales may have been slow, for subscribers to
the second quarter of the cycle were oered the rst quarter at the same dis-
counted rate, and a November notice announced that subscriptions would be ac-
cepted until the end of 1726, that is, until the publication was virtually com-
plete.57 That Telemann overestimated the number of copies he would need and
was consequently left at the beginning of 1727 with a considerable overstock
is suggested by advertisements for the complete cycle between 1728 and 1734,
in which the price is given at or below the subscription rate of 172526 (see
Table 7.2).58
For two of Telemanns subsequent collections the subscription period was
carefully limited. In 1726 subscribers had from 7 December to the end of the
 Seven Telemann in the Marketplace 349

month to purchase the Auszug derjenigen musicalischen und auf die gewnlichen Evangelien
gerichteten Arien published not by Telemann, who may have been temporarily
loath to issue another large collection at his own expense, but by the Hamburg
printer Johann Christoph Kinerand subscribers to the Fortsetzung des harmonis-
chen Gottesdienstes had the last seven weeks of 1731 to take advantage of a reduced
price.59 As Table 7.2 shows, subscriber discounts ranged from 10 percent (VI
moralische Cantaten II) to around 40 percent (Six concerts et six suites), averaging ap-
proximately 25 percent.60 The point of oering discounts was, of course, to in-
crease the number of subscribers, and in a letter to Uenbach of 23 February
1732 Telemann revealed that he had pursued an unusually aggressive pricing
strategy in order to encourage more subscriptions to the Fortsetzung des harmonischen
Gottesdienstes at the rate of eight Reichstalers:

From this one can judge how large the work will end up being. This is why I have
announced in the newspapers that after its completion it will be sold, in the same
manner as with my other works, for 16 to 18 Reichstalers. Although I know very
well that you wont think much of such a sum, I would prefer the number of Prnu-
merirenden to increase in this way because, like a merchant, I prefer a modest certain
advantage over a larger hoped-for one.61

The advertisements Telemann mentions have not been identied. As an added

incentive to subscribers, he announced in 1731 that if their numbers were su-
cient, he would include an appendix containing a number of polyphonic settings
of [biblical] quotations appropriate to all the gospels.62 Telemanns remark in the
editions preface (dated 29 December) that he would follow the advice of many
and print the cantatas on both sides of high-quality paperan about-face from
his advertisement of 15 December, in which he proposed to print on only one
sidemay have come in response to subscribers complaints about low-quality
paper, if the switch was not simply a cost-cutting measure.63
Although Telemanns typical prot margin must have been relatively high,
given that he was not paying a professional for music engraving, it seems unlikely
that he would have embarked on a major publishing venture without some assur-
ance of its protability. (As we shall see, most of Telemanns subscribers sent in
their money prior to publication. Thus, according to eighteenth-century termi-
nology, they were Prnumeranten rather than Subscribenten, who paid for their re-
served copies after publication.) Indeed, the fteen publications listed in Table
7.2 may represent only a cross-section of a more extensive subscription enter-
prise.64 The fact that Telemann sought subscribers to the serially published 12
Fantaisies basse de viole one of his slightest collectionssuggests that other rel-
350
Table 7.2 Telemanns subscription publications, 172548
Publication
Harmonischer Gottes-Dienst
Auszug derjenigen musicalischen . . . Arien
Der getreue Music-Meister
Fortsetzung des harmonischen Gottesdienstes
Musique de table
[48] Singe- Spiel- und General-Bass-bungen
Six concerts et six suites
Nonsubscription prices [equiv. in Ggr.]
Subscription proposal Subscription prices [equiv. in Ggr.] (prices rst appearance)
26 October 1725 6 Rtlr., 16 Ggr.; 5 Ml. quarterly [160] 30 Ml. [240] (10 April 1726)
6 Rtlr. [144] (late 1728)
18 Ml. [144] (1730)
10 . [160] (173334)
7 December 1726 2 Rtlr. [48] ?
? ? ?
9 November 1731 8 Rtlr.; 2 Rtlr. quarterly [192] 10 Rtlr. [240] (9 November 1731)
1618 Rtlr. [384432] (?early 1732)
12 Rtlr. [288] (28 February 1733)
26 November 1732 8 Rtlr.; 2 Rtlr. quarterly [192] 12 Rtlr. [288] (late 1732)
20 . [320] (173334)
3 November 1733 12 Ggr. per dozen [48] 4 . [64] (3 November 1733)
173334 14 Ggr. per dozen [56] 4 ., 8 Ggr. [72] (17 January 1735)
1734 8 ., 7 Ggr. [135] 13 ., 8 Ggr. [216] (17 January 1735)
10 . [160] (4 January 1736)
 12 Fantaisies basse de viole mid-1735 14 Ggr. 1 ., 2 Ggr. [18] (mid-1735)
1 ., 4 Ggr. [20] (4 January 1736)
VI moralische Cantaten [I] mid-1735 1 ., 11 Ggr. [27] 2 ., 4 Ggr. [36] (mid-1735)
1 Rtlr., 8 Ggr. [32] (26 September 1735)
2 ., 2 Ggr. [34] (6 March 1736)
2 . [32] (1 September 1736)
Six ouvertures 4 ou 6 26 September 1735 2 1 2 Rtlr. [60] 3 Rtlr. [72] (26 September 1735)
VI moralische Cantaten [II] 26 September 1735 2 ., 4 Ggr. [36] 2 ., 8 Ggr. [40] (26 September 1735)
Nouveaux quatuors ?early 1738 6 . [96] ?
Musicalisches Lob Gottes 20 December 1742 4 Rtlr., 8 Ggr. [104] ?
Music vom Leiden und Sterben des Welt Erlsers 26 April 1746 2 Rtlr. [48] 3 Rtlr. [72] (26 April 1746)
Engel-Jahrgang ?late 1747/early 1748 8 ., 40 Kreutzer [139] ?
Note: Approximate values are 1 Reichstaler Courant (Rtlr.) = 3 Mark lbisch Courant (Ml.) = 24 Gute Groschen (Ggr.); 1 rheinisch-kaiserliche Gulden (.) = 2 Ml. = 16 Ggr. =
60 Kreutzer.
Sources: TB, 18485 and 234; TWV 1, 19899 and 23138; Brusniak, Zur Pege; Fleischhauer, introduction to Telemann, Singe-, Spiel-, und Generalba-bungen; Heussner, Der
Musikdrucker Balthasar Schmid in Nrnberg; Hirschmann, introduction to Telemann, Johannespassion 1745; Hobohm, Neues aus dem Telemannischen Verlag and preface to Tele-
mann, Drucke aus dem Verlag Balthasar Schmid; Clostermann, Der Handel, 264; Kremer, Telemanns Beziehungen zum Plner Hof ; and Menke, Das Vokalwerk, Anhang A.
351
352 The Hamburg Publications

atively modest projects known to have been issued serially were also nanced
through subscribers (for example, the Fantaisies pour le clavessin and Fugirende und ve-
raendernde Choraele). On the other hand, some publications inscribed to individuals
could have been nanced through dedicatees gifts rather than payments from
Prnumeranten.
Along with the advantages of publishing by installment came the drawback, as
Martin Ruhnke has noted, that Telemann the composer was sometimes con-
strained by Telemann the publisher.65 Each issue of the groundbreaking music
journal Der getreue Music-Meister, for example, had to t on one bifolium, and
groups of seven menuets in the Sept fois sept et un menuet on two. Limited to a single
page were individual numbers of the 12 Fantaisies travers. sans basse (another serial
publication?), Fantaisies pour le clavessin, Singe- Spiel- und General-Bass-bungen, XX
Kleine Fugen, Fugirende und veraendernde Choraele (each chorale setting in a pair), and
12 Fantaisies basse de viole. Although these works consequently represent Telemann
at his most epigrammatic, it is also true that some are crammed into the small
space allotted them. In this respect, the brief songs of the Singe- Spiel- und General-
Bass-bungen, like the many contemporaneous single-sheet songs published in En-
gland, perfectly suited the serial medium. With Der getreue Music-Meister, Telemann
shrewdly broke up multimovement works between issues, allowing himself the
exibility to include longer pieces while creating a powerful incentive for the jour-
nals readership to purchase the entire run rather than individual numbers.
Telemann also established regular times when Hamburg subscribers could pick
up the latest installments of music from one of the local bookshops. Thursday was
the day for Der getreue Music-Meister (every other week) and the Sept fois sept et un menuet,
Singe- Spiel- und General-Bass-bungen, Fugirende und veraendernde Choraele, VI moralische
Cantaten II, 12 Fantaisies basse de viole, and VI moralische Cantaten I (the last two pub-
lications overlapping, so that two fantasias and one cantata appeared on alternate
Thursdays). But cantatas of the Fortsetzung des harmonischen Gottesdienstes were sched-
uled to be issued in batches every other Friday, and groups of seven menuets from
the Zweytes sieben mal sieben und ein Menuet on each Monday.66 Subscribers apparently
received a title page with the rst installment of a publication and an index, if nec-
essary, with the last (as, for example, with Der getreue Music-Meister, the Fortsetzung des
harmonischen Gottesdienstes, and the Singe- Spiel- und General-Bass-bungen).
Completed editions tended to see their prices uctuate over the years, pre-
sumably in response to changing market conditions and production costs. Like
the Harmonischer Gottes-Dienst, the Six concerts et six suites sold well below the original
nonsubscriber price, perhaps because this sum had been disproportionately high
in comparison with the subscriber price. But several other collections, including
the Fortsetzung des harmonischen Gottesdienstes, Musique de table, Singe- Spiel- und Generalbass-
 Seven Telemann in the Marketplace 353

bungen, and 12 Fantaisies basse de viole became more expensive over the years. It is
hard to know whether these increases reected higher printing costsfor paper,
ink, and the labor of repulling the already engraved plates through the presses
or a growing demand for Telemanns publications. The prices of various types of
paper in Frankfurt and Leipzig are known to have been somewhat variable dur-
ing the 1720s and 1730s,67 and it is possible that similar uctuations in Ham-
burg were behind the rising subscription price of each dozen Singe- Spiel- und Gen-
eralbass-bungen during 173334, and the slight dip and rise in price of the VI
moralische Cantaten I in 173536. The price of at least one Hamburg edition, the
Fugues lgres & petits jeux, appears to have remained steady, for its title page pro-
claims PRIX / IV. LIVRES, OU I. ECU DALLEMAGNE in large lettering.
Telemann had never before included the price on a Frankfurt or Hamburg edi-
tion, and he may have done so here in imitation of the Nouveaux quatuors, XIIX
Canons mlodieux, and other Parisian publications.
In Hamburg, Telemann accepted subscriptions at his home, at the music stall
in the stock exchange (Music-Bude an der Brse), or at the shops of the book-
sellers Heuss, Kiner, and Grund, who also distributed installments of serial
publications; thus his shop had no single, xed location. The most ecient
method of collecting subscribers was undoubtedly placing newspaper advertise-
ments and printing handbills that could be left with booksellers or posted around
the city. A handbill of 26 September 1735 advertising four forthcoming publi-
cations advises that those who wish to subscribe here will be so kind as to sign
their names below.68 In order to extend his market beyond Hamburg, Telemann
relied especially on personal correspondence and a network of agents, middlemen
whose reliability in collecting and submitting subscribers names and selling non-
subscription copies would have varied to some degree. It was trouble with agents,
in fact, that prevented his Frankfurt edition of Prince Johann Ernsts Six concerts
violon concertant from reaching a wide audience. In 1735 Johann Gottfried Walther
informed the Wolfenbttel Kantor Heinrich Bokemeyer that

owing to the disloyalty of the agents, this work had the misfortune of selling very
few copies. And the most Serene Mama [Duchess Charlotta Dorothea] would be
very pleased if, for the aforesaid price [1 taler], it could become better known, even
if the price were to come down somewhat. There are probably two to three hun-
dred copies here.69

Besides alerting Telemann to the pitfalls of distributing printed music, this epi-
sode may have helped convince him to take matters into his own hands once at
Hamburg.
354 The Hamburg Publications

By the late 1720s one could obtain Telemanns works at a number of the most
important publishing centers in Europe. A 1728 printed catalog of his editions
lists agents in London, Amsterdam, Leipzig, Berlin, Frankfurt am Main, Nurem-
berg, Jena, and Hamburg from whom thirteen publications might be purchased
or ordereda broader distribution network than that set up by J. S. Bach in 1727
for Clavier-bung I, which was available from agents in Dresden, Halle, Lneburg,
Brunswick, Nuremberg, and Augsburg. Whereas Bachs agents were musicians, all
but one of Telemanns were booksellers, allowing him to disseminate his editions
via the international book trade.70 Telemann also had excellent prospects for ex-
panding into other markets: as corresponding agent to the Eisenach court
(172530), he maintained contacts in Hanover, The Hague, Copenhagen, Paris,
and London (corresponding with the last two, he claimed, in their native
tongues), and had further contacts that gave him access to news from Sweden,
Moscow, Denmark, Berlin, Poland, and Vienna. Moreover, as he informed the
court, he had ties to Hamburgs well-connected ambassadors and merchants.71 In
March 1732 the Gleditsch bookshop in Leipzig advertised ten of his publica-
tions in the Neue Zeitungen von gelehrten Sachen, and at the Leipzig trade fairs between
1726 and 1728 one could obtain the Harmonischer Gottes-Dienst and Auszug derjeni-
gen musicalischen . . . Arien from Kiner.72 An extensive Catalogue des uvres en
musique de Mr. Telemann printed in Amsterdam in 1733 lists twenty-eight pub-
lications plus an additional fteen described as forthcoming; a German version
of the catalog appeared the following year in Hamburg.73 Dutch booksellers, in
fact, may have been well supplied with Telemanns music (apart from the Le Cne
editions of the Sei suonatine and Sonates sans basse that appeared in the 1720s). At his
death in 1759, Nicholas Selhof in The Hague owned twenty-six or twenty-seven
of Telemanns editions, in addition to a copy of the VI Ouverturen nebst zween
Folgestzen and half a dozen foreign reprint editions.74 Though Selhof s Teleman-
niana may have been purchased from a third party for resale (he had connections
with Roger and Le Cne in Amsterdam), it is entirely possible that he was Tele-
manns agent in The Hague. In any event, he obtained his copy of the Nouveaux
quatuors by subscription. Selhof also owned manuscripts of Telemanns music,
copies of which might have been sold to his customers in the manner of the Breit-
kopf rm.75
In gathering out-of-town purchasers and subscribers, Telemann often mailed
his potential customers printed catalogs of published editions or handbills an-
nouncing forthcoming titles. (Only once, in the Sonates sans basse, did he include a
list of publications in an edition.) He sent catalogs to the Aurich and Waldeck
courts in 1728 and 1730, also presenting the latter in 1729 with a sample issue
of Der getreue Music-Meister and inquiring whether the court wished to acquire fu-
 Seven Telemann in the Marketplace 355

ture issues.76 The strategy proved successful: both courts ended up purchasing
publications from Telemann. In 1732 a handbill advertising the Musique de table
made its way to the Rudolstadt Hofkapelle, which subscribed to the collection
through its Konzertmeister Johann Graf (composer of six violin sonatas pub-
lished by Telemann in 1737). Telemann acknowledged Graf s order in a letter of
30 October 1732, and sent him a receipt for his payment of eight Reichstalers
on 31 December. The text of the handbill identies the collection as an instru-
mental pendant to the identically priced Fortsetzung des harmonischen Gottesdienstes, and
points out that each of the three performances (Productions in the print)
may be given complete, from the overture-suite through to the symphony (not
conclusion, as the print describes it):

Just as Kapellmeister Telemann is this year publishing by subscription a large mu-

sical work for voices consisting of sacred cantatas on the Gospels for all usual feast
days and Sundays, he intends to bring out one for instruments in the near future.
It will bear the title Tafel-Music and contain
3 Ouvertures with Suites, in 7 parts;
3 Quartets;
3 Concertos in 7 parts;
3 Trios;
3 Solos; and
3 Concluding Symphonies in 7 parts.
It is divided into three performances [Auhrungen], so that each time one can
play 1 ouverture, 1 quartet, etc. through to the concluding symphony. Both the ou-
vertures and concertos contain 2, 3, or 4 concertante instruments of various kinds.
The instrumentation of the quartets, trios, and solos will continually vary; the
concluding symphonies will be full and fugal, yet also intermixed with concertante
elements.
Subscribers will pay the author 2 Reichstalers quarterly in Hamburg currency,
with the rst payment due at New Year 1733; one may also pay 8 Reichstalers all
at once against an appropriate receipt. The music will appear at Ascension Day,
Michaelmas, and Christmas of the same year, each time complete. The best French
paper will be used, and the music, engraved on metal plates, will look spacious and
clear. When the work is completed, it will cost up to 12 Reichstalers.
Hamburg [blank space for day and month]
173277

The fact that only the Musique de table is advertised on this handbill indicates its
special status as an instrumental collection of unprecedented length and unusual
356 The Hamburg Publications

diculty, both technical and conceptual. It is, to a greater extent than any Tele-
mann opus besides the hodgepodge Der getreue Music-Meister, an encyclopedic sur-
vey of genres, national styles, and scoringsmusic best appreciated (and aorded)
by well-to-do connoisseurs and well-outtted Hofkapellen. Certainly the diver-
sity of the prints contents and the novel arrangement of pieces for performance
would have been strong selling points. On the other hand, Telemann must also
have realized that the collections high price and the lifting of customary re-
straints on length and diculty would require some special pleading when it came
to attracting customers. It is odd, in this respect, that the handbill does not indi-
cate a plan to print subscribers names, which for many prospective purchasers
might have been an additional enticement. A contemporary dictionary article on
the printing of books by subscription suggests that the promise of a subscriber
list could increase sales:

In many cases the list of subscribers for such books is printed in advance, which
has dual purposes that are both to the publishers advantage. For there are many
vain people who will gladly pay two, three, and more talers just to see their names
in print, and the number of Subscribenten or Prnumeranten will increase from this
conceit. Afterwards, many who lack the sense to recognize and judge a books qual-
ity, and simply allow themselves be dazzled by the reputation of great men, are
lured by such a list to purchase the work, if they see there a considerable number
of the greatest men; for then they immediately conclude: this book must be an ex-
cellent work because all of these people felt a desire to own it.78

Whether Telemann had not yet contemplated printing a list of subscribers or

had simply miscalculated in failing to mention it, he assured his Prnumeranten that
their names would indeed appear in print through a newspaper advertisement run
on 26 November and 9 December 1732:

In the next year, lovers of music may expect from Telemanns pen a large instru-
mental composition called Tafel-Music. It consists of 9 orchestral [starcken] works
with 7 instruments and as many chamber [schwchern] works with 1, 2, 3, or 4 in-
struments. One may subscribe with 2 Reichstalers quarterly, the rst time at New
Years [1733]. Distribution will occur on three occasions: at Ascension Day,
Michaelmas, and Christmas. The names of the Prnumerirenden will be printed with
the work.79

The Musique de table handbill seems also to have made its way to Telemanns
young merchant friend in Riga, Johann Reinhold Hollander, who purchased this
and a number of other Hamburg publications. In a letter of 28 February 1733,
 Seven Telemann in the Marketplace 357

written entirely in verse, Telemann corrected Hollanders mistaken impression

that the rst part of the collection had already been completed by pointing out
that it will be ready by Ascension day. You will see that this is indicated on the
announcement leaet.80 In 1739 we again nd Telemann acting as bookkeeper,
sending a receipt to the Pln Hofkapelle acknowledging payment for the Nou-
veaux quatuors, subscribed to by Duke Friedrich Carl through his organist Johann
Grtz (though only Grtzs name appears in the published list of subscribers).81
But most of Telemanns correspondence regarding subscribers concerns the re-
cruiting of friends and colleagues to act as agents. In an undated letter to Hol-
lander, probably written in November or December 1732, Telemann mentions
that the Tallinn merchant Carl Nicolaus Hetling had already paid the full sub-
scription price for the Musique de table (though he initially had some doubts),
then asks Hollander to put in a good word for my musical works wherever you go,
especially for my Tafel-Music.82 In the same February 1733 letter to Hollander,
Telemann writes in verse that Herr [Heinrich] Scheiber appears to be a man of
German loyalty. He gathers subscriptions for me from among his acquaintances
there, and already has three of them. Id like to receive such a cheerful report from
him more often, then completes his rhyme by prodding Hollander: And dont
you neglect to do the same for me.83 On 14 March 1733 Christoph Frster in
Merseburg reported to Telemann that he had secured a subscription to the Musique
de table from the Duke of Sachsen-Weienfels and enclosed eight Reichstalers for
his own copy (both men appear in the subscriber list).84 A letter of 7 December
1739 from Carl Heinrich Graun in Berlin followed up an earlier one (now lost)
in which he had asked Telemann for certain musical works published by sub-
scription. He now reported that he was trying to assemble a quantity of Berlin
customers for Telemanns music. The following 15 June, however, he reported
having lined up only a few, citing his isolation in Rheinsberg and Ruppin and the
pauvret of musical amateurs in Berlin. Three years later, Graun assured Tele-
mann that he was collecting as many subscribers as he could, apparently for the
Musicalisches Lob Gottes, and that some had already given their names to the pub-
lisher, Schmid in Nuremberg.85 It is unknown whether Graun, Schreiber, Hol-
lander, and Frster were paid for their services; like some of C. P. E. Bachs agents,
they may have been gathering subscriptions as a favor.86
Such work could be fraught with complications. Writing to Uenbach in Feb-
ruary 1732 on the subject of the Fortsetzung des harmonischen Gottesdienstes, a some-
what deated Telemann oered that your pleasant letter has brightened me up,
as until now I have been not a little distressed that of the ve people in Frankfurt
I invited to [subscribe to] my annual cycle, not a single one has honored me with
an answer.87 In 173637 Telemann corresponded with Johann Richey, son of
358 The Hamburg Publications

the Hamburg poet Michael Richey and the citys ambassador to the Viennese im-
perial court, about the possibility of nding a market for his publications in Vi-
enna. Richey appears to have enticed Gottlieb Muat to purchase the XX Kleine
Fugen, but it is unclear how much success he had otherwise (there was, in any case,
one Viennese subscriber to the Nouveaux quatuors). Telemann was aware that Vienna
was a tough market to crack, especially for Lutheran sacred works and French-
style music (he knew enough not to send the Six ouvertures 4 ou 6), but informed
Richey that he had made contact with a merchant there.88
Because he assumed postage costs for out-of-town subscriptions, Telemann
quite naturally sought to economize on the delivery of his publications. Writing
to the Aurich court on 3 December 1728, he mentioned that the second lesson
of the Music-Meister will appear in the following days. I would very much like
it if a number of amateurs out there would sign up [for the journal], so that every
two weeks I could send enough copies to make the postage fees worthwhile.89
Telemann appears to have saved money by sending the Fortsetzung des harmonischen
Gottesdienstes to Hollander by ship and explained to Uenbach that during the
Frankfurt trade fair he could inexpensively pack copies of the print into carriages
making almost weekly trips between Hamburg and Frankfurt or send them with
friends for nothing. He also arranged to send his publications to Vienna free of
charge with the goods of a Hamburg merchant.90
As with the Musique de table, Telemann seems to have been particularly con-
cerned that the Six ouvertures 4 ou 6 attract an adequate number of subscribers.91
Overture-suites, with their relatively opulent scorings and prices to match, can-
not have been as appealing to purchasers of printed music as works for smaller,
more easily assembled forces (one wonders how well the lost Ouverture und Suite
sold in 1730). This may be why Telemanns advertisement in the Hamburger Berichte
von neuen gelehrten Sachen of 6 March 1736 has a sense of urgency lacking in most
of his subscription calls:

Herr Kapellmeister Telemann is presently working on 6 Ouverturen with their

ample suites. Three of them require 2 violins or oboes, viola, and continuo. The
other three additionally require 2 horns that may, however, be omitted. Publication
will occur around Ascension Day of 1736, and will bear witness, both through
clarity of notes and quality of paper, that [these Ouverturen] far surpass all previ-
ous works. Even though [the collections] scope extends to 100 plates, no more
than 2 12 Reichstalers will be required in advance, received against a receipt by the
author, who heartily recommends this musicof a type in which his pen is espe-
cially practicedto amateurs, and who hopes for the considerable number of sig-
natures that he expects.92
 Seven Telemann in the Marketplace 359

Such exibility of scoring is typical of Telemanns publications, and in this

case renders the Six ouvertures performable with fewer players than the more chal-
lenging Musique de table suites. In fact, none of his contemporaries seems to have
provided the consumer of printed music with such a variety of optional scorings.
Typical of the period are sonatas that are advertised as performable on violin or
ute, and pieces that may be played with treble instrument and continuo or on
unaccompanied keyboard.93 While there are many instances of such formulations
in Telemanns editions,94 there are also options apparently without parallel in the
literature. Consider the two-voice Helden-Music, oder 12 neue musicalische Marches,
which was advertised in 1728 as scored for two oboes or violins, etc., of which
6 [marches] may be accompanied with a trumpet, and 3 with 2 horns; all, how-
ever, may be played on keyboard alone.95 Several works in Der getreue Music-
Meister are preceded by a forest of clefs and key signatures that facilitate their per-
formance on a variety of instruments. Thus the duet TWV 40:111 may be played
in B-at major with recorder and violin; in G major with ute or violin and vio-
lin or viola pomposa; or in A major with two violas da gamba. And the canonic
sonata TWV 41:B3 for viola or viola da gamba and continuo may also be per-
formed as a duet for viola or viola da gamba and violin, recorder, or ute (in A
major when the ute participates). Invertible counterpoint in the quartet TWV
43:d1 from the Musique de table allows the recorder part to be played two octaves
lower on bassoon or cello. In the Quadri and Nouveaux quatuors, one is not merely
given the nominal option of performing the obbligato bass line on either viola da
gamba or cello, but is presented with alternative partbooks (the cello is accom-
modated by modifying certain multiple stops, articulations, and high-range pas-
sages more suited to the viola da gamba). The title page to the Six concerts et six
suites gives no fewer than ve possible scorings: harpsichord and ute; harpsichord,
ute, and cello; violin, ute, and cello; violin, ute, and continuo; and harpsi-
chord, violin, ute, and cello.96 Finally, the Six quatuors ou trios, as noted in chapter
5, are for 2 Transverse Flutes or 2 Violins, and for 2 Cellos or 2 Bassoons, the
second of which can be left out entirely or played on the Harpsichord.

Telemanns Subscribers

In two of his most ambitious instrumental publications, the Musique de table and
Nouveaux quatuors, Telemann printed the names of subscribers at the beginning of
the rst partbook. These lists are not only among the earliest of their kindand
impressively large for the early eighteenth centurybut demonstrate in a most
360 The Hamburg Publications

immediate way the broad appeal of Telemanns music throughout much of Eu-
rope. The 185 subscribers to the Musique de table (who ordered 206 copies) came
from England, Denmark, France, Germany, the Netherlands, Norway, Spain,
Switzerland, and the Baltic lands.97 Hamburg, naturally, is the best-represented
city on the list, with fty-one subscribers. But the second-highest number of or-
derseighteencame from Paris, conrming that it had a substantial audience
for Telemanns music even before unauthorized editions of his chamber music
began to appear under the imprint of Charles Nicolas Le Clerc during the mid-
1730s.98 Telemann found the third- and fourth-highest numbers of subscribers
in Berlin (eleven) and Frankfurt (ve), but in other cities he collected only one to
four names. One Parisian subscriber, the utist and composer Michel Blavet, re-
served no fewer than twelve copies of the edition. If, as seems likely, he was func-
tioning as Telemanns agent, the copies would have been earmarked for other sub-
scribers who wished to remain anonymous, or possibly received as payment for
drumming up business.99 Likewise, the Dresden violinist Johann Georg Pisendel
may have received his six copies of the Musique de table for acting as Telemanns
Dresden agent.
As for the Nouveaux quatuors, it is usually stated that 237 copies were ordered
by 232 subscribers, with France (principally Paris) providing 138 names. But
these gures fail to take into account exemplars of the collection at Washington
and Brussels, where the list is augmented by a Supplment de souscrivants re-
cording an additional fty-ve subscribers and fty-seven copies (Figure 7.1 and
Table 7.3).100 Roughly a third of the supplementary subscribers are French
(most, apparently, from Paris), with the others representing the same countries as
subscribers in the main list.101 Surveying the roster of subscribers to the Nouveaux
quatuors as a whole, one is struck by how few orders came from Hamburg (thir-
teen) and Berlin (one). By contrast, there are healthy numbers of subscribers from
places scarcely or not at all represented in the Musique de table list.102 This dispar-
ity suggests that Telemann played a limited role in collecting subscribers to his
quartets, perhaps entrusting the job to his publishing partners Vater, Boivin, and
Le Clerc, whose Parisian, French, and Belgian connections were presumably
stronger than their German ones.
Telemanns printing of the Supplment de souscrivants reveals that he ini-
tially went to press before a fth of the subscription orders had come in, while
the somewhat haphazard arrangement of names indicates that they were engraved
as they arrived in batches from agents (such as those in Antwerp and Cdiz) or
singly from individual subscribers themselves. Logistical problems such as this
were not uncommon at the timeespecially in the literary world, where publica-
 Seven Telemann in the Marketplace 361

figure 7.1. Second page of the Noms des souscrivants list from the Nouveaux quatuors,
showing the Supplment de souscrivants (Library of Congress, Washington)
Table 7.3 The Supplment de souscrivants for the Nouveaux quatuors
1. S. A. E. M.gr LE CARDIN.L DAUVERGNE.
1. M.lle Colabo.
1. M.r Coet.
1. M.r de Neufchastel.
1. M.r Naudot.
1. M.r Tousard.
1. M.r lEnvoy Wich.
1. M.r Bensen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gluckstadt.
1. M.r Charls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Londres.
1. M.r Fabritius. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Loit.
1. M.r le Comte de Frankenberg . . . . . . . . . . . . . . . . . . . . . . . . . . . Sondershausen.
1. M.r Geelfuss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Utrecht.
1. M.r Gleditsch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Leipzig.
1. M.r Hofmann . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Berlenbourg.
1. M.r Ondratscheck. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Maynce.
1. M.r Piantanida . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hambourg.
1. M.r le Riche . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tournay.
1. M.r Sauermann . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bremen.
1. M.r Sechehaye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Francf. sur le Mein.
1. Mad.e Casamajor.
1. Mad.e Dupr de S.r Maur.
1. M.r Durant.
1. M.r Boula de Charny.
1. M.r Dentzler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Menin.
1. M.r Ferrand.
1. M.r ter Hoeven . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rotterdam.
1. M.r Rahtlau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Leuwarde.
1. M.r Selle lAine.
1. M.r Cater . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cadix.
1. M.r Colesse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cadix.
1. M.r Fromaget . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cadix.
1. M.r J. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cadix.
1. M.r . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cadix.
3. M.r Pommer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Venise.
1. M.r Smith . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cadix.
1. M.r le Marq.s Deleceau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Roen.
1. Mad.e Formant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Roen.
1. M.r Massieu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Can.
1. M.r Magniat.
1. M.r Douxchamp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Namur.
1. M.r Gross . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Menin.
1. M.r Koller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Zuric.
1. M.r Martfeldt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Menin.
1. M.r Mertens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Namur.
1. M.r Meyss. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Zuric.
1. M.r Ott . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Zuric.
 Seven Telemann in the Marketplace 363

1. M.r Pasquier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Namur.

1. M.r Pinet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Brusselles.
1. M.r le Conseil.r Le Witt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Brusselles.
1. M.r de Blanger. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anvers.
1. M.r Castano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anvers.
1. M.r Hendrickx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anvers.
1. M.r Sloyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anvers.
1. M.r Vecquemans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anvers.
1. M.r Campion Corrigenda.

tions nanced through subscribers were often plagued by delays on the parts of
agents. To take one example, in February 1714 Alexander Pope asked an agent
collecting subscriptions to his translation of Homers Iliad for

a list of every person who actually paid you his subscription, or whom you can en-
gage for, on his promise to pay you; for I must print a catalogue of all who have
already subscribed in a very short time, and it would be of equal ill consequence ei-
ther to omit any that have paid, or add any that have not. I wait only for these
names to send the catalogue to the press.103

C. P. E. Bach, too, complained about the tardiness of his agents in submitting

their lists of subscribers, and how this delayed publication of his works.104 Tele-
mann apparently anticipated such diculties, for the Nouveaux quatuors list was
clearly designed to allow addenda.105 The format of the Musique de table list, on the
other hand, would have made the addition of late subscribers names impossible
without the engraving of an additional plate. One therefore wonders whether the
collection attracted more subscribers than presently meet the eye.106 Neither list,
in the end, can be assumed to give an entirely accurate impression of subscriber
response, for agents may have failed altogether to send in the names of subscribers
(as was often the case with books published by subscription), those whose names
were printed could have defaulted during the interval between solicitation and
publication, and some subscribers may have preferred that their names not be
printed.107
Determining the social position of Telemanns subscribers is complicated by
the lists inconsistency in giving occupations; the Nouveaux quatuors list is particu-
larly unhelpful in this respect. More royal and noble subscribers are identied as
such in the Musique de table than in the Nouveaux quatuors (thirty-eight vs. twenty-
eight), and the same goes for court and government ocials, ambassadors, mili-
364 The Hamburg Publications

tary ocers, and members of the clergy (twenty-four vs. eleven). Although these
disparities might be attributed to Telemanns withdrawal from the subscription
process at Paris, or more simply to the economical format of the Nouveaux quatuors
list, it is also possible that they reect a shift in the patronage of his music dur-
ing the 1730s. Women, as might be expected, make up a small percentage of the
subscribers: eighteen for the Musique de table (including ve unmarried) and twelve
for the Nouveaux quatuors (all from France, including four unmarried). Subscribers
occupying lower positions in the social hierarchy, including musicians, are not
identied by their profession in either list. But among the musicians are leading
gures in many of Europes most important musical centers.108
Whereas Handel and Pope seem to have struggled to build a reliable base of
subscriber support, Telemann was able, on the evidence of these two lists, to at-
tract a comparatively loyal following for his publications.109 Even with the ane-
mic subscriber response to the Nouveaux quatuors in Hamburg and Berlin, 50 of the
185 subscribers to the Musique de table, or 27 percent, also signed up for the Nou-
veaux quatuors ve years later. Although this may not seem like an impressive num-
ber of repeat customers, consider that of the approximately 850 dierent people
who appear in the six subscription lists of C. P. E. Bachs Clavier-Sonaten . . . fr Ken-
ner und Liebhaber (177987), over 750 are conned to one or two lists, and only
14 appear in every list.110 The relative stability of Telemanns readership may
also be inferred from the preface to the Fast allgemeines evangelisch-musicalisches Lieder-
Buch, where errata are given for Der getreue Music-Meister.111
One might ask why, if Telemanns subscription enterprise was so successful, we
are left with only two lists of subscribers. Perhaps subscribers desire to see their
names in print was outweighed by nancial and logistical concerns, or perhaps no
other collections attracted enough subscribers to merit publishing a list.112 But it
may be that Telemann did print additional lists that simply have not survived. In
considering this possibility, it is important to realize that we possess only one or
a few copies of most of his publications, and none whatsoever of eight.113 Many
eighteenth-century books published by subscription contained lists only in copies
intended for subscribers,114 and it is possible that most of the surviving exemplars
of Telemanns publications besides the Musique de table and Nouveaux quatuors are sale
copies. That Telemann sometimes tailored his editions to specic audiences is in-
dicated by the four extant copies of the Quadri, only one of which includes a ded-
icatory preface addressed to the Hamburg amateur Joachim Erasmus von Mol-
denit.115 The three copies lacking the dedication may have been intended for
non-Hamburg purchasers of the collection, for whom Telemanns praise of
Moldenit would presumably have meant little or nothing. Likewise, one of three
 Seven Telemann in the Marketplace 365

extant copies of the XII Solos violon ou traversire omits the dedication to three of
the Burme[i]ster brothers, patrons of the composer in Hamburg.116 And when
Telemann reprinted the Kleine Cammer-Music as La petite musique de chambre in Ham-
burg, he omitted the dedication included with the original Frankfurt edition.117
The subscription lists for the Musique de table and Nouveaux quatuors also raise the
issue of how many copies of a publication Telemann typically produced. Press
runs for engraved music during the early eighteenth century tended to be small
by modern standards. For example, the Amsterdam publishing house operated
successively by Estienne Roger, Jeanne Roger, and Michel-Charles Le Cne
printed about 300 copies of Corellis op. 6 (1714), and something above 200
copies of Geminianis orchestral arrangement of Corellis op. 5 (Libro secondo,
1729). But rst issues of new Vivaldi editions between 1711 and 1729 may have
totaled only about 100 copies, with perhaps 50 or 60 copies for reissues.118 In
1739 J. S. Bach printed about 150 copies of Clavier-bung III, and in 174748
he gave away or sold 100 exemplars of the three-part ricercar and accompanying
perpetual canon from the Musicalisches Opfer; additional copies of the ricercar and
canon were planned, and apparently produced, for the Leipzig book fair at New
Years 1749. Other parts of the Musicalisches Opfer seem to have had more limited
printing runs: perhaps only 100 copies for the six-part ricercar and two canons;
approximately 50 copies for the canonic fugue and various canons; and as few as
30 copies for the trio sonata and accompanying perpetual canon.119 Walthers es-
timate that Telemann printed 200300 copies of Prince Johann Ernsts Six con-
certs violon concertant in 1718 has already been mentioned. Even in the expanded
market for printed music of the 1770s and 1780s, press runs were usually not
much bigger: the average edition attracted 200300 subscribers (though best-
selling editions might attract several times this number).120 At Mainz, initial press
runs during the early years of Bernhard Schotts music-publishing rm
(founded in 1770) normally totaled only 30100 copies.121 Typeset editions,
oering no option for reprints, naturally saw larger runs.122 Accordingly, C. P. E.
Bach had Breitkopf print 1,050 copies of each collection of his Clavier-Sonaten . . .
fr Kenner und Liebhaber despite a signicant decline in subscriptions after the rst
collection (from a high of 519 to a low of 290).123 In 1788 Emanuel reported
to the publisher that he had made a handsome prot on the six collections, even
with half the stock left unsold.124
Thus the initial press runs for the Musique de table and Nouveaux quatuorslikely
totaling 300400 copies or more, taking into account both subscription and sale
copieswere probably well above average for their time. They may also have been
typical of Telemanns Hamburg publications, for an advertisement of 1733 states
366 The Hamburg Publications

his intention to print 400 copies of each song in the Singe- Spiel- und General-Bass-
bungen.125 Judging from the number of subscribers who earlier that year signed
up for the Musique de table (admittedly a very dierent type of publication), one
might suppose that Telemann earmarked at least half of the press run for sub-
scription sales. Rough as they are, these gures can give us some idea of Telemanns
gross income from his self-publishing business. If, for example, he sold 200 copies
of the bungen at the subscription price of 56 Gute Groschen and another 200 at
the low sale price of 64 Gute Groschen (see Table 7.2), he would have brought in
a total of 1,000 Reichstalers. Following the same formula, 400 copies of the Nou-
veaux quatuors (294 at the subscription price of 96 Gute Groschen and 106 at a
hypothetical sale price of 128 Gute Groschen), would have yielded 1,741 Reich-
stalers. And if Telemann sold only 300 copies of the Musique de table (206 at the
subscription price of 192 Gute Groschen and 94 at the low sale price of 288
Gute Groschen), he would have realized 2,776 Reichstalers. Some editions, of
course, may have sold in relatively modest numbers, while others might have seen
multiple printings. Almost inevitably, though, Telemann would have been left
holding a small stock of unsold sale copies: the announcement of the 1769 auc-
tion of his estate notes that the printed things are available singly, in duplicate,
or in several exemplars: among them are many quartets, the Corellian sonatas and
other trios, six cantatas, six ouvertures, 36 fantasies, six canons for two utes,
etc.126 Despite all of these variables, and factoring in unknown costs for materi-
als and printing, it is possible that Telemann cleared a few thousand Reichstalers
from his publishing business in an average year during the period 172836.
To put such a gure in perspective, Telemann earned 653 Reichstalers (1,960
Marks) from his ocial Hamburg duties, a gure that compares favorably with
the salaries for the other two most prestigious city music directorships in Ger-
many: Frankfurt, where Telemann earned 667 Reichstalers (2,000 Marks); and
Leipzig, where J. S. Bach earned 720 Reichstalers (2,160 Marks). But Telemann
had additional, guaranteed sources of revenue. He received 300 Reichstalers (900
Marks) for directing the Hamburg Opera, 200 Reichstalers (600 Marks) for
serving as Kapellmeister in absentia to the Eisenach court, 100 Reichstalers (300
Marks) for serving as correspondent to Eisenach (172530), and the same sum
for providing music to the Bayreuth court (from 1726). Thus his various posi-
tions during the mid-to-late 1720s brought in a total of 1,353 Reichstalers
(4,059 Marks), a gure roughly equal to what the four Hamburg Brgermeister
earned, and exceeding the 1,200 Reichstalers (3,600 Marks) earned in 1719 by
the Dresden Kapellmeisters Johann Christoph Schmidt and Johann David
Heinichen, and by the Konzertmeister Jean Baptiste Volumier.127
 Seven Telemann in the Marketplace 367

Production Methods

Telemanns rst three publicationsthe Harmonischer Gottes-Dienst, Sonates sans basse,

and Kiners edition of the Auszug derjenigen musicalischen . . . Arienwere printed
from movable type. All subsequent titles were engraved on copper or pewter
plates, a change that may have been inspired partly by Uenbach, who was not
only a noted collector of engravings, but also a skilled artisan. In an October
1724 letter Telemann praised his friends engravings in the highest terms: I
couldnt be more astonished at how far you have come in this pleasant science in
such a short time. From what I have seen so far, the invention of [your engrav-
ings] cannot be improved; the inner harmony is exemplary, and the niceties of
using a burin are observed with the greatest care.128 Five years later Uenbach
made a gift to Telemann of an elaborately engraved frontispiece for the Fast allge-
meines evangelisch-musikalisches Lieder-Buch.129
The engraving method adopted for Telemanns editions made use of hammer-
driven punches for many symbols, including noteheads, clefs, numerals, text, ats,
naturals, dynamic indications, rests, braces, directs (custodes), and tr. symbols. Note
stems, tails to single eighth and sixteenth notes, beams, bar lines, slurs, ties, +
and staccato symbols, sharps, and some of the noteheads in chords were engraved
by hand. Suggesting that the medium was initially copper plates are several letters
in which Telemann complains to Uenbach about his diculty in procuring cop-
per for printing cantata librettos and music; in April 1729 Telemann thanks his
friend for sending him plates and mentions that he has of necessity been com-
posing works without printing them.130 Perhaps this is why the only music Tele-
mann seems to have published during 1729 was Der getreue Music-Meister. The
printed Verzeichni der Telemannischen Musicalischen Werke of 1730 lists
ve newly published works (the Zweytes sieben mal sieben und ein Menuet, Ouverture und
Suite, Fast allgemeines evangelisch-musikalisches Lieder-Buch, Quadri, and Nouvelles sonatines)
as engraved in Kupfer. After this, Telemann was virtually silent regarding pro-
duction methods, though a newspaper advertisement of 15 December 1731
mentions that the Fortsetzung des harmonischen Gottesdienstes was to be printed by means
of a new method of engraving [Kupfer-Ahrt].131 This is likely a reference to the
switch from copper to pewter plates. The latter, which were cheaper and did not
require any softening preparation in order to take punches, had been adopted in
London by the rm of Walsh and Hare by 1700, even as freehand engraving on
copper plates continued to be preferred by their commercial competitors and by
composers publishing their own music.132 Walshs editions, and perhaps those of
Roger in Amsterdam, might easily have provided the impetus for Telemann to
368 The Hamburg Publications

begin using punches and pewter plates, and one wonders if he was in contact with
these publishers during the late 1720s and early 1730s.
All this prompts the question of whether Telemann himself engraved his edi-
tions, with or without help from assistants. In the composers sole reference to his
engraving work, a letter to Uenbach of 13 November 1731 on the subject of
the forthcoming Fortsetzung des harmonischen Gottesdienstes, he leads his friend to be-
lieve that he alone stamped the musical notation: I am prepared to work on the
music [to the poetry] with extraordinary diligence; with regard to the beauty of
the notation, one will scarcely believe that my hammered cripple-work could turn
out so well.133 Telemanns contemporaries certainly seem to have believed that he
was the engraver of his music, and that his use of punches and pewter plates was
innovative. In Johann Gottfried Walthers personal copy of his Musikalisches Lexicon
oder musikalische Bibliothek (Leipzig, 1732), a handwritten annotation quotes a foot-
note from Johann Bernhard Hellers Wohlgemeynte Gedancken ber Fhrung einer Buch-
druckerey (Erfurt, 1740): in our times, the famous Capell-Director in Hamburg,
Herr George Philipp Telemann, has also devised something new for his own
benet, in that he himself engraves most of his musical pieces in pewter, then has
them printed by a copperplate printer.134 Conrmation that Telemanns new en-
graving method was English in origin, and that it saved him considerable time in
the workshop, is furnished by a biography of the composer published during the
mid-1740s in German and French by Schmid in Nuremberg:

This rare praise [for Telemann in Paris] was based upon many unimpeachable wit-
nesses, especially his exceptional published worksall received with great ap-
proval, some engraved in copper, some typesetof which there are over fty. The
typeset works are very few in number, but for the engraved works he greatly im-
proved an English invention that allowed him to transfer onto plates all the essen-
tial musical gures without a burin, and with such speed that it was possible for
him to complete nine or ten plates in a day. It is therefore no wonder that he could
produce a publication of 200 or 300 pages in several weeks. This he did, however,
without neglecting his usual responsibilities.135

There is surely an element of exaggeration here, for Telemann would have con-
tinued to use an engravers burin to execute symbols for which there were no
punches. And it is hard to imagine the busy composer engraving nine or ten plates
per day over an extended period of time. In his letter to Uenbach of 23 Febru-
ary 1732, Telemann wrote of the Fortsetzung des harmonischen Gottesdienstes that
around sixty plates are nished, and another forty should follow by Easter [13
April].136 Even allowing for overlapping work on other publications, it would
therefore appear that Telemanns daily engraving output fell considerably short of
 Seven Telemann in the Marketplace 369

nine or ten plates. Yet his method was undoubtedly quicker than freehand engrav-
ing on copper, where a skilled artisan might take six to eight hours to complete a
single plate containing two pages of music.137 Certainly the passage quoted above
goes a long way toward explaining how Telemann could issue as many as a half
dozen publicationsencompassing hundreds of platesin a single year.
We have strong circumstantial evidence, then, that Telemann did engrave his
musiccircumstantial, because none of the editions bears a standard signature
phrase such as Telemann sculpsit or Grav par Telemann, and because we can-
not be certain that it was the composer himself who drove the punches. Indeed,
the punching method resulted in much greater visual uniformity than did free-
hand engraving, making it extremely dicult to distinguish one engraving hand
from another. An examination of the Fortsetzung des harmonischen Gottesdienstes (for
which we have the composers word that he engraved the plates himself) fails to
settle the matter, for the editions appearance does not dier markedly from that
of others. This is equally true of the notational elements executed freehand
(mostly limited to vertical and horizontal lines) and by punching.138 On the other
hand, some of the minor variations in punched musical and textual symbols
noted below may indicate that the composer collaborated with one or more as-
sistants. So if we are justied in speaking of Telemann as the engraver of his edi-
tions, it is with the caveat that some plates could have been executed by others
under his supervision.
Max Seiert, who mistakenly assumed that Telemann used punches only for
clefs, believed he could distinguish between the composers engraving hand and
that of an artisan, whom he considered responsible for most of the work.139 In
his view, only a few of the editions, including the Lustige Arien aus der Opera Adelheid
(1st ed.), Singe- Spiel- und General-Bass-bungen, and perhaps the Fast allgemeines evan-
gelisch-musikalisches Lieder-Buch, were engraved by Telemann alone. It was inconceiv-
able to Seiert that the composer would willingly devote countless hours to the
mechanical reproduction of his musicsurely material need alone could force a
busy creative genius to engage in such mundane activityand he questioned the
veracity of the Nuremberg biography just quoted:

A man with a thousand kinds of writing commitments ying through his hands
from morning till night, trying to cope with it all, had other, more important ways
of passing his time than with music engraving. Rather, it was the struggle for exis-
tence that pressed the burin into his hand. . . . [The Nuremberg biography] asks us
to believe a number of fairy tales. Nine to ten plates is certainly a respectable daily
output for a diligent, skillful engraver, and one willingly concedes this to Telemann.
But without a burin and without neglecting his usual responsibilities? Believe
370 The Hamburg Publications

it if you wish. Telemann was no sorcerer and had, after all, only two hands. The
lithographers were the rst to use acid, and Telemanns working hour, like that of
other people, ew by in sixty minutes. . . . The truth of the matter will have to be
determined by future bibliography.140

In the meantime, Seiert suggested that most of the Hamburg editions re-
sulted from a collaborative eort: after penciling the music directly onto the
plates in mirror image, Telemann had professional engravers hollow out the notes.
Titles, tempo indications, dynamics, and the like were then engraved (not
stamped) by the composer himself prior to printing. This, Seiert believed, was
how Telemann could issue so many editions so quickly and with relatively few tex-
tual errors. Menke thought that the tracing method might also have been em-
ployed for the Singe- Spiel- und General-Bass-bungen and agreed with Seiert that
Telemann hired a practiced engraver to execute his publications between 1728
and 1736 (though he considered the Fast allgemeines evangelisch-musikalisches Lieder-Buch
to have been engraved by the composer).141
Seiert and Menke were apparently unaware of both Telemanns statement to
Uenbach about his hammered cripple-work and Hellers published comment
of 1740. They presumably singled out the Singe- Spiel- und General-Bass-bungen and
Fast allgemeines evangelisch-musikalisches Lieder-Buch as the composers handiwork because
the noteheads in chords, too closely spaced to be punched, betray a relatively un-
polished freehand technique.142 The uniformly shaped noteheads in other editions
look, by comparison, like the work of a professional. But because they were
punched, there is no need to surmise a two-stage process by which Telemann rst
wrote out the music in mirror image before entrusting most of the actual engrav-
ing to a professional.143 As for the Lustige Arien aus der Opera Adelheid, this may have
been Telemanns rst eort at engraving. Examinations of the edition by Seiert
and Georg Schnemann before its loss in World War II suggest that it was engraved
freehand on copper plates. Seiert and Menke describe Telemanns work here as
that of a beginner, marked by unevenly shaped noteheads, poor use of space, faulty
text underlay, and diculties with writing in mirror image.144 The publications in-
elegant appearance may help explain why a second, more legible edition was issued
in 1733, even though the original plates must still have been usable.
Telemanns engraving technique did improve over the years: the cramped ap-
pearance of the earlier editions gradually gives way during the early 1730s to a
more spacious layout, errors are relatively infrequent, and both articulation and
ornamentation are for the most part precisely indicated.145 But one skill that he
apparently never mastered was engraving text by hand. When not typeset or
stamped, the lettering of title pages, dedications, the Musique de table subscription
 Seven Telemann in the Marketplace 371

list, part titles, and the like was executed by the same anonymous engraver. That
this was Christian Fritzsch (16951769) is suggested by a comparison of the let-
tering in Figures 7.2 and 7.3, which show the 1733 Musique de table title page and
a detail from the elaborately engraved list of participants at the 1730 centennial
celebration of the Hamburg Brgerkapitne, signed by the engraver. Note in partic-
ular the distinctive forms of the upper-case letters B, D, H, and L. Al-
though these two samples cannot prove conclusively that it was Fritzsch who ex-
ecuted the title page, the case for him is only strengthened by an examination of
additional title pages and the Musique de table subscription list. Fritzsch settled in
Hamburg in 1718, and his rst engraving there was the well-known depiction of
the 1719 Brgerkapitne celebration; later works include over 200 portraits.146 Tele-
mann appears to have employed him between 1728 and 1736, but the two may
have had dealings as early as 1726, when one of Telemanns poems on the death
of the Lbeck wunderkind Christian Heinrich Heineken appeared beneath
Fritzschs engraving of the four-year-old boy.147 Fritzsch also engraved music by
other Hamburg composers, including Lbecks Clavier Uebung (1728; unsigned by
the engraver) and Hurlebuschs Compositioni (ca. 1735; signed on the title page).
In 1741 Fritzschs son Christian Friedrich executed the pastoral scene on the title
page to Telemanns Vier und zwanzig theils ernsthafte, theils scherzende Oden (published by
Christian Herold) and may have engraved the odes music and text as well.148
The use of pewter plates for Telemanns editions of the 1730s may be inferred
from several surviving copies. Though pewter was easier to work with than cop-
per, it required modifying the printing process to ensure that the softer plates did
not prematurely atten, bow, or curl as they were run through the press. The alloy
also tended to be more brittle, depending on the amount of antimony it con-
tained, and was thus prone to cracking.149 This seems to have caused problems
during the printing of the Six concerts et six suites, for copies in Paris and Mnster
indicate that deteriorating plates led to a second state of the edition. In the Paris
copy, the plates for the title page and pages 1 and 17 of the concertos have all
been replaced.150 The new plate for page 17, which makes no substantive alter-
ations to the musical text, replaced an original that was already cracking when the
Mnster exemplar was printed. But on the new plate for page 1 Telemann intro-
duced a few minor revisions. Thanks to a recently discovered Clavessin part-
book to the concertos in the music collection at Aalholm Manor on the Danish
island of Lolland, we can observe the gradual deterioration of Telemanns plates
during the press run.151 Representing a late stage of the editions rst state, this
partbook reveals the cracks on the original plate for page 17 to have expanded
since the printing of the Mnster copy. But because the plate for page 1 shows
no cracks at all, one surmises that Telemann replaced it for the Paris copy with
372 The Hamburg Publications

figure 7.2. Title page to the Musique de table

 Seven Telemann in the Marketplace 373

figure 7.3. Detail of the list of participants at the 1730 Hamburg Brgerkapitne cele-
bration, engraved by Christian Fritzsch (Staatsarchiv Hamburg)

the idea of revising the musical text. It remains unclear, however, why he had an
abbreviated title page engraved for the second state of the edition, for the origi-
nal was still in good condition when the Aalhom copy was printed.152
The replacement of damaged or error-lled plates may have been fairly com-
mon in Telemanns workshop, for copies of the Fantaisies pour le clavessin at Berlin
and Copenhagen bear witness to a process not unlike that seen in the Six concerts
et six suites.153 In the earlier of the two Copenhagen copies, the plates for Fantasy
2 of the rst dozen and Fantasies 3 and 12 of the second dozen show obvious
signs of wear, including cracking, that have worsened since the Berlin copy was
pulled. Because all three replacement plates in the later Copenhagen copy reect
the engraving style of the third dozen fantasies, we may presume that sales of the
rst two dozen were both steady and strong.154 Two other editions, Pimpinone and
the Essercizii musici, were printed with both original and substitute title pages.155 In
the case of the latter publication, what appears to be the original title page was
374 The Hamburg Publications

executed and signed by the Hamburg engraver Gottfried Christian Pingeling

(16881769).156 Three of the surviving primo partbooks (Brussels, the Berlin
Staatsbibliothek, and the Berlin Sing-Akademie) combine this title page with a
misnumbered page 41 (reading 39). In the Washington exemplar, which in-
cludes the new (unsigned) title page in all three partbooks, this error has been
corrected.157
What has not been fully appreciated about Telemanns publications is that
their appearance changed markedly during the decade 172838, mainly on ac-
count of the replacement of punches. Uniquely in Telemanns extant editions, the
noteheads in the Six sonates violon seul are lozenge shaped, with stems drawn from
the center (Figure 7.4); all other editions use round noteheads with stems drawn
to the right or left of center. This shape recalls the antiquated movable type then
still in use by the venerable rm of Christophe Ballard in Paris (not to mention
the type used for the rst edition of the Kleine Cammer-Music). By using such
punches, Telemann may have been hoping to tap into the prestige associated with
Ballard, who had long held an exclusive royal privilege to print music in France.
The fact that these punches were almost immediately replaced, along with the
editions cramped spacing between staves in each system, points to 1727 or early
1728, that is, to the beginning of Telemanns activity as an engraver.158
Other changes in Telemanns musical orthography, though less striking, seem
likewise motivated by a desire to rene the editions appearance. Consider, for ex-
ample, the replacement of punches for rests. In the Six sonates violon seul and sub-
sequent publications to 1732 (through the 12 Fantaisies travers. sans basse and the
rst six of the Fantaisies pour le clavessin, rst dozen), quarter rests are formed with
an s-shaped punch. A new, r-shaped punch appears during the course of the
Fortsetzung des harmonischen Gottesdienstes, and is used continuously throughout late
1732, 1733, and 1734.159 Finally, in publications from 1735 to 1739 the quar-
ter-rest punch is simply a backward eighth rest (itself new in these publications).
Figure 7.5 shows the three quarter-rest symbols in excerpts from four editions;
also evident here (and in Figures 7.4 and 7.6) are the parallel redesigns of eighth-
rest symbols.160
Similar variations are observable in several other symbols, including numerals
for bass gures, indications of trills (in 1733 + gives way to tr.), system
braces, soprano clefs, and repeat signs.161 Figure 7.5b illustrates Telemanns re-
placement of punches for the dynamic symbols p and f (letters from text
fonts) on the rst page of the Continuation des sonates mthodiques. In measures 1415
the old symbols are used for the systems outer staves, where there is room to ac-
commodate them, while the new, smaller ones are used for the more cramped
middle sta. Only the new symbols appear on subsequent pages.
 Seven Telemann in the Marketplace 375

figure 7.4. First page of music in the Hamburg second edition of the Six Sonates Vio-
lon seul
376 The Hamburg Publications

(a)

(b)

figure 7.5. Telemanns engraving in (a) Sonate metodiche, p. 12; (b) Continuation des sonates
mthodiques, p. 1; (c) Fugirende und veraendernde Choraele, no. 19; (d) VI moralische Cantaten II, p. 6
 Seven Telemann in the Marketplace 377

(c)

(d)

Over the years Telemann used at least four stamped text fonts, all of which
were subject to minor variations (two are illustrated in Figures 7.47.6). A few of
the early publications make use of more than one: in Pimpinone, for example, Ger-
man texts are engraved in Gothic script, while Italian texts are in a large Latin font
common in Telemanns early editions. This distinction is maintained in Der getreue
Music-Meister, until Gothic script is all but abandoned following lesson 5 (perhaps
in deference to the journals non-German readership).162 Gothic script appears
for the last time in the Fast allgemeines evangelisch-musicalisches Lieder-Buch and Zweytes
sieben mal sieben und ein Menuet, while the large Latin font gradually disappears dur-
ing the early 1730s in favor of two smaller ones.163 One letter in particular, a cap-
ital O in the large Latin font, was used by Telemann only in four of the earli-
est extant publications: the Six sonates violon seul (2nd ed.), Pimpinone, the Sonate
metodiche, and Der getreue Music-Meister (through lesson 15). Bearing a small dot rest-
ing on the bottom inside edge of the circle, the letter whimsically suggests an eye-
ball (Figures 7.4, 7.5a, and 7.6b).164
378 The Hamburg Publications

(a)

(b)

figure 7.6. Lettering in Essercizii musici, partbook 1: (a) p. 5 (letters engraved freehand);
(b) p. 21 (letters punched)

These observations prompt us to revisit the question of when Telemann en-

graved and published the Essercizii musici, long considered his self-publishing swan
song and today regarded as some of his nest chamber music. The widely accepted
date of 1739 or 1740 was deduced by Martin Ruhnke, who noted that the col-
lection appears in none of Telemanns advertisements from the 1720s and 1730s,
is absent from the list of publications concluding his 1740 autobiography (com-
pleted no earlier than June of that year), and presumably accounts for the last of
forty-four engraved sets of plates Telemann oered for sale on 14 October
1740.165 But the collections absence from the autobiography cannot be taken as
evidence that it had not yet appeared, because ve other Hamburg publications
from the 1720s and 1730s (the XX Kleine Fugen, XII Fantasie per il violino senza basso,
Duos travers. et violoncello, and the second editions of the Six sonates violon seul and
La petite musique de chambre) are omitted as well. Nor can we be absolutely certain
which plates Telemann sold in 1740: including both editions of either the Six
sonates violon seul or the Lustige Arien aus der Opera Adelheid would have produced a
total of forty-four sets without the Essercizii musici. Still, the latter collections ab-
sence from advertisements of the decade 172636 is not easily explained.
What is clear, however, is that Telemann drew on older compositions as a
source for the Essercizii musici. This is evident not only from the musics style, dis-
 Seven Telemann in the Marketplace 379

cussed in the following chapter, but also from its manuscript transmission: a
Schwerin source for Solo 9 (41:e5) was copied no later than 1735, Darmstadt
manuscript sources for all twelve trios were copied during the years 172530, and
Dresden manuscripts transmitting Trios 1 and 3 (42:c2 and 42:g5) date from the
period 172533.166 Corroborating evidence that the Essercizii musici circulated in
manuscript copies during the 1720s comes from a 1726 invoice submitted to the
Waldeck Hofkapelle in Arolsen by Johann Christoph Nemitz, who purchased for
the court Telemans Jahr Gang der Kirchen Music, item Concerten, Duetten, Ex-
ercitii Musici.167 It is probable that the last item in this list included some or all
of the Essercizii musici, given the early manuscript sources and the fact that no other
works of Telemann are known to have circulated under such a title.
Several aspects of the editions appearance raise the suspicion that it was en-
graved signicantly earlier than 173940. It is curious, for example, that work
titles and tempo indications in the rst third of each partbook were engraved
freehand, either by Telemann or an assistant (Figure 7.6a). Practically without ex-
ception, such text was stamped with punches in Telemanns other editions, as it
was in the remainder of each Essercizii musici partbook (Figure 7.6b).168 Moreover,
these titles and indications (along with the collections two title pages) provide the
only examples in Telemanns editions of freehand lettering not executed by Chris-
tian Fritzsch. Was the engraver simply unavailable, or had Telemann not yet es-
tablished a working relationship with him? Other features of the opening pages
in each partbook are equally uncharacteristic of the composers engraving prac-
tice: stamped lower-case letters in Trio 5 diering from those found elsewhere in
the collection; works starting in the middle of a page (farther on in the collec-
tion they invariably begin at the top of a page); reversed note stems (partbook 1,
p. 14; partbook 3, p. 12); upside-down letters (partbook 2, p. 13); ungainly tr.
signs (partbook 1, p. 5); short diagonal slashes replacing bar lines, presumably a
space-saving measure (partbook 2, p. 13; partbook 3, p. 15); grotesquely over-
sized p. and f. dynamic symbols (partbook 1, p. 5; partbook 2, p. 3); and end-
ing ourishes after Da Capo indications (partbook 1, p. 5; partbook 2, p. 3).
Together these features convey the impression of an inexperienced engraver ex-
perimenting with dierent techniques, symbols, and fonts. Perhaps most tellingly,
the edition was engraved with punches that Telemann used exclusively between
1728 and 1732: + symbols for trills, s-shaped quarter rests (and the ac-
companying eighth rests), numerical symbols for bass gures and repeat signs
matching those in the Sonate metodiche and Sept fois sept et un menuet, eyeball capital
Os, and the large f dynamic symbol that was replaced in the Continuation des
sonates mthodiques. Moreover, all stamped text (aside from that in Trio 5) is in the
large Latin font that Telemann phased out in 173233.
380 The Hamburg Publications

A nal piece of evidence that the Essercizii musici were engraved a decade or
more before 1740 is furnished by the exemplar belonging to the Sing-Akademie
zu Berlin. The handwritten title found on the wrappers to each partbook (Tele-
mann / Trii et Soli a div: Strom: / [possessor mark:] C:W:V:B. / 1728) indi-
cates that the as-yet-unidentied owner of the print acquired it in 1728. The lan-
guage this title shares with Telemanns title page (. . . Dodeci Soli / e / Dodeci
Trii / / diversi stromenti . . .) conrms that the wrappers were originally in-
tended for the Essercizii musici, not for some other collection of solos and trios.169
All this points to the conclusion that the Essercizii musici were composed during
the mid-1720s, when they began to circulate in manuscript copies, and engraved
some time in late 1727 or 1728. Given the idiosyncratic and sometimes defective
notation of both music and text in the partbooks opening pages, it is even pos-
sible that the collection was one of Telemanns rst engraving eortsunder-
taken, perhaps, soon after the second edition of the Six sonates violon seul. But how
does one reconcile the physical, documentary, and musical evidence for this re-
dating with the collections absence from Telemanns advertisements? The most
plausible explanation is that Telemann never issued the collection to the general
public, but instead distributed copies in the late 1720s among various patrons,
colleagues, and acquaintances, much as J. S. Bach gave most of the rst 100 copies
of the Musicalisches Opfer gratis to friends. In this way, he could have tested the
waters for the unusually ambitious instrumental collections he would soon issue,
while working toward perfecting his engraving technique.

Closing Shop

One of Telemanns designs in commodifying his works was surely to bring

courtly, ecclesiastical, and public kinds of music into the domestic sphere, until
then relatively ill served by the German publishing industry: one who can be of
use to many does better than one who writes for a few, as he noted in his 1718
autobiography.170 This sentiment, and a similar one expressed in the preface to
Der getreue Music-Meister that man lives for work, and in order to serve others,
seem to reect the Lutheran belief that creations resulting from God-given talent
should be shared with ones neighbors. Expressions of this belief appear as a
trope throughout the seventeenth and early eighteenth centuries in writings by
Schein, Michael Praetorius, Schtz, Kuhnau, and J. S. Bach.171 Telemann, as a self-
styled autodidact who made good, may have felt a special responsibility to pro-
vide his neighbors with the type of compositional and performance models he
lacked during his youth. Thus he edied connoisseurs, amateurs, and students
with informative prefaces, commentaries, and musical examples relating to con-
 Seven Telemann in the Marketplace 381

tinuo realization, the composition and performance of recitative, and the art of
ornamentation. The didactic nature of some publications is quite explicit: Der ge-
treue Music-Meister, broken up into lessons, was especially for students; and Tele-
manns Canones 2, 3, 4 were designed for those who teach singing to youths.172
Noting the pedagogical value of Telemanns music, an anonymous 1728 review
of his early Hamburg publications in the Hamburgische Auszge aus neuen Bchern und
Nachrichten observed that

it would be dicult to nd a composer among us Germans who has zealously

served the public with so many works and with so many associated costs as our
Herr Kapellmeister Telemann, in that he is the publisher of all his works but
one. . . . Musical amateurs and connoisseurs will not waste their time if they hold
[Pimpinone and the Lustige Arien aus der Opera Adelheid] side by side and observe how
much they dier from one another . . . From the preface that the Kapellmeister has
appended to his Music-Meister (the rest of which will appear every two weeks), one
sees that this work will not be the slightest of Telemanns musical works, but on
the contrary will serve the musical amateur to great eect.173

But as we have already observed with respect to the composers pricing strate-
gies, his altruistic and didactic impulses were balanced by mercenary ones. Sales
of printed music would have helped to erase the 5,000 Reichstalers of debt his
second wife, Maria Catharina, had accumulated through overspending; 3,000
Reichstalers had been paid back (I have no idea where they came from) by Sep-
tember 1736.174 And the extra income helped support a large family: as Telemann
put it in verse to Hollander in 173233, My music business allows me to di-
minish a good part of the worries of many children, for whose upbringing I give
many thalers; it is my eld and plow, from which I live: that suces.175 Yet by
1740, with his children out of the house or nearly grown, his debts presumably
paid o, and his wife no longer living with him, Telemann appears to have tired
of tilling this eld, exchanging it for a garden full of rare plants assembled and
tended to with the same energy he had applied to his publishing business.176 An
advertisement in the Staats- und Gelehrte Zeitung des Hamburgischen unpartheyischen Cor-
respondenten of 14 October curtly announced the sale of the plates for forty-four
of his published collections:

The local Music Director Telemann wishes to sell the plates for his musical works,
of which there are forty-four. The prices for these will be set in the catalog in such
a way that if, for example, a copy costs 3 Gulden the buyer pays 100 Gulden for
the plates; he therefore recovers 6 percent of his investment if as few as two copies
are sold annually. The complete works must either remain together or be divided
into no more than two groups.177
382 The Hamburg Publications

It is not known who purchased Telemanns plates, or even whether the sale took
place, and no catalog or inventory has been located. Evidently the composer
hoped to nd a reliable custodian of his printed legacy: the stipulation that the
entire collection should go to one or two buyers was surely calculated to attract
established booksellers with substantial capital, rather than a gaggle of small-time
entrepreneurs who might purchase individual sets of plates. But regardless of
whether Telemann found any takers and netted the thousands of Gulden he stood
to gain from the sale, this notice heralded the end of his self-publishing career.
Why did Telemann close up shop in such dramatic fashion? Was it simply that
he no longer needed the extra income, or were there additional motivations?
Menke suggested that the composers recent success in Paris increased his stand-
ing so much that he could now aord to leave the trouble of engraving, printing,
and selling to professionalsthough there is no sign of a surge in prestige or in-
come during the late 1730s, by which time Telemann was in many respects Ger-
manys most successful composer.178 Wolf Hobohm interprets the sale announce-
ment as a sign of Telemanns declining physical health, while Laurenz Ltteken
views it as indicative of a deep creative crisis, an inner displeasure with his own
production and a suspicion that he had nothing left to say.179 These two diag-
noses are, however, unsupported by biographical evidencethe composers ex-
tant correspondence reveals no signs of a crisis in health or condence around
1740and are dicult to reconcile with the steady stream of publications Tele-
mann issued through other publishers during the following decade.180 One sus-
pects, rather, that his cessation of publishing activities was a personal and pro-
fessional watershed of a dierent sort. The previous few years had seen the
closing of the Gnsemarkt Opera in the wake of steadily declining attendance,
Telemanns visit to Paris (proudly reported in the 1740 autobiography and the
Nuremberg biography as the capstone to a four-decade career), and, shortly pre-
ceding his return to Hamburg, the death of his sixteen-year-old son, August
Bernhard.181 Beyond nancial considerations, it may well have been this combi-
nation of disappointment, triumph, and tragedy, together with a wish to escape
the daily tedium of the publishing business and a realization that at age fty-nine
he was probably entering the nal phase of his career, that spurred Telemann to
redirect his energies.
Telemann had, in fact, already begun to scale back publishing operations be-
fore the Paris trip. Just two editions appeared in 1736, and the following year saw
none at all. Instead, he published works by others for the rst time since Der ge-
treue Music-Meister: Johann Graf s 6 Soli for violin and continuo, op. 3; Christoph
Frsters Sei duetti a due violini e basso ad libitum, op. 1; and the Anleitung: wie man einen
General-Bass, oder auch Hand-Stcke, in alle Tone transponieren knne of Carl Johann
 Seven Telemann in the Marketplace 383

Friedrich Haltmeier, Telemanns nephew. According to the 1740 autobiography,

these were published to please good friends.182 In the event, Telemann engraved
the music for the Graf edition and supplied both the musical examples and a
preface for the Haltmeier treatise, the title page of which identies him as having
supported its publication (Zum Druck befrdert von Georg Philipp Tele-
mann, Music-Directore in Hamburg).183 The nature of his involvement with
Frsters Sei duetti remains unclear, because the only surviving edition was pub-
lished in Paris. This could be a reprint of a lost Hamburg rst edition, or perhaps
Telemann brought along a manuscript of Frsters music on his trip.184 At this
time he also edited and wrote a preface (dated 26 April 1737) to the second edi-
tion of David Kellners popular Treulicher Unterricht im General-Bass (published by
Christian Herold in Hamburg).
In the twenty-nine months between his return from Paris and the sale an-
nouncement, Telemann published only two collections of his own music (not
counting the Essercizii musici) plus the Beschreibung der Augen-Orgel, a ve-page de-
scription of Louis-Bertrand Castels Clavecin pour les yeux. After 1740 he
made only occasional returns to the publishing business; he produced his student
Johann Hvets Musikalische Probe eines Concerts vors Clavier (Hamburg, 1741; lost)
and two treatises on tuning and temperament by Georg Andreas Sorge: the An-
weisung zur Stimmung und Temperatur sowohl der Orgelwerke, also auch anderer Instrumente,
sonderlich aber des Claviers (1744); and the Grndliche Untersuchung, ob die . . . Schrterische
Clavier-Temperaturen fr gleichschwebend pairen knnen, oder nicht (1754).185
One is tempted to link both the slowdown in production and the emphasis on
theoretical works by others to Telemanns own ambitions as a music theorist, for
in the previous decade he had embarked upon and then scuttled several major the-
oretical projects such as a German translation of Fuxs Gradus ad Parnassum, trea-
tises on recitative and composition (the Trait du rcitatif and the Theoretisch-practischer
Tractat vom Componiren), and a collaboration with Johann Adolph Scheibe on Der
critische Musikus.186 In the preface to the Beschreibung der Augen-Orgel,Telemann assures
his readers that he will respond to the request of not a few friends to publish
his impressions of Parisian musical life: Up to now, time constraints alone have
placed limitations on my intent, but have not prevented a good many of [my
ideas] to be set down onto paper, which, along with the rest of them, will be
brought out one day.187 Apparently in response to this announcement, the Ham-
burgische Berichte von gelehrten Sachen stated that Herr Telemann will greatly endear
himself to musical connoisseurs if, in keeping with his promise, he clearly de-
scribes the present state of music in Paris as gleaned from his own experience, and
thereby seeks to render French musicwhich he has made so deeply appreciated
in Germanyever more popular with us.188
384 The Hamburg Publications

The Nuremberg biography comes close to attributing the demise of Telemanns

publishing enterprise to his desire to produce a body of theoretical writings:

Our celebrated Herr Telemann has [with his published music] provided more than
seems necessary to establish his immortal honor. He is therefore not to be blamed
for deciding to place a nal limit on his work of this sort. But it must redound to
the great pleasure of all admirers of his thorough and highly developed science that
he is of a mind to devote his remaining years to theoretical writings. We may surely
expect the ripest fruits [from this endeavor], since he is preparing to publish serially
a most important work under the title Musikalischer Practicus, in which he pro-
poses faithfully to communicate all that he has observed through long experience.189

Telemanns remaining yearsalmost a quarter-centurys worth, as it turned

outsaw only one completed theoretical project: the Neues musicalisches System
(1742 or 1743), a study of chromatic and enharmonic relationships written for
Lorenz Mizlers Correspondirende Societt der Musikalischen Wissenschaften.
He did at least talk up his treatise on practical music: in a 1743 letter, Carl Hein-
rich Graun mentioned that Telemanns eort to show the world that our practi-
cal music must have coherence and order, among other attributes, is most praise-
worthy and necessary, then refers to a chapter on order and coherence.190 A
year later, in the preface to the Musicalisches Lob Gottes, Telemann stated that he had
intended to write about applying the theatrical style to church music, composing
German recitative, and handling dissonance. But he limited himself to a few ob-
servations on continuo guring, referring his readers to the more extended dis-
cussion on this topic that would appear in the Musicalischer Practicus. In the end,
Telemann may have been too occupied with the practicalities of composing and
making music to follow through on the Musikalischer Practicus and other writing
projects.
The seriousness of Telemanns ambitions as a man of letters during the 1740s
is on full view in the famous mezzotint engraving of the composer by Valentin
Daniel Preiler (Nuremberg, 1750), after a lost painting by Ludwig Michael
Schneider (Figure 7.7). Here Telemanns left hand props up an untitled book rest-
ing on two sheets of ruledbut otherwise blankmusic paper, an image that
quite literally places his literary concerns above the purely musical. Indeed, this
pose puts the composer in the company of many seventeenth- and eighteenth-
century writers, clergymen, and politicians, whose portraits often show them
holding, touching, or supporting books as a token of their wisdom and learned-
ness.191 Musicians, on the other hand, were seldom depicted in this way.192 That
the quill to Telemanns right sits passively in its inkwell, instead of assuming a
more active position by lying across the music paper or resting in the composers
figure 7.7. Mezzotint by Valentin Daniel Preiler (Nuremberg, 1750), after a lost
painting by Ludwig Michael Schneider (Nuremberg, Germanisches Nationalmuseum)
386 The Hamburg Publications

hand, further suggests the suspension of compositional activity. Was the book it-
self intended to represent the Musicalischer Practicus?
Telemanns own music continued to appear under the imprints of several Ger-
man and French publishers throughout the 1740s: the Sonates en trio, left behind
by Telemann in Paris, was published by Antoine Vater; Herold in Hamburg issued
the Vier und zwanzig theils ernsthafte, theils scherzende Oden; Schmid in Nuremberg pub-
lished the Musicalisches Lob Gottes, the VI Ouverturen nebst zween Folgestzen, and the
Music vom Leiden und Sterben des Welt Erlsers (the 1745 St. John Passion); and
Christoph Heinrich Lau in Hermsdorf am Kynast brought out the last of Tele-
manns sacred cantata cycles, the serial Engel-Jahrgang.193 Telemann was appar-
ently now content to let others worry about the logistical details of publishing
his music, and by this time there was an expanding community of German music
publishers willing and able to take on this task. After 1748, however, only four
authorized editions of Telemanns music appeared in print: a second edition of
the Fast allgemeines evangelisch-musikalisches Lieder-Buch with text newly typeset by Pis-
cator (a self-publication?); Blavets Paris edition of the Second livre de duo for utes;
the Danish cantata De danske, norske og tydske undersaatters glaede, published in Ham-
burg by Schnemann; and Michael Christian Bocks edition of the brief Symphonie
zur Serenate auf die erste 100jhrige Jubelfeier.194 Symptomatic of Telemanns with-
drawal from the publishing process is his statement in the preface to the Musi-
calisches Lob Gottes that he had declined to correct proofs because of the cost in
postage, the time involved, and the skill of his publisher, Schmid.195
Yet it seems the publication of the Passion and Musicalisches Lob Gottes did not
proceed without some glitches. Telemann advertised for subscribers to the cantata
cycle on 20 December 1742, two months after a sample work had been made
available to the public.196 But his preface is dated 14 August 1744, suggesting that
the engraving was subject to lengthy delays or that the collection of subscriptions
ran into complications (as mentioned above, Carl Heinrich Graun was still col-
lecting subscriptions in June 1743). The Passion was to appear at the end of Sep-
tember or beginning of October 1746, and subscriptions were to be collected
until 24 June. But on 12 August, Schmid announced that the subscription period
would be extended for an additional four weeks, presumably because not enough
subscribers had yet come forward. It is worth noting that Schmids distribution
network, although extensive, lacked the international scope of Telemanns during
the preceding decades.197
In his seventies Telemann corresponded with Johann Gottlob Immanuel Breit-
kopf, whose revolutionary method of letterpress printing with mosaic type was
introduced in 1755 with the pamphlet Nachricht von einer neuen Art Noten zu drucken
and Johann Friedrich Graefes setting of a sonnet by the Saxon Crown Princess
 Seven Telemann in the Marketplace 387

Maria Antonia Walpurgis.198 Telemann must have seen one or both of these pub-
lications in the year they appeared, for on 20 November he wrote to Breitkopf re-
questing further information about the new printing method:

Most Esteemed Sir, your new invention of printed music has my approval as well,
except for the sharps, which seem too small to me. Therefore, I beg to inquire how
much one must pay for a folio page without text, how much for one with text, and
how much for a quarto page or a large octavo page with alternating text, as in a mu-
sical book? If you would be so kind as to furnish me with this information, I shall
send you several things.199

Though it sounds as if Telemann was poised to oer the rm instrumental,

vocal, or theoretical works (the latter presumably in the form of a musical book
with alternating text), he seems not to have sent anything to Leipzig and in
1757 opted to work with the publisher Schnemann on De danske, norske og tydske
undersaatters glaede. But on 27 May 1759 Telemann nally oered Breitkopf two
large-scale vocal works and an annual cantata cycle, which would have been his
fth complete cycle to appear in print. Characteristically, he also proposed to in-
clude didactic prefaces to the projected editions:

At last I nd myself impelled to oer one of my current works to your press. . . .

The score comprises thirty-ve pages, to which I might add a discourse of several
pages on the numerous points that a composer should observe in the descriptive
manner of writing. Should the rm agree to print this in return for a number of
copies to be delivered [to me], I would have a fair copy prepared immediately. . . .
[Postscript:] I also have in mind to publish this years Passion music in install-
ments, and in each part to discuss the advantages in composing vocal music that I
have gained through experience, especially a correct use of the German language,
which is often disgured by the constraints of Italianate melodies.
If I live long enough, a further holiday [cantata] cycle is ready, which is eagerly
anticipated by a considerable number of Prnumeranten.200

None of these works appears to have been printed by Breitkopf, despite Ernst
Ludwig Gerbers vague recollection in 1792 that Telemann had made use of
the rms movable type (at least, I remember having seen one of his church can-
tata cycles printed in this manner).201 But if Breitkopf failed to consummate a
deal with Telemann, he did sell numerous other works by the composer over the
next two decades, including fteen printed editions and the Nuremberg biogra-
phy and portrait. Table 7.4 lists the Telemanniana oered in the 1760, 1761,
1763, and 1777 editions of the rms Verzeichni Musicalischer Bcher sowohl zur Theorie
388 The Hamburg Publications

Table 7.4 Telemann publications oered in the Breitkopf Verzeichni Musicalischer Bcher
sowohl zur Theorie als Praxis
Edition Publications
1760 Musique de table
1761 Nuremberg portrait and biography; Auszug derjenigen musicalischen . . . Arien; Vier und zwanzig
theils ernsthafte, theils scherzende Oden
1763 Beschreibung der Augen-Orgel; Fast allgemeines evangelisch-musicalisches Lieder-Buch (2/1751);
Engel-Jahrgang; XX Kleine Fugen; VI Ouverturen nebst zween Folgestzen; XII Fantasie per il
violino senza basso; Sonate metodiche; Continuation des sonates mthodiques; Quadri; Nouveaux
quatuors; Six ouvertures; Sonates sans basse (Amsterdam: Le Cne, 1729)
1777 Auszug derjenigen musicalischen . . . Arien

als Praxis (no works by the composer appeared in the 1770 or 1780 editions).
Rather than collect Telemanns editions more or less systematically, as Selhof ap-
pears to have done in The Hague, Breitkopf acquired a cross-section of the com-
posers printed output. The sudden appearance in the 1763 Verzeichni of no fewer
than twelve publications suggests the rms acquisition in that year of one or
more private collections rich in the composers music, an impression bolstered by
the heavy concentration of manuscript works by Telemann in parts 36 (1763
65) of the rms printed thematic catalog.202
Aside from his unrealized editions with Breitkopf and various aborted theo-
retical projects, Telemann mused about several publications that never saw the
light of day. Mention of certain titles may have constituted a trial balloon de-
signed to gauge public response, while other announcements were undoubtedly
little more than manifestations of wishful thinking. A newspaper advertisement
of 10 April 1726 promised that as soon as the Kapellmeister fully recuperates
from his present indisposition, he will publish a particularly well elaborated in-
termezzo and the [operatic] prologue performed here on the marriage of the
King of France, both of which works were received with universal applause.203
The intermezzo was evidently Pimpinone, but the prologue, the lost Spirti amanti
festeggiate, TVWV 23:1 (1725), did not appear in print. In the preface to the
Auszug derjenigen musicalischen . . . Arien, Telemann states that he had been urged to
publish a full cantata cycle with choruses (to be issued in parts if nancially fea-
sible) and oats the possibility of publishing a Passion, a Magnicat, and a Kyrie
with Sanctus.204 The 1728 Hamburgische Auszge review cited earlier reports that at
Easter 1729 Telemann would publish nine festival church cantatas on the gospels
for the rst Sunday in Advent, the rst day of Christmas, New Years Day, the
 Seven Telemann in the Marketplace 389

rst day of Easter, Ascension Day, the rst day of Pentecost, Trinity, Midsum-
mers Day, and Michaelmas:

The work will consist of a score, the music engraved [nach Kupfer-Ahrt] in a read-
able script and with a clean impression. The arrangement of the pieces is as fol-
lows: rst comes a biblical quotation with four voices, 2 violins, a viola, and gured
bass; then follows a recitative and an aria with an accompanying symphony; then a
chorale; again a recitative; and nally another aria as before, whereupon the begin-
ning quotation concludes [the whole].205

This project appears to be the one that Telemann mentioned in his letter of
26 July 1728 to Matthus Arnold Wilckens, who had previously supplied the
composer with librettos for the Harmonischer Gottes-Dienst, the 1726 St. Matthew
Passion, the 1728 St. Luke Passion, and the 172829 cycle of church cantatas.206
Like the proposed appendix to the Fortsetzung des harmonischen Gottesdienstes, di-
dactic analyses of works in Der getreue Music-Meister (mentioned in the journals
preface) failed to materialize.207 Among the forthcoming works listed in the
173334 Amsterdam/Hamburg catalog of Telemanns publications are several
that never appeared: 6. Sonates comiques/6 [Scherzende] Sonaten for four-
part strings; Galanteries pour le Luth/Lauten-Galanterien; Elite des Airs
de diverses Opera de Telemann, ajusts pour tre jos des Instrumens/Auser-
lesene Arien aus den Telemannischen Opern und Serenaten, also eingerichtet, da
sie auf Instrumenten gespielet werden knnen, perhaps inspired by similar aria
arrangements in London; and two sequels to the Scherzi melodichi, advertised only
in Hamburg. The projected sequel to the Quadri (Second volume de
Quatuors/Zweyter Theil von Quadri), may have turned out to be the Nou-
veaux quatuors, while the 6. Ouvertures avec la suite comique/6 Scherzende
Ouverturen for four-part strings could have become the Six ouvertures.
These imagined editions, considered alongside those that found their way into
print, further point up the comprehensive nature of Telemanns publishing vision.
For however frustrated he may have been as a music theorist, he realized his ap-
parent goal of providing the consumer of printed music with admirable examples
of virtually every musical style, genre, and scoring common at the timeas well
as many that were not. And though it would appear that a number of editions
were targeted at specic segments of the market (for the amateur, easy music
such as keyboard pieces, duets, solos, and aria collections; for the connoisseur and
professional musician, dicult and more fully scored works such as the Musique
de table, Nouveaux quatuors, and 1745 St. John Passion), one should not underesti-
390 The Hamburg Publications

mate the breadth of their appeal. Indeed, such dichotomies as public/private,

courtly/domestic, learned/popular, and professional/amateur readily dissolve in
many of Telemanns published collections. It is therefore unsurprising that as so-
phisticated a musician as Johann Gottfried Walther owned not only the Har-
monischer Gottes-Dienstuseful to him as a professional church musicianbut also
explicitly didactic, amateur publications such as Der getreue Music-Meister and the
Singe- Spiel- und General-Bass-bungen.208 Telemanns Selbstverlag provided something
for everyone, often in a single print; and this, to a greater degree than any inno-
vations of production, marketing, and distribution, was responsible for its sus-
tained success.
 Chapter 8
Telemann fr Kenner und Liebhaber
The Music of the Hamburg Publications

Telemanns Hamburg publications of the 1720s and 1730s chart his deepening
involvement with the galant style. With increasing consistency, the instrumental
works from 1725 onward exhibit such progressive traits as heightened motivic
contrast, slow harmonic rhythm (often involving drum and murky basses), incip-
ient sonata forms, and characteristic rhythms such as triplets, Lombard gures,
and alla zoppa syncopations; other galant hallmarks, including predominantly ho-
mophonic textures and periodic melodies, also gure prominently in certain col-
lections. At the same time, Telemanns mixing of genres and national styles be-
comes more assured and sophisticated. Yet for all their forward-looking aspects,
these works also function as stylistic mediators between old and new: the galant
style inects strict canons, fully worked out fugues, the stile antico, and invocations
of the Corellian sonata. Thus Telemann the Progressive maintains a fruitful dia-
logue with the musical past in stylistically eclectic works that, at their best, can
seem as fresh today as they did to his contemporaries. In this chapter we survey
twenty-seven published collections of instrumental musicas well as a few col-
lections not printed by the composeraimed at the connoisseur (Kenner), ama-
teur (Liebhaber), or both.

Sonates sans basse

As the Harmonischer Gottes-Dienst was nearing completion in late 1726, Telemann

issued his rst publication of instrumental music in more than six years, the
Sonates sans basse for two utes, violins, or recorders (40:1016). Extraordinarily
eective on a variety of instruments, these works are now undoubtedly the most
widely played instrumental duets from the eighteenth century. The collection was

391
392 The Hamburg Publications

reprinted in Amsterdam by Le Cne (1729), in Paris by Le Clerc (173637), and

in London by Walsh (1746), placing it among the composers best-known music
during his lifetime.1 Marpurg cited the second movements of the E-major and E-
minor duets as good examples of double fugues, and Quantz included excerpts
of the rst three duets in his Solfeggi (see Table 5.1).2 In the preface to his Sei duetti
a due auti traversi (1759), Quantz singled out Telemanns duetsno doubt in-
cluding the Sonates sans basseas exemplary: It is true that there is a kind of duet
in which the parts do almost nothing but play in thirds and sixths with one an-
other from beginning to end, and which are anything but hard to write. But any-
one who is familiar with Kapellmeister Telemanns ute duets, for example, will
quickly perceive that the former type is not that to which I have referred.3
Quantz then enumerated the qualities of a good duet, as if to provide an analyt-
ical overview of the Sonates sans basse: (1) the two instruments must provide a cor-
rect fundamental part at all times, so that there is no need for an additional bass
part; (2) an imitative texture is essential; (3) the material should be equally dis-
tributed among the two parts; (4) fugal writing must follow all the rules of two-
part fugue; (5) alternating with the subject should be pleasing yet brief episodic
material mixing passages in thirds and sixths with contrapuntal phrases;
(6) long or numerous rests must not appear except when a new fugal subject is
introduced without a countersubject; and (7) no new idea must be introduced
that cannot be subsequently repeated at a convenient place. Quantz judged duets
to be the most convenient and useful pieces for learning music,4 and in dedi-
cating the Sonates sans basse to the patrician amateurs George Behrmann and Pierre
Diteric Toennies (players of the lute, ute, recorder, and bassoon), Telemann may
have been acknowledging his pedagogical intent. It may have been the Sonates sans
basse that the blind ute virtuoso Friedrich Ludwig Dlon (17691826) had in
mind when he recalled the impact of Telemanns ute music on his playing:

I owe the greatest part of my dexterity to [the works of Quantz], but my security
in keeping time entirely to [the Telemann pieces], for they are written throughout
in a partly canonic and partly fugal texture; they also contain, besides our custom-
ary time signatures, others that have become almost alien to us, by which I mean
above all 3/2 meter. I hasten to note this so as to draw the attention of those who
are seriously concerned with obtaining a thorough mastery of music, and to advise
them avidly to study compositions of this sort, assuming they are able to nd
them, and not to be dismayed by the poorly understood commonplace, now preva-
lent everywhere, that they are already outdated.5

The six duets all follow the same four-movement scheme in which a slow move-
ment in variable style leads to a fugue, a slow movement in the Aettuoso mode, and
 Eight Telemann fr Kenner und Liebhaber 393

a light nale that is usually dance based. Telemann goes to great lengths to ensure
the equality of the two parts: neither is restricted to providing accompaniment to
the other for more than a few measures at a time, and even sequential guration
tends to be divided between the parts though frequent voice exchange. Canonic
writing, useful for involving both parts equally in the presentation of thematic
material, is employed in many movements but never overused; particularly eective
is the close canonic imitation of the E-major fugue. In the rst movement of the
E-minor duet, the only fugal slow movement, the combination of a slow-moving
subject and faster countersubject is evocative of the stile antico (note the subjects
similarity to that of the following movement). Separating statements of this sub-
ject pair are episodes alternating between canonic imitation and galant parallel
thirds. In the beautifully mournful Largo of the B-minor duet, the consistent dis-
tance of the imitations between the two parts also makes a slightly archaic, canonic
eect. The fugues are remarkably varied in the character and length of their sub-
jects, number of subject entries, and treatment of the countersubject (whether pre-
sented against the dux or comes). All, however, conclude with a lengthy episode. A
brief passage from the giga of the B-minor duet may serve to illustrate the rapidly
shifting textures characteristic of both the fugues and concluding fast movements
(Example 8.1). Note especially the pointillistic voice exchange that compensates
for a momentary slowing of the harmonic rhythm in measures 6164.
Although Telemann is not particularly concerned in the Sonates sans basse with
alluding to other genres, two of the interior slow movements refer to well-dened
types. The Andante of the G-major duet is a lament with a quasi-ostinato bass
outlining a chromatically inected descending tetrachord. Rather than state the
bass pattern continuously, Telemann establishes the generic reference with two
initial statements and returns to the pattern only twice. This allows him freedom
to treat the utes as partners in a vocal duet, trading imitative gures and clash-
ing in suspension chains. Another reference to vocal music occurs in the Soave of
the E-major duet, an early example of the movement type wherein a brief intro-
ductory passage functioning as a ritornello frames a central cantabile section. In
another instance of Telemanns evenhanded approach to the two parts, he switches
them for the concluding ritornello.

Essercizii musici

In the previous chapter, we noted that a variety of documentary evidence places

the Essercizii musici in the mid-to-late 1720s. Supporting this chronological repo-
sitioning is the fact that the most progressive aspects of Telemanns style of the
394 The Hamburg Publications

example 8.1. Sonates sans basse no. 5/iv, mm. 6069

98
60

98



63

66

1730s are either absent or appear only incipiently in the collection. Although its
title relates the Essercizii musici to other musical exercises such as Johann Mel-
chior Molters Esercizio studioso (Amsterdam, 1722 or 1723; six violin solos) and
Domenico Scarlattis Essercizi per gravicembalo (London, 1738 or 1739; thirty key-
board works), the combination of twelve solos and twelve trios seems to be
unique among eighteenth-century publications. As shown in Table 8.1, Telemann
arranged the solos symmetrically according to scoring, so that the recorder, ute,
oboe, violin, viola da gamba, and harpsichord each receive two solos.6 No such
symmetry is present in the trios (42:c2, G6, g5, A6, a4, h4, F3, B4, E4, D9, d4,
Es3), which include twelve of the fteen possible instrumental combinations (ex-
cluded are ute, recorder, continuo; violin, obbligato harpsichord, continuo; and
oboe, viola da gamba, continuo). Nor does Telemann organize the solos or trios
according to tonality. The two harpsichord solos, Telemanns rst publication of
keyboard music (not counting treble-bass solos playable on keyboard), are French
suites that help oset the otherwise Italianate style of the collection. They follow
a prelude with standard dance types such as the allemande and corrente, but also
admit elements of the galant style.
With the redating of the collection, the four trios scored for melody instru-
ment, obbligato harpsichord, and continuo (nos. 2, 4, 8, and 12) may be counted
among the earliest known chamber works with obbligato keyboard parts. They
antedate not only Telemanns own Six concerts et six suites, but also such works as
C. P. E. Bachs two trios for obbligato harpsichord and violin, Wq. 7172/H.
 Eight Telemann fr Kenner und Liebhaber 395

Table 8.1 Symmetrical arrangement

of solos in the Essercizii musici
Solo Solo instrument TWV
1 Vn 41:F4
2 Fl 41:D9
3 Va da gamba 41:a6
4 Rec 41:d4
5 Ob 41:B6
6 Cemb 32:3
7 Vn 41:A6
8 Fl 41:G9
9 Va da gamba 41:e5
10 Rec 41:C5
11 Ob 41:e6
12 Cemb 32:4

5023 (Leipzig, 1731), and the concertos and sonatas for obbligato harpsi-
chord with ute or violin by Johann Matthias Leoth the younger and Jean-
Joseph Cassana de Mondonville (see chapter 6). In fact, Telemanns trios are
roughly contemporary with J. S. Bachs six sonatas for violin and obbligato harp-
sichord, BWV 101419a, thought to have been completed around 1725.7 Al-
though there is no evidence that Telemanns obbligato keyboard trios, like many
by J. S. and C. P. E. Bach, the Graun brothers, and Quantz, are arrangements of
works with more conventional scorings, the right hand of the harpsichord is often
playable on violin; there is little idiomatic keyboard writing apart from the occa-
sional use of right-hand chords.8 The three-part texture in these works (melody
instrument, harpsichord right hand, and harpsichord left hand doubled by the
continuo) is not atypical of that found in Telemanns trios as a whole and ranges
from three-part imitation to parallel homophony (for the latter see especially the
rst movement of Trio 4). With few exceptions, the harpsichords left hand is lim-
ited to doubling or playing divisions of the continuo line. In the second move-
ment of Trio 4, for example, the ritornello material is supplied by both hands of
the harpsichord, with the continuo line supplying a simplied version of the left
hand. When the ute enters, the sense of a two- or three-part texture is reinforced
by the omission of either the harpsichord or continuo line for lengthy passages.
In stylistic terms, the Essercizii musici sonatas are moderately more galant than
those published at Frankfurt a decade earlier. The second movement of Solo 7,
illustrated in Example 8.2, is especially progressive in its richly varied motivic
396 The Hamburg Publications

example 8.2. Essercizii musici, solo 7/ii, mm. 120

2Allegro
Violin 4


2
4
Continuo
7 6 6 6 6 6 7 6 7

6 6 6 6

5
14

6 6 # 6 4 5 4
2 3 2

content, alla zoppa syncopations over a drum bass (mm. 57), and Lombard
rhythms (mm. 1516). Yet such eects are less frequently encountered in the
Essercizii musici than in Telemanns publications of the 1730s. Rather than mix-
ing styles solely through juxtaposing French and Italianate movements, as in the
Frankfurt collections, Telemann occasionally combines them within a single
movementfor example, through the alternation of French refrains and Ital-
ianate couplets in the rondeaus concluding Trio 8 and Solo 9. Another rondeau
movement, the concluding polonaise of Trio 9, is an early instance of Telemanns
long-standing association of the Polish style with the expression markings
scherzando and scherzo. The drone at the movements outset, no doubt an al-
lusion to the rustic bagpipe, has a counterpart in the pastorale of Trio 10, where
the device might instead be heard as referencing the more rened musette. A fur-
ther pastoral topic, the chasse, colors the fourth movement of Trio 12. Here the
obbligato harpsichords initial solo ourish, complete with horn fths and stock
rhythmic gures evocative of hunting calls, gives way to a fugato that quickly dis-
solves into homophony. Three other movements provide paradigms for types that
would become common in Telemanns collections of the late 1720s and 1730s.
Thrice during the opening Aettuoso of Solo 4, the recorder plays threefold
echoes of a single pitch with the dynamic markings [f]ppp. In later manifesta-
tions, this echo eect is often associated with the pastoral style (as are the
loudsoftsofter echoes in May the God of Wit inspire from Purcells Fairy
 Eight Telemann fr Kenner und Liebhaber 397

Queen), and particularly with the siciliana.9 Solos 6 and 10 both open with con-
trast movements in which two dierent aects alternate throughout. As we shall
see below, a similar contrast movement is identied as a capriccio in Der getreue
Music-Meister.10
Until the 1720s Telemann had signied the operatic mode in sonatas through
such devices as breathless vocal melodies, double-motto openings, ostinato ac-
companiments, and instrumental recitative. In the Essercizii musici, he also explores
formal models associated with vocal music. We have already encountered the aria-
like slow movement with ritornello frame in chapters 3 and 6, and the third move-
ment of Trio 3 provides an excellent example of this type. The ritornello here is
an eight-measure period featuring suspensions and brief imitations in the violin
and oboe, parts that are contrapuntally inverted upon the ritornellos return. As
seen in Example 8.3, Telemann underscores the contrast in scoring and style be-
tween ritornello and vocal duet through a caesura, tempo change, and tonal dis-
junction (V/viI). A similar formal process obtains in the third movement of
Trio 2, the central vocal section of which is easily among the most beautiful of
Telemanns aria-style instrumental works. Here the obbligato harpsichord is heard
only in the ritornello frames, leaving the viola da gamba to sing to a partially
ostinato continuo accompaniment. This section also provides an early example of
a formal procedure that would become common in Telemanns later Hamburg
solos. Dubbed permutation technique by Jeanne Swack, this procedure involves
the reshuing of melodic-harmonic segments ranging in length from brief mo-
tivic cells to entire phrases.11 Note in Example 8.4 that the segments marked X
(prolonging a pedal tone on D) and Y (an obeat gure over a descending
bass) return out of order in measure 45, where their connection is smoothed by
a brief transition (m. 48). Solo 5 alludes to vocal music in the rst three of its
movements: an ostinato bass underpins the opening Adagio; the following Alle-
gro begins with a double motto and is in da capo form; and in the Cantabile, a
particularly aecting minor-mode siciliana, the oboe enters with an unaccompa-
nied phrase commencing with the sustained pitch typical of continuo arias. Tele-
manns long-standing association of the oboe with vocal style also extends to the
opening movement of Solo 11 (a motto aria) and the second movement of Trio
1 (in da capo form). Da capo form is further employed in the prelude to Solo 12
(a galant Cantabile), and in the auf Concertenart second movement of Trio 4.
A number of other slow movements lacking formal references to aria types
nevertheless seem inspired by the aria patetica.These combine certain aspects of the
Aettuoso styleespecially aective downbeat rests and sighing gureswith de-
scending chromatic lines, wide melodic leaps, pedal tones, and the like. Con-
398 The Hamburg Publications

example 8.3. Essercizii musici, trio 3/iii, mm. 121

Andante

Violin

c
Oboe

c

Continuo
c
6 5 6 5 6 5 6 5
4 3 4 3 5 4 3 5 4 4 3

Largo
43
5

43


43
6 5 7 6 5 6 # 6 6 # 5 6 6
5 4 3 5 # 7

10

6 6 6 6 6 6 6 6b
4 4 5

16

6 6 6 5 6 6
 Eight Telemann fr Kenner und Liebhaber 399

example 8.4. Essercizii musici, trio 2/iii, mm. 1431, 4455

4
3
14

Viola da gamba

43
Continuo
6 46 6 #

X

18

6
6 6

22

6
5
6

4 3 4

25
3

7
6 D 6 6
3 2

28 Y

6 6 6 7 6 66
#
5 #

Y
44

6 6 6 6 6 7 6
4 5 #

48

X




__________
6 # 6 6 6 # 4 6

52

5 6 7 6 6 #
# 4 #
400 The Hamburg Publications

tributing to a pervasive sense of breathlessness in the rst movement of Trio 1,

for example, are constant downbeat rests in both the principal melody (rst heard
in the oboe) and accompanimental gure (introduced by the recorder). And Tele-
mann does not limit his vocal references to the aria: Solo 9/iii is a Recitativo and
Arioso that evidently inspired a similar movement in Der getreue Music-Meister, dis-
cussed later. It is worth noting that all of these instrumental allusions to vocal
music come from a time when Telemann was especially busy writing operas and
sacred cantatas and publishing such collections as the Harmonischer Gottes-Dienst,
Auszug derjenigen musicalischen . . . Arien, Lustige Arien aus der Opera Adelheid, and Pimpinone.
Fugues gure prominently in the Essercizii musici, and trio fugues lacking the-
matic basses are as common as those with them. Such connement of the subject
to the upper voices is doubtless symptomatic of a galant preoccupation with ho-
mophony, even in polyphonic styles of writing; the lack of a true countersubject
in Trio 5/ii may be taken as a case in point. The binary fugue, a common but
often unsatisfying movement type among the Frankfurt sonatas, is represented by
Trio 1/iv. But this example is more successful than most: it dispenses with paral-
lel beginnings for each half of the form, delays the double return of subject and
tonic in the second half, and introduces greater tonal and thematic contrast
throughout. Contrasting sharply with most of the other fugues in the collection
is the scholastic double fugue of Trio 11/iv, with its vocally conceived subject
(spanning only a minor sixth), unaccompanied exposition, and dense counter-
point (two subjects plus a countersubject). Still more conservative is the stile an-
tico second movement of Trio 7. Its expression marking of Mesto reinforces a
solemnity that is at odds with the surrounding galant fugues. These last two move-
ments remind us that in 172728 Telemann was working on a German transla-
tion of Fuxs Gradus ad Parnassum; indeed, his cultivation of the strict style in the
Essercizii musici may be a by-product of this aborted project.

Reading the Faithful Music Master

Telemann conceived Der getreue Music-Meister not only as the rst periodical in
Germany to oer musical works, but also as a practical analog to the moral
weeklies that had appeared in England and Germany during the preceding two
decades. The London publication of the Tatler (170911), the Spectator (1711
12), and the Guardian (1713), had inspired Matthesons Der Vernntler (1713
14) and Der musicalische Patriot (1728) in Hamburg and Gottscheds Vernntige
Tadlerinnen (1725) in Leipzig. But the most inuential moral weekly in Ger-
manyand perhaps the immediate model for Telemannwas Hamburgs Der
 E ight Telemann fr Kenner und Liebhaber 401

Patriot (172426), published by the Teutsch-bende Gesellschaft. Available

in twenty-six cities besides Hamburg, Der Patriot reached a circulation of over
5,000.12 Like all of these periodicals, Der getreue Music-Meister was primarily con-
cerned with instruction: each biweekly issue took the form of a Lection or les-
son. Telemanns didactic project, and the scope of its coverage, is spelled out in
the journals title page and preface:

The Faithful Music-Master, who proposes to present all types of musical pieces
for singers and instrumentalists, suited for various voices and almost all instru-
ments in use, and which consist of moral, operatic, and other arias, trios, duets,
solos, etc., sonatas, ouvertures, etc., as well as fugues, counterpoints, canons, etc.,
therefore most everything that may occur in music according to the Italian, French,
English, Polish, serious, lively, and amusing styles, little by little in a lesson every
fourteen days through Telemann.
Gentle Reader!
The present work, the contents of which are already adequately described by the
title, would have remained without a preface had I not thought to decorate the
space of this empty page with a few black letters. With such an opportunity, I
could have atteringly extolled its worth to my readers. However, since I would
thereby have been guilty of an inappropriate self-love, I would perhaps have cast
suspicion on myself as requiring such nery. Accordingly, I shall only say that it is
a musical journal and, to my knowledge, the rst with real music to appear in Ger-
many. If the so-called monthly journals, or those that appear piecemeal at various
times, have found their many enthusiasts, then I expect that this one will not be re-
jected by those who it aims to benet and entertain.
One could surely make the point, however, that it is quite daring for a single per-
son to undertake a work in which such varied things are to be presented. This is
true, and I have thought about it at length before coming to a rm conclusion. I
foresee that many lections may be accompanied with a certain amount of perspi-
ration, though to some degree I have been able to depend on the fact that so far
the notes have sought me almost as soon as I have looked for them. However, be-
cause man lives for work, and in order to serve others, I have in the end not let this
obstacle hinder me, especially as I have reckoned that I would thus be inspired to
the lively continuation of these pieces, for I nd myself in a place where music ap-
pears to have its fatherland, as it were; where the highest and most reputable per-
sons consider the art of music worthy of their attention; where various noble
familes count virtuosos of both sexes among themselves; where so many skilful stu-
dents of music hope to live permanently; and where, nally, so many terse thoughts
of foreign musicians are heard on the stage, performed by the most select voices.
In order that these pages may have all the more variety, I will not be opposed if
others wish to make some contribution to lling them up, whereby the names of
the authors will be added, should they make them known, but on the condition
that the contributions are sent with sucient postage.
402 The Hamburg Publications

Should this Music-Master meet with a warm reception, so that its lessons con-
tinue, I may, when my duties permit, print a discussion of each piece from time to
time (but only concerning my own pieces), in which I would show all sorts of ad-
vantages that might be protably applied in practice.
I have nothing further to express, except to request a favorably disposed opin-
ion of me from musical amateurs, as much for this as my other work, to whom
I remain

Your
most humble and obedient
Telemann13

Certainly the journal represented a substantial undertaking; the fact that it

lasted for only a year (twenty-ve issues) should not necessarily be taken as a sign
that it failed to attract many enthusiasts, for it was in the nature of moral jour-
nals to have short runs. The second paragraph of Telemanns preface, incidentally,
appears to be the source of Friedrich Wilhelm Marpurgs quip from the 1780s
that one said of Kapellmeister Telemann that he did not search for notes, but
rather the notes searched for him.14 No discussion of Telemanns pieces was
ever printed, but a number of his friends and colleaguesamong them J. S. Bach,
Johann Gottlieb Baron, Johann Georg Pisendel, Sylvius Leopold Weiss, and Jan
Dismas Zelenkatook him up on his oer to print their pieces. For some of
these composers, such as Pisendel and Zelenka, contributing to Der getreue Music-
Meister was a unique opportunity to have their music published. But Telemann was
almost completely on his own during the rst four months of the project: only
two works by other composers appeared in the initial eight issues.
Although the journal includes vocal excerpts from Telemanns Hamburg op-
eras, the secular cantata Ich kann lachen, weinen, scherzen, TVWV 20:15, and several
contrapuntal curiosities designed to enlighten readers, most of the pages are lled
by one- or two-voice sonatas, suites, and Galanterie-Stcke for recorder, ute,
oboe, chalumeau, bassoon, horn, trumpet, cello, viola da gamba, lute, and key-
board.15 The uncomplicated style and brevity of much of this music is surely a
function of the journals amateur audience and serial format. No doubt the
Galanterie-Stcke were included more for entertainment than instruction, and
like the opera arias, they may have functioned as souvenirs of dramatic perform-
ances. For example, the Niaise [silly dance] pour divers instrumens, 41:E2, was
dance par Ma.lle Kelp. Similar Galanterien pour divers instrumens, such as the
character piece Lhiver, 41:d1, may also be arrangements of theatrical dances.
Intermediate between these and the longer multimovement works is the capriccio
for ute and continuo, 41:G5, which might be described as a compound move-
 Eight Telemann fr Kenner und Liebhaber 403

ment built from three interwoven binary forms. The rst repeated half of the
movement includes three elements: an unaccompanied prelude lled with rapid
guration and remaining in the tonic (Allegro), a galant adagio pausing on V/V
(Largo), and a passepied-like dance in the dominant (Vivace). In the movements
second half, we are presented with the completion of each element, the harmonic
motion now from dominant to tonic. Telemann also provided his clientele with
the types of pieces they knew from his previous publications: the sonata for two
recorders, utes, or violas da gamba, 40:107, is essentially a supplement to the
Sonates sans basse.
Among the most substantial and sophisticated works in Der getreue Music-Meister
are the ten solos by Telemann. The tuneful solo for cello and continuo, 41:D6
Telemanns only work for this scoringis especially noteworthy for its slow
movements. In the aria-style Lento, the cello interrupts its own rst phrase with
what is apparently a fragment of the ritornello (not heard at the movements out-
set), then restates its phrase in the manner of a double motto. The third move-
ments curious appearance, in which all pitches in the solo part have hollow note-
heads, is a throwback to late-medieval mensural notationthough Telemann
probably intended a didactic reference to the void notation of French composers
such as Marc-Antoine Charpentier, Nicolas Clrambault, and Franois Couperin.
Whether the noteheads indicate a slowing or speeding of the tempo seems to
have been a matter of some disagreement during the eighteenth century.16 An-
other unique scoring in Telemanns output is the bassoon solo, 41:f1, the rst
movement of which (Triste) achieves a breathless quality by beginning each of
its brief motivic gures on an obeat. The typical lamenting emblems of droop-
ing melodic gures and a descending bass line are eschewed in favor of circular
and leaping gures (Example 8.5). If Telemann cannot avoid some more conven-
tional, though eective, chromatic descents near the movements end, he never-
theless prepares this with a chromatic ascent early on. Like the rst movement of
the cello solo, the second movement begins with a double motto. But here the aria
reference is made more explicit by the movements overall da capo form, with a B
section that explores material from the A section before cadencing in the medi-
ant. Whether intentionally or not, Telemann achieves a sense of thematic unity
across the four movements by including a 321 melodic descent in each open-
ing measure of the bassoon part.
Two solos begun in lection 22 are evidently meant to demonstrate the dier-
ences between the Italian and French styles, not unlike J. S. Bachs juxtaposition
in Clavier-bung II of the Ouvertre nach franzsischer Art, BWV 831, with
the Concerto nach italinischen Gusto, BWV 971. As its archaic title suggests,
the Sonata di chiesa, diversi stromenti (ute, oboe, or violin), 41:g5, is not
404 The Hamburg Publications

example 8.5. Solo in F minor for bassoon and continuo, 41:f1/i (Der getreue Music-Meister),
mm. 119

43
Triste
Bassoon
3 p 3 3 f 3
43
Continuo
6 6

5
b 7

43

6 6
b7 5 6 6
4 b3

11

6 5
5 6 5

15

3 3

7 6 6 6 6 6

merely Italianate, but neo-Corellian. Each phrase in the opening sarabanda

(Grave) begins with the characteristic motive of a falling octave and rising fourth,
a kind of motivic consistency foreign to the galant style; it is the sort of movement
Telemann might have written twenty or more years earlier. The following Alla-
breve fugue is based upon an appropriately scholastic subject (a countersubject
is eventually introduced), and is notated with four half notes to the measure.
Somewhat more modern in style is the following Adagio, with its drum bass ac-
companiment and slower harmonic rhythm. But the concluding Vivace features
close, quasi-canonic imitation between melody instrument and bass that has a de-
cidedly old-fashioned feel. Here, as in some of Corellis trios, the bass line often
divides to create a third contrapuntal voice for melodic bass. Even the use of a
modal key signature (one at instead of the two used for 41:g4 in previous issues
of the journal) is retrospective. By contrast, the Sinfonie Flte traverse seule,
la Franoise is lled with gallicisms. Like Telemanns early trios alla francese, the
piece has four movements with French titles disguising dances (including a loure
en rondeau, bourre en rondeau, and a through-composed gigue). Both the loure and
 Eight Telemann fr Kenner und Liebhaber 405

third-movement Gravementthe latter an especially eective example of the

French gotare adorned with written-out agrments, providing Telemanns readers
with a kind of primer on French ornamentation covering the tremblement, coul, port
de voix, coulade (port de voix double), accent, and tour de chant (mordent-trill). Further re-
inforcing the solos French style and appearance are the 2/2 time signature for the
bourre and a petite reprise at the end of the gigue. However, the piece as a whole
does not look back to the past, but rather takes its cue from more or less con-
temporaneous French solos.
The most fully scored instrumental work in the journal is the Introduzzione
tre for two utes, violins, or recorders and continuo, 42:C1, a characteristic
overture-suite. One may play the work as a simple trio or en symphonie, for some of
the movements have soli and tutti markings. Formally, the most unusual move-
ment is the overture, in which the fugal Vivace alternates, da capo style, with an
expressive Andante in the relative minor. Several of the dance movements repre-
sent historical and mythological women: Xantippe, the sharp-tongued wife of
Socrates (music punctuated with rude syncopations); Lucretia, the martyred
wife of the Roman nobleman Tarquinius Collatinus (an elegiac sarabande); Co-
rinna, a Greek poet (a jolly rigaudon); Cl[o]elia, a couragous Roman maiden who
escaped from the Etruscan king Lars Porsenna (rushing triplets marked Spiri-
tuoso); and Dido, queen of Carthage (a contrast movement that expresses both
sadness and desperation in Triste solos alternating with Disperato tuttis). In
providing character portraits of these women, Telemann may have been attempt-
ing to appeal to the same female readership that was frequently targeted by col-
lections of simple keyboard pieces. In any case, the suite forms an attractive lit-
erary counterpart to the other characteristic multimovement work in Der getreue
Music-Meister, the Intrada, nebst burlesquer Suite on scenes from Gullivers Travels
(discussed in chapter 6).
Perhaps the journals most original composition is the excellent sonata for un-
accompanied viola da gamba, 40:1, a precursor to Telemanns published fantasias
of the 1730s. It may be the earliest piece for this scoring written in Germany, and
it is certainly among the most technically demanding works in the entire German
gamba repertory.17 The sonatas opening Andante manages to achieve a prelude-
like sense of improvisation while maintaining tight motivic organization. Brack-
eted by a fugue and a menuet en rondeau are a Recitatif and Arioso. Andante
(note the mixture of French and Italian words) that seem to have been directly in-
spired by the Recitativo-Arioso for viola da gamba and continuo, 41:e5 (Esser-
cizii musici, Solo 9). If Telemann had earlier associated the oboe and violin with in-
strumental recitative (see chapter 3), he now evidently considered the viola da
gamba to be especially well suited to this style. The Recitatif is three times the
406 The Hamburg Publications

length of its Essercizii musici predecessor and consequently explores a broader range
of aects. As shown in Example 8.6, it is a soliloquy that remains close enough to
its vocal models to tempt one to imagine an absent text.18 Diminished chords in
measures 24, represented as tritones formed between continuo and singer,
establish a sense of strong emotion, perhaps modulating from initial despair (de-
scending gures in mm. 13) to indecision (the questioning rise from F-sharp to
G on the downbeat of m. 5) to deance (ascent by leap to C-natural in m. 5). In
the recitatives second phrase (mm. 711), harmonic motion from E minor to G
major suggests a lessening of emotional tension. The ascending fourth from D to
G and outlining of the G-major triad at mm. 1112 indicate some sort of ex-
clamation, and because this high G is the rst step in an ascent leading to the
highest pitches of the recitative (C
de in mm. 1517), we sense growing
resolve. (Interestingly, the sixteenth rests after the downbeats of mm. 5 and 12
appear to be attempts by Telemann to insert musical punctuation where the per-
former might otherwise press ahead; observing these expressive pauses in per-
formance may alter the listeners perception of what is being spoken.) The dra-
matic high point of the recitatives third and nal phrase is the rst-inversion
major triad on the third beat of measure 16, here functioning as the Neapolitan
sixth in B minor. Is this an anguished cry? A vow of vengeance? Owing to its alto
register, the nal vocal cadence seems emotionally charged, expressing a senti-
ment such as sad resignation (played softly) or strong resolve (played more force-
fully). The former interpretation is lent support by the following arioso, which is
less concerned with closely imitating a vocal model than establishing a melan-
choly aect. Starting as a double fugue with two descending subjects, one lament-
ingly chromatic, the arioso soon abandons fugal texture in favor of chromatic as-
cents and descents in both voice and continuo.
Among the most curious works in Der getreue Music-Meister is the solo for viola
or viola da gamba (or various duet combinations), 41:B3, a galant sonata in which
all four movements are strictly canonic at the unison, with the comes entering at in-
tervals that vary from one movement to the next. This solo belongs to a group of
canonic works and music-theoretical curiosities scattered throughout the journal.
Lection 2 concludes with a few contrapuntal variations on the rst measure of
the Telemann sonatina, taken from the title page of the Sei suonatine (see chapter
6). In lection 6Telemann provides several sudden movements to distant chords,
showing quick progressions from C major to C-sharp minor, C major to E-at
major, C major to F-sharp major, E minor to E-at major, E minor to C-sharp
major, and E minor to B-at major. Lection 8 presents a chromatic fugue subject
with ve solutions, that is, dierent versions of the comes that are to follow the
dux at an interval of time determined by the reader (the counterpoint is invert-
 Eight Telemann fr Kenner und Liebhaber 407

example 8.6. Solo in D major for unaccompanied viola da gamba, 40:1/iii (Der getreue
Music-Meister), mm. 122

c
Recitatif
Viola da Gamba

despair


4

question relaxing of tension

defiance / resolve

exclamation

12

growing resolve

24
16 Arioso

anguished cry? sad resignation?

vow of vengeance? strong resolve?

24
19

lament

ible). The subject becomes the basis for a written-out canon perpetuus in lec-
tion 10. Readers of lection 21 are challenged to compose fugues on three The-
mata zu Fugen. And lest anyone takes all of this learnedness too seriously, lec-
tion 13 includes a fragment of an aria (scena) from the opera Die verkehrte Welt,
TVWV 21:23, in which Telemann cleverly satirizes various contrapuntal tech-
niques, tempos, and styles: canon in augmentation; invertible counterpoint at the
twelfth, tenth, and octave; adagio in cantabile style; presto fugue; and andante
with ostinato accompaniment.19 The association of this aria with the canons and
contrapuntal curiosities is made explicit in the journals index, where it is listed
under the rubric Canones, Contrapuncte, etc. rather than among the Singe-
Sachen. Another humorous use of canon is the Lilliputsche Chaconne from
the Intrada, nebst burlesquer Suite, 40:108. Canons by other composers in-
clude those by J. S. Bach (the so-called Hudemann canon, BWV 1074), Zelenka
(ZWV 179), Johann Christoph Schmidt, and a Mr. Dirnslot. Bach had writ-
ten his puzzle canon in 1727 and Zelenka his retrograde canon in 1728, basing
it closely on a forty-year-old canon and its performance instructions by Angelo
Berardi.20 Schmidt, Zelenkas Dresden colleague, was a well-known proponent of
408 The Hamburg Publications

the strict style in vocal music; his letter to Mattheson on the subject had been
published in Critica Musica some years previously.21 Given Telemanns interest in
enlightening his readers on theoretical matters, he may have specially requested
canons from these composers.
Now, one might think that a galant composer such as Telemann would have
little interest in canon, the strictest of contrapuntal procedures. But his responses
to questions posed by Mattheson in connection with the article Die canon-
ische Anatomie in Critica Musica reveal that he valued canons, both as a composer
and teacher. To Matthesons question of whether the use of canon among be-
ginning composers is common, and how common it is otherwise, Telemann re-
sponded that

even simple canons at the unison with two, three, or four voices produce an eect
that is agreeable to the ear and delights the faculty of the intellect. However, this re-
quires a proper man, who has mastered modulation and melody and therefore is able
to follow the progression of harmony, if it is not beneath him to do so. With regard
to beginners, canons are somewhat useful in that they render their pens skillful and
in time, through practice, permit them more freedom in all kinds of contrapuntal
forms. But just as insuciently ery minds thereby sink all too easily into pedantry,
there are those who are far too galant to engage in such cerebral composition. Re-
garding this observation, it escapes me why among contemporary canonists very
few follow Steanis ower-covered path, while so many others wander among
thorn and thistle. In short, canons deserve praise; but they are to be compared to
individual trees in a great forest or, alternatively, to a room in a spacious palace.22

Telemanns praise for Steanis canons is signicant in view of his claim in the
1740 autobiography that the older composer was one of his principal early inu-
ences (see chapter 1). In his own compositions, he made regular visits to the can-
onic room. Like the canonic solo in Der getreue Music-Meister, the trio for recorder,
treble viol, and continuo 42:C2 is strictly canonic at the unison throughout its
four movements. Most interesting is the second movement, a rounded binary Al-
legro in which the horizontal distance between dux and comes is variable, ranging
from two and a half measures to half a measure (Example 8.7). This contrapun-
tal accelerando is eected either by foreshortening the imitation in the comes (as
in m. 7) or by inserting breaks in the texture through lengthy rests in the dux (as
in mm. 1113). Similar alterations of the distance between dux and comes are also
found in Steanis chamber duets.23 Two other trio movements preserved in man-
uscript, 42:D12/ii and F12/iii, are strictly canonic, as is the nale to the second
of the Six sonates en trio, 42:c1; interestingly, all three movements feature continuo
ostinatos.
 Eight Telemann fr Kenner und Liebhaber 409

example 8.7. Trio in C major for recorder and treble viol, 42:C2/ii, mm. 115
Allegro

Recorder


c
c
3

Treble viol
c
3

Continuo

4 6 6 6 5 6
2 4 4 3

5







3

6 4 3 6 7 6 5 3
4

9




6 6 6 6 7 6 5 6 # 6
5 5 # 4 #

13





6
# # 5 # b 6
5b

What seems to have interested Telemann in the 1720s and 1730s is the com-
bination of strict canonic writing with the galant style, an interest culminating
with Telemanns Canones 2, 3, 4 and the XIIX Canons mlodieux, discussed later. Be-
tween Der getreue Music-Meister and these two collections, he indulged his taste for
canon in arias such as Ach, teure Bekehrung! from Zirknirsche du mein bldes Herze,
TVWV 1:121, and Gttlichs Kind, la mit Entzcken from Kndlich gross ist das
gottselige Geheimnis,TVWV 1:1020.24 In his Abhandlung von der Fuge, Marpurg praised
the XIIX Canons mlodieux along with works by Johann Friedrich Fasch, Christoph
Graupner, and Johann Christoph Pepusch as exemplifying the galant, canonic
410 The Hamburg Publications

style of writing. Providing an excerpt of a canonic trio by Graupner, he noted

that such works have become rare since the light melodic style came into fash-
ion.25 In fact, canonic trios appear to have enjoyed a vogue among German com-
posers during the 1720s and 1730s. Besides those by Fasch and Graupner,
canonic trios or trio movements were written by J. S. Bach, Fux, Johann Gottlieb
Goldberg (BWV 1037), Molter (MWV X/1), Quantz, and Stlzel.26 Thus
Telemanns canonic solo in Der getreue Music-Meister, far from being an arcane con-
trapuntal curiosity, may well have struck his readers as especially galant.

Menuets and Marches

The Sept fois sept et un menuet (1728; 34:150), Zweytes sieben mal sieben und ein Menuet
(1730; 34:51100), and Helden-Music, oder 12 neue musicalische Marches (1728; 50:
3142) are all collections of dances recalling the Galanterie-Stcke of Der getreue
Music-Meister. Simple, fashionable, and aimed at delighting the Liebhaber, they may
have been inspired by contemporaneous French recueils of menuets and pices, such
as Michel Pignolet de Monteclairs [100] Menuets tant anciens que nouveaux qui se
dansent aux bals de lopera (ca. 1725) or manuscript collections such as the New Se-
lect Arias, Menuets, and Marches, Mostly Composed by the World-Famous Mu-
sician and Capell-Director Monsieur Telemann While in the Hof-Capelle at the
Duke of Saxony-Eisenachs Residence, 36:1168.27 The two menuet publica-
tions division of fty works into seven times seven plus one conjures up the
many biblical invocations of the number seven. More specically, it may refer to
the combination of seven times seven and fty appearing in Leviticus 25.810,
where Moses is instructed by God on Mount Sinai: You shall count o seven
weeks of years, seven times seven years, so that the period of seven weeks of years
gives forty-nine years. . . . And you shall hallow the ftieth year and you shall pro-
claim liberty throughout the land to all its inhabitants.28 Though biblical num-
ber symbolism and modish dances may seem unlikely partners, Telemann was
surely suggesting through his titles that even the most modest and worldly music
serves to glorify God and rouse the soul. Seven times seven is also biographically
signicant, for the Zweytes sieben mal sieben und ein Menuet was published in the year
that its composer turned forty-nine.
The Sept fois sept et un menuet was dedicated to Andreas Plumejon, famous mer-
chant and businessman in Harburg, just across the Elbe river from Hamburg. We
learn in Telemanns dedicatory poem that Plumejon had requested menuets from
the composer, and that one ought not take a good menuet for granted:
 Eight Telemann fr Kenner und Liebhaber 411

And if you value a concerto with many parts,

The menuet neednt suer by comparison.
Moreover, this little thing is not so modest.
For know that one must give much consideration to it:
Melody and harmony, invention and weightiness,
And what it doesnt need are empty heads.29

Telemann inscribed the Zweytes sieben mal sieben und ein Menuet to Count Friedrich
Carl von Erbach, noting, as we saw in the prologue to this book, the counts abil-
ity to combine the French, Italian, British, and Polish styles into a mixture lled
with sweetness. Erbach resided south of Darmstadt in the Odenwald, and had
befriended Telemann in Frankfurt by 1720 (several letters between the two men
were extant before World War II). In July 1727 the amateur composer requested
that Telemann look over a set of his divertimenti prior to their publication; it may
have been this request that prompted Telemanns visit to the Odenwald in Sep-
tember of that year.30
Both sets of menuets were designed to be playable on keyboard or with a tre-
ble instrument and continuo. The Sept fois sept et un menuet was advertised in 1728
as being available with and without score, implying that one could purchase tre-
ble and bass parts; however, only the gured score has survived. In subsequent cat-
alogs of Telemanns publications, both collections are designated as for key-
board or other instruments.31 A newspaper advertisement of 3 February 1730
notes that the Zweytes sieben mal sieben und ein Menuet may be played not only on key-
board, but also on the violin, te traverse, and te douce, for which purpose a spe-
cial bass part has been added.32 This gured bass part, titled Bass zur Flte
douce and Basse pour la Flte douce, transposes the menuets up a major or
minor third to accommodate the recorders compass.33 No treble part has been
located, but in keeping with other publications by Telemann, it might have ac-
commodated performances both at pitch (ute and violin reading in treble clef)
and up a third (recorder reading in French violin clef with alternate key signa-
ture). When playing with a utist or violinist, the continuo player(s) would have
read from the gured left-hand staves of the clavier part.
Telemanns menuets are well-crafted miniatures of sixteen to forty measures;
those of the second collection are generally briefer than those of the rst. In both
collections, the keys are arranged alphabetically so that each set of seven menuets
(eight in the last set) is conned to one or two tonal centers: A major/A minor,
B-at major/B minor, C major/C minor, D major/D minor/E-at major, E
major/E minor, F major/F minor, and G major/G minor in the rst collection;
A major/A minor, B-at major/B minor, C major/C minor, D major/D minor,
412 The Hamburg Publications

E major/E minor, F major/F-sharp minor, and G major/G minor in the second

collection. Telemann probably devised this system to encourage novice players to
master one small group of tonalities at a time. With few exceptions, the dances
are unvarying in their two-reprise structure and four-measure phrasing. Two
dances have a kind of da capo structure (II/38 and 48: AABA), while several
oer relief from the oppressively regular phraseology by mixing in uneven or
asymmetrical phrases (I/5, with ve-measure phrases; I/10, I/44, and II/41,
with six-measure phrases).34 Others strongly invoke the French style through the
shortlonglongshort Favier rhythm or numerous tierces coules, ports de voix, and
other agrments (I/12, I/22, I/31, II/20). Occasionally, Telemann high-mindedly
writes a strict canon (II/50) or invertible counterpoint (I/56, 2425, 50).
Menuets I/5 and 24 are turned on their heads, so to speak, in I/6 and 25, where
bass becomes treble and treble becomes bass; the same switch occurs between the
two halves of menuet I/50. One is reminded here of the contrapuntal play with
similarly artless music in the frontispiece to the Sei suonatine (see chapter 5).
The sole copy of the Helden-Music, oder 12 neue musicalische Marches known to have
survived into the twentieth century disappeared during World War II, but thank-
fully not before a modern edition could be prepared. We noted in the previous
chapter that the collections scoring was unusually variable: the marches could be
performed by pairs of oboes or violins with continuo, sometimes accompanied
by a trumpet or two horns; but all were playable on solo keyboard. To judge from
the modern edition, one could also play the marches with a single melody in-
strument and continuo. Indeed, the binary dances narrow range and limited con-
stellation of keys renders them easily playable on most melody instruments of
Telemanns time; trumpet and horns were likely restricted to the rst nine works,
in the brass-friendly tonalities of D major, E-at major, and F major.
This Hero Music was probably intended equally for use at courts, where it
might be played by military oboe bands and corps of trumpeters and drummers,
and in the homes of Liebhaber, who would be more likely to perform the marches
on violins, utes, or solo keyboard. A hero, to quote a denition of 1735, is
one endowed by nature with an impressive character and exceptional bodily
strength, achieves glory through courageous deeds, and is raised above the ordi-
nary level of mankind.35 It is the heros moral character that Telemann empha-
sizes in the marches characteristic titles: Die WrdeLa Majest (Dignity or
Honor), Die AnmutLa Grace (Grace), Die TapferkeitLa Vaillance
(Bravery), Die RuheTranquillit (Calm), Die RstungLArmement
(Armament), Die LiebeLAmour (Love), Die WachsamkeitLa Vigi-
lance (Vigilance), Die AusgelassenheitLa Gaillardise (Liveliness or Jollity),
Die SanftmutLa Douceur (Gentleness or Sweetness), Die GromutLa
 E ight Telemann fr Kenner und Liebhaber 413

Gnrosit (Generosity), Die HonungLEsprance (Hope), and Die

FreudeLa Rjouissance (Joy or Rejoicing).36 As with many characteristic
dances among Telemanns overture-suites, the descriptive titles are expressed
through musico-rhetorical gures: dotted rhythms for dignity; slurred note pairs
and conjunct melodies for grace and love; triadic gestures for courage, armament,
and vigilance; and the typical rejoicing rhythm of two eighths followed by a
quarter for liveliness and joy. To the extent that Telemanns customers identied
personally with the qualities and emotions depicted by the Helden-Musicmost of
which are individually, if not collectively, common enoughthey could perhaps
fancy themselves a bit heroic while playing the dances; we are all heroes of some
kind, the collection seems to say. And what higher worldly purpose could music
claim than to promote the best aspects of ones moral character?

Quadri

Telemanns rst publication of quartets, the Quadri (43:G1, D1, A1, g1, e1, h1),
marks the culmination of roughly two decades experience with the genre.37 Like
the Essercizii musici and Der getreue Music-Meister, the collections six quartets form an
encyclopedic survey of genres and national styles: the rst two works are labeled
Concerto because of their auf Concertenart fast movements and emphasis on dis-
play guration; the second two are Sonatas owing to their four-movement for-
mal scheme and fugal fast movements, also auf Concertenart; and the nal two,
called Suite (Balletto in the collections Italian title), consist of a prelude and
a set of French dance movements. Evident throughout the collection is an em-
phasis on technical and compositional virtuosity. The individual parts are chal-
lenging to play, and their combination in performance requires considerable pre-
cision of ensemble. Moreover, the quartets display a masterful handling of
texture and instrumental color, a progressive approach to form, a highly rened
sense of generic amalgamation, and an increased application of the galant style.
As noted in the previous chapter, one copy of Telemanns edition includes a
French dedication to the Hamburg dilettante Joachim Erasmus von Moldenit:

If knowledge of music is among the best qualities and ornaments of a galant homme,
as no one but the ignorant or capricious denies, then You, Monsieur, merit a glory
that is so much the more radiant, as one sees in You the height of perfection that
You have attained. For [even] without hearing you play the ute, and without ad-
miring the delicacy of a Blavet and a Quantz, which you have rather equaled as
their student, your discourse already reveals a profound acuity in the beautiful
414 The Hamburg Publications

science of harmony, and in the exquisite taste with which You always make a worthy
choice of the many styles in writing and playing. Beyond this You possess, Monsieur,
still other rare natural and acquired talentsI believe, indeed, that it is principally
thesewhich, as if by an unknown instinct, compel me here to declare publicly the
particular esteem that I have for You, and which I shall never cease to have
Monsieur,
Your very humble and very obedient servant,
George Philippe Telemann
Hamburg, 4 July 173038

Telemann was being exceedingly polite in complimenting Moldenits attain-

ments as a utist, for Quantz noted in 1758 (as part of a polemical response to
Moldenits criticisms of the Versuch) that since his ngers were too thin to prop-
erly cover the holes on the ute, I was of course not able to get him to produce a
good and pure tone, as both of his former, brave teachers [Blavet and Buardin]
had failed to do. Moreover, because his tongue was too inexible to allow him the
necessary movement in fast passages, he was all the more incapable of reaping the
benets of my instruction.39 Indeed, one wonders if Moldenit was at all able to
play the music Telemann dedicated to him.
The quartets scoring of ute, violin, viola da gamba/cello, and continuo al-
lowed Telemann considerable exibility in pairing the three melody instruments,
for the obbligato bass functions alternately in the bass, tenor, and alto ranges. The
separate gamba and cello parts are virtually identical, and equally viable in per-
formance; in the relatively few places where they diverge, the dierences mainly
concern double-stops, articulation, and transposition (the cello is occasionally
placed an octave lower than the gamba). It nevertheless appears from the title page
and cello part, labeled Violoncello, in luogo della Viola (Violoncello, in place
of Viola [da gamba]), that Telemann preferred the gambas sonority. Unlike the
lowest obbligato instrument in several earlier quartets, the gamba in the Quadri is
fully independent of the continuo: rarely does it double the bass line or play di-
visions. With all three obbligato voices partaking equally of the musics motivic
and thematic content, the quartets exemplify the principle of durchbrochene Arbeit;40
many movements feature kaleidoscopic textures in which alliances between the
obbligato instruments shift rapidly and often, as seen in Example 8.8.41 Telemann
rarely fails to rescore repeated material so as to distribute themes and motives
evenly among the obbligato voices. Partially as a result of the gambas prominence,
the bass line is simplied by comparison with his earlier quartets. Not surprisingly,
this simplication goes hand in hand with a general slowing of the harmonic
rhythm, sometimes entailing drum bass lines. Symptomatic of the continuos
reduced importance are numerous passages in which it is omitted altogether for
 Eight Telemann fr Kenner und Liebhaber 415

example 8.8. Quadri, Sonata 1/ii, mm. 5354

c
53

Flute



Violin c
Viola c
da gamba

c 6 6

6
Continuo
6 7 6 7 6 7
5 5 5

up to ve consecutive measures. Often these omissions serve to underscore tex-

tural contrasts in the upper parts or to mark an otherwise special moment in a
movement, such as a formal transition.
The multisectional, almost improvisatory aspect of Concerto 1 suggests its
function as a prelude to the rest of the collection, in much the same way as mul-
tisectional Sonades introduce each of the suites in Franois Couperins Les Na-
tions. In the capriccio-like rst movement, a four-measure section (Grave) com-
prising an imitative passage over a bass pedal alternates with two longer sections
(Allegro) featuring brilliant passagework. Following this are two run-on move-
ment pairs: an eight-measure, tonally open harmonic movement (Largo) linked
rst to a concertante fugue in the relative minor (Presto) and then to a giga en ron-
deau (Allegro). As tonal closure is provided by both the fugue and rondeau, the
quartet has, in eect, a three-movement structure. Perhaps because there is no
full-length slow movement, Telemann assigns the function of tonal contrast to
the fugue, a practice not encountered elsewhere among his sonatas. This move-
ment is also unusual in having a ritornello that is not a true fugal exposition, but
a simultaneous presentation of three subjects. Alternating with three solo epi-
sodes (one for each obbligato instrument) are three rescored statements of the ri-
tornello. The rondeau features a greater amount of concertante writing than is
usual for Telemanns rondeaus in the mixed taste. Featured in the refrain, shown
in Example 8.9, is the kind of motivic density and contrast that would become a
hallmark of Telemanns galant style during the 1730s. Note especially the change
of texture in measure 10, where the ute and violin play in thirds and the gamba
provides a drum-bass accompaniment. Rather than introduce completely new
material in the two couplets, Telemann bases them largely on motives from the re-
frain. As if to underscore the concertante aspect of the movement, the second
couplet ends with the concerto-like gesture of four measures in octaves.
416 The Hamburg Publications

example 8.9. Quadri, Concerto 1/i, mm. 113

68
Allegro

Flute

Violin 68

Viola
da gamba 68


68 65
Continuo
7 5 7

6

6

10

5
7

6 7
5 5

We observed in chapter 6 that in addition to several auf Concertenart fast move-

ments, two slow movements of the Quadri (the second of Concerto 2 and the third
of Sonata 1) allude to the concerto or aria. With its walking bass and chains of
suspensions in the upper parts, the ritornello frame of the latter movement also
references the Corellian style. Telemann contrasts the three vocal solos not only
by altering the instrumentation, but by a kind of strophic variation: the rst phrase
of each solo is identical, the second is slightly varied (compare mm. 910, 1617,
and 2324), and the third is substantially rewritten, featuring dierent guration
for each instrument. Moreover, tonal tension is heightened through the modula-
tion of each solo period up one tone (C majorD minorE minor). Immediately
preceding the return of the ritornello are ve extra measures of ute solo accom-
 Eight Telemann fr Kenner und Liebhaber 417

panied only by the orchestra (gamba and violin). The omission of the continuo
in these measures not only provides an additional element of tension, but also
helps to underscore the change of texture at the return of the ritornello.
The last two Quadri are Telemanns rst published suites in either quartet or trio
scoring and pregure other such works he was to publish during the 1730s. Both
suites begin with a through-composed, imitative prelude featuring rapid guration
traded between the three upper parts. The following binary dance movements con-
tain a mixture of standard types, such as the courante, giga, menuet, passepied, and
rigaudon (but not the allemande and sarabande), as well as galant airs. In the sec-
ond dance of alternativement pairs, Telemann provides textural contrast either by
breaking up the melody between the three upper parts (Suite 1, second menuet;
Suite 2, second passepied) or by omitting the continuo (Suite 1, Replique). The
binary courante of Suite 2 is unique among the dance movements in containing
varied reprises: in the written-out repeat of each half of the form, Telemann trans-
fers the melodic line from ute and violin to violin and gamba, and the charac-
teristic eighth-note motion (embellished with modish triplet gures) from the
gamba to the ute. Not only is the instrumentation varied, but the eighth-note
motion is further ornamented through sixteenth-note divisions.
Two movements in the Quadri adumbrate formal patterns developed more
fully in the III Trietti methodici e III scherzi and the Musique de table. The binary giga
concluding Suite 1 is noteworthy for its rudimentary sonata-allegro structure, in
which the arrival of the dominant occurs well before the rst double bar and co-
incides with the introduction of new material (m. 18). In the second half of the
form, the double return (m. 62) is not a literal repetition of the rst half, but be-
gins with a phrase omitted from the beginning of the second half (heard origi-
nally at mm. 912). The rst movement of Sonata 1 (Soave) employs the per-
mutation technique Telemann had previously restricted to music in only two
parts. Here the motivically rich opening material, falling into symmetrical four-
measure phrases (mm. 129), is partially stated in the dominant (mm. 3040),
supplemented with new material in the dominant and tonic (4168), and nally
more fully reprised in the tonic (6985). It is in the reprise (or recapitulation)
that Telemann employs permutation technique, omitting the movements opening
phrase and reordering the others.

The Methodical Sonatas and Nouvelles sonatines

One would be hard pressed to argue with Frederick Neumanns assessment that
Telemanns three collections of methodical sonatas (the Sonate metodiche, Continua-
418 The Hamburg Publications

tion des sonates mthodiques, and III Trietti methodici e III scherzi) represent what might
well be the most valuable textbook of late baroque diminution practice.42 In sup-
plying both plain and embellished versions of the rst slow movement in each
solo and trio, these collections provided the amateur or student musician with
tasteful examples of free ornamentation, or what Quantz called willkhrliche Vern-
derungen or Auszierungen.43 Telemann advertised the Sonate metodiche as being very
useful to those who wish to cultivate singing ornaments.44 Unlike many sur-
viving embellishments from the early eighteenth century, Telemanns never ob-
scure the structural notes of the original melody or become so dense that one
must compensate in performance by slowing the tempo signicantly. Yet they are
also ingenious in their rhythmic variety. In keeping with the overall style of the
solos and trios, the embellishments are predominantly Italianate. There are, how-
ever, a smattering of French agrments such as the battement and several types of coul,
as well as a few indications of rhythmic ingalit (e.g., Sonate metodiche 1/i, m. 6). The
opening of Sonate metodiche 2/i, reproduced in Figure 8.1, may serve here as a rep-
resentative sample of the solo embellishments. Note that Telemann begins not
with an ornamental curlicue, but with silencethat is, written-out rubato.45 In
the rst four measures alone, at least ten distinct rhythmic gures are presented;
the shortest values are reserved for the dominant cadence in measure 4, where the
descending motion of the original line is momentarily reversed on beat 3 of the
embellished version. Leading up to a dominant statement of the main theme in
the second half of measure 7 is an ascending tirata that is balanced, in the spirit
of the mixed taste, by two tierces coules descending across the following bar line.
Despite oering rare examples of early eighteenth-century ornamentation
practice in trios, the embellished trietti movements have received far less attention
in performance-practice studies than those of the methodical solos. They are of
necessity less orid and as such follow the prescriptions of Quantz, the only
eighteenth-century writer to discuss the ornamentation of trios:

With regard to the embellishments in the Adagio, the utist must, in addition to
what has been said previously, consider whether the pieces are set in two or more
parts. In a trio few embellishments may be introduced, and the second part must
not be deprived of the opportunity to add his share. The graces must be of such a
kind that they are both appropriate to the situation, and can be imitated by the per-
former of the second part. They must be introduced only in passages that consist
of imitations, whether at the upper fth, the lower fourth, or the unison. If both
parts have the same melody in sixths or thirds, nothing may be added, unless it has
been agreed beforehand to make the same variations. . . .
If one player makes a grace in a trio, the other, if he has the opportunity, as he
should have, to repeat it, must execute it in the same way. Since it is easier to in-
troduce something than it is to imitate it, if he can add something clever in addi-
 Eight Telemann fr Kenner und Liebhaber 419

figure 8.1. Sonate metodiche no. 2/i, mm. 18

tion, let him do so at the end of the grace, so that we may see that he can imitate
it simply as well as vary it.46

Owing to their restraint, the trio embellishments, to a greater degree than

those of the solos, give the impression of being frozen Improvisations. It is not
inconceivable that in an imitative texture, two sympathetic players similarly well
versed in the style could produce spontaneously ornamented lines such as those
shown in Example 8.10. (In an especially clear instance of Telemanns borrowing
from himself, the opening four measures of this siciliana reappear in the third
movement of the quartet from Musique de table II, 43:d1. Performers might wish to
follow Telemanns lead and incorporate the trio ornaments into performances of
the quartet.) As Quantz suggests, the more homophonic textures of the other two
trietti movements would necessitate prior agreement between the performers. Also
distinguishing the trio ornaments from those in the solos is an almost complete
avoidance of French agrments. In the second and third trietti movements Telemann
provides solutions to a common type of passage that seems to require orna-
mentation: a progression of chords separated by rests (Example 8.11). Compare
this to the somewhat more orid treatment of a similar passage in the trio for
oboe, violin, and continuo, 42:g8, copied by Endler at Darmstadt around 1730
(Example 8.12).
420 The Hamburg Publications

example 8.10. III Trietti methodichi e III scherzi, trietto 3/ii, mm. 111
Largo


46

6

Violin or Flute 1

4

46
Violin or Flute 2
6
4
6
Continuo 4
6

4 4











6 b # 6 b 7b 6

6
7
6 6
5
 Eight Telemann fr Kenner und Liebhaber 421

___________________
6

example 8.11. III Trietti methodichi e III scherzi, trietto 2/ii, mm. 1315

c
13

Violin or Flute 1

c
c

Violin or Flute 2

c
c
Continuo

6

14












7 6 #
422 The Hamburg Publications

example 8.12. Trio in G minor for oboe, violin, and continuo, 42:g8/iii

Adagio

Oboe c

Violin c
Continuo
c


4






7

It is also instructive to compare Telemanns free ornamentation to that of his

close colleague, Pisendel. At Dresden, the violinist often sketched out embellish-
ments for the solo parts of his own violin concertos and those by Vivaldi, Fasch,
Johann Gottlieb Graun, and Quantz.47 However, among the Dresden manuscripts
of concertos by Telemann, only the Violino Concertato part to the concerto
for violin, three horns, and strings, 54:D2, includes examples of Pisendels orna-
mental noteheads. In Manfred Fechners view, this disparity is perhaps the result
of Pisendels especially high regard for Telemanns music, which the violinist may
have felt required no such additions.48 Yet there are three Dresden manuscripts of
Telemann trios that include ornamental noteheads in the rst violin parts.49 In
the rst movement of the trio for two violins and continuo, 42:A8, the violinist
added a variety of diminutions that appear to reect a fondness for triplets but
that are generally less rhythmically varied than the embellished movements in
Telemanns methodical solos and trios. Figure 8.2 and Example 8.13 provide a
facsimile of the rst violin part in Pisendels hand and a hypothetical realization
of his sketched-out embellishments.
The methodical solos are, like the trietti and scherzi, designed for ute or violin.
 Eight Telemann fr Kenner und Liebhaber 423

figure 8.2. J. G. Pisendels ornamentation for 42:A8/i, violin 1 (D-Dl, Mus. 2392-
Q-11)

Between the Sonate metodiche (41:g3, A3, e2, D3, a2, G4) and Continuation des sonates
mthodiques (41:h3, c3, E5, B5, d2, C3), Telemann explores twelve dierent tonal-
ities, some of them (such as E major and C minor) challenging on the transverse
ute of the time. In stylistic terms, the Sonate metodiche are reminiscent of the Es-
sercizii musici solos, though the quality of their invention is more consistently high.
Especially interesting is Telemanns use of da capo form in a number of fast move-
ments (Sonatas 1/ii, 2/iv, 3/iv, 5/ii, and 6/ii), the last two of which also include
a double-motto opening. Osetting the seriousness of the embellished slow
movements are the brief, galant airs given expression markings such as Cortese-
mente, Con tenerezza, and Ondeggiando, though the Mesto of Sonata 6
has a suitably tragic aect; the rst sonata includes a more substantial, but still
galant, sarabanda as its interior slow movement. In dedicating the second collec-
tion to the Burme[i]ster brothers, amateur violinists who had long pestered the
composer for a sequel to the Sonate metodiche, Telemann referred to the new solos as
being in the singing style. As is true of many sequels, the Continuation does not
always match the quality of its predecessor, though it also moves in new stylistic
directions. All of the sonatas have an extra, fth movement, though their over-
all dimensions remain comparable to those of the Sonate metodiche. Among fast
424 The Hamburg Publications

example 8.13. J. G. Pisendels ornamentation for 42:A8/i, violin 1, mm. 12, 818

cAffettuoso

Telemann

c

Pisendel
6



8

6



11

3 6
6

14

6 6
6 6

16

6 6
6 6

movements, binary forms are now more common, and only one movement is in
da capo form (Sonata 6/iii, including a double motto). If the embellished slow
movements in the Sonate metodiche are mostly conservative Italian adagios, those in
the Continuation encompass a wider variety of movement types, including the sicili-
ana (Sonata 1), sarabanda (Sonata 4), and Andante with basso ostinato (Sonatas
5 and 6). Especially instructive is the rst movement of Sonata 3, where Telemann
demonstrates how one may ornament an up-to-date, galant Andante including alla
zoppa and Lombard rhythms.
The title of the III Trietti methodici e III scherzi (42:G2, D2, d1, A1, E1, D3) com-
municates a good deal about its contents: trietti, according to Mattheson, de-
notes trios that are small and in the Italian style,50 and indeed Telemanns trietti
 Eight Telemann fr Kenner und Liebhaber 425

are both thoroughly Italianate in style and small, insofar as they comprise three,
rather than the usual four, movements; metodichi refers, of course, to the or-
namented second movement of each trietto; and scherzo denotes the Polish style
that, in its lightest form of expression, permeates each of the three-movement
scherzi. Accordingly, one could gloss the title as Three Small Methodical Trios
in the Italian Style and Three Trios in the Polish Style. Not indicated by Tele-
mann, however, is one of the collections most striking features: its heavy empha-
sis on the galant style, especially in the scherzi and concluding binary movements of
the trietti. The three fugal movements in the latter works reveal Telemanns eorts
to updatethat is, to simplifypolyphonic textures. Following a conventional
exposition in the fugue opening Trietto 1, all subsequent subject entries are pre-
sented in close stretto, thereby replacing what are normally occasions for thick-
ening the texture with relatively facile imitation. The episodes, too, are character-
ized by simple imitations and passages in thirds. Nearly concealing the fugal
texture of Trietto 2/i (Example 8.14) is its unusual subject, which is divided into
two sections: the rst features a closely imitative texture over a pedal tone (mm.
14), and the second a melody in the primo part accompanied by a rising scale
in the secondo part (mm. 512). The second subject entry begins in measure 16,
but the fugal nature of the movement may not be clear to the listener until mea-
sure 37, when the continuo takes up the melodic portion of the subject. Fast
movements of the scherzi are mostly rondeaus, though Scherzo 1/iii exhibits a
rudimentary sonata form.51 The most striking passage in these movements is the
rst couplet of Scherzo 2/i (mm. 1734), which follows the unorthodox modula-
tory plan I II VIvvi before giving way to the second refrain in the major
dominant.
Until the 1990s, the Nouvelles sonatines (41:e3, c2, D7, G7, a4, E4) were known
only from a single copy of the partbook for melody instrument. But the discov-
ery of Dresden manuscript sources for Sonatinas 2 and 5 allows for a fuller as-
sessment of the collection.52 Telemanns partbook reveals the sonatinas variable
scorings: the rst, third, fourth, and sixth are for violin or ute, while the second
and fth are for recorder, bassoon, or cello. Like the Sei suonatine of 1718 and the
solos of Der getreue Music-Meister, these new sonatinas are relatively slight and, in the
last three works, include a high percentage of binary-form movements. As we
noted in chapter 6, the second movement of Sonatina 3 is auf Concertenart. Several
other movements refer to the aria stylistically or formally: the rst movement of
Sonatina 4 (Cantabile) is a motto aria, the concluding movement of Sonatina
2 is in da capo form, and the opening Andante of Sonatina 5 features a breath-
less melody over a basso ostinato.
426 The Hamburg Publications

example 8.14. III Trietti methodichi e III scherzi, trietto 2/i, mm. 123


Vivace
Violin or Flute 1

38

38

Violin or Flute 2

Continuo
38
6 5 6 6 6
4 3 5 5

7






6
_______
5 5 6 6 3 __________
6 6 6 6
4 9 8 5
3

15

6 5
# 4 3

19




_________
6 5
4
3

The Fantastic Style

The four collections of fantasias for ute, keyboard, violin, and viola da gamba
published by Telemann between 1732 and 1736 include some of the most orig-
inal and successful music for unaccompanied melody instrument from the eigh-
teenth century. Hence the loss of the viola da gamba fantasias is especially un-
 Eight Telemann fr Kenner und Liebhaber 427

fortunate. Whereas the keyboard fantasias refer, at least nominally, to a rich tra-
dition of improvised or improvisatory music for lute, guitar, and keyboard
stretching back into the sixteenth century, the others transfer the genre to more
unusual media. Unexpectedly, perhaps, it is the ute and violin works that more
fully embody the unrestrained ights of fancy and strict contrapuntal procedures
long associated with the fantasia. And more surprisingly still, these qualities are
most evident in the ute works, which contain a greater number of fugal and im-
provisatory-style movements.
The list of German works that could conceivably have inspired Telemanns vi-
olin and viola da gamba fantasias is not long: Heinrich Ignaz Franz von Bibers
violin passacaglia (written ca. 1676); Johann Paul von Westhos violin suite and
six partitas (published, respectively, in 1683 and 1696); Johann Georg Pisendels
violin sonata (written ca. 1716?); and J. S. Bachs sonatas and partitas for violin,
BWV 10016 (completed in 1720), and cello suites, BWV 100712 (written
by 172731). Telemann certainly knew Pisendels work, for he published the
sonatas concluding giga in Der getreue Music-Meister, and his sets of fantasias nd a
parallel in the apparent linking of Bachs two sets (the violin works are labeled
Libro Primo, and the cello suites are assumed to be the sequel book). It is
also possible that Telemann was aware of a few French and Italian works for un-
accompanied string instrument. But his fantasias may instead draw upon a tradi-
tion among violinists and viola da gambists of improvising such works, a tradi-
tion that is documented as far back as the early seventeenth century.53 Notated
music for unaccompanied ute was rarer still: all that survives from before the
1730s are the Ecos pour la te traversiere seule in Jacques-Martin Hotteterres
Premier livre de pieces pour la te-traversiere, op. 2 (1708); the very brief, improvisatory
preludes in Hotteterres Lart de preluder, op. 7 (1719); and J. S. Bachs partita in A
minor, BWV 1013 (Solo pour la Flute traversiere, written by 172223). Tele-
manns fantasias, alongside the A-minor partita and C. P. E. Bachs sonata in A
minor, Wq. 132/H. 562 (1747), are rightfully considered the most signicant
works for unaccompanied ute from before the twentieth century. And they seem
to have been widely known during Telemanns lifetime: in May 1758 Quantz chal-
lenged Moldenit to demonstrate his ridiculous methods of tone production and
articulation by giving competing performances of the fantasias with one of
Quantzs students. Needless to say, Moldenit failed to show.54
Each of the ute fantasias (40:213) is in a dierent tonality, with the col-
lection progressing more or less stepwise from A to G; an overview of the col-
lection is provided in Table 8.2. Eight works are linked to their neighbors by a
common tonic, a pattern interrupted in Fantasias 45 and 10 so as to preserve
the stepwise motion while avoiding tonalities that are especially dicult or im-
428 The Hamburg Publications

Table 8.2 Movement types in the 12 Fantaisies travers. sans basse

Fantasia Tonality Opening movement(s) Concluding dance
1 A Toccata Menuet
2 a Prelude-fugue-adagio Bourre/rigaudon
3 b Capriccio Giga
4 B Adagio-(binary) allegro Air
5 C Capriccio-chaconne/passacaglia (giga) Gigue/canarie
6 d Adagio-fugue Rustic (rondeau)
7 D French overture (Alla Francese) Rustic (rondeau)
8 e Allemande-fugue (giga) Passepied
9 E Sarabande-fugue Bourre/rigaudon
10 f
Corrente-fugue Menuet
11 G Prelude-fugue Giga
12 g Capriccio Rustic (ternary)

practical on the one-key ute (B major, C minor, F minor, and F-sharp major).
Wolfgang Hirschmann has noted how the twelve fantasias may further be divided
into four modally contrasting groups of three: majorminorminor; major
majorminor; majorminormajor; minormajorminor.55 That one might also
divide the fantasias into two groups of six is suggested by the placement of a
French overture (Alla Francese), with its introductory associations, at the be-
ginning of the seventh work. Nine years later, J. S. Bach employed a similar for-
mal strategy when he commenced the second half of his Goldberg Variations with a
French overture (Variation 16).
The opening movements or movement complexes allude to a wide variety of
genres, though only the Alla Francese of Fantasia 7 does so explicitly. Fantasia 1
most clearly embodies the collections improvisatory aspect. Its toccata-like suc-
cession of contrasting ideas, most set o from one another through expressive
pauses, has inspired some to search for an underlying order in this apparently dis-
jointed discourse by likening it to a speech governed by the principles of classi-
cal rhetoric.56 Certainly the fanfare gures of the rst ten measures may be heard
as an exordium, or introduction, preceding the propositio, the central thesis repre-
sented by the fugal subject (mm. 1112). Yet identifying further sections and
motives with the components of an oration requires some special pleading, for
the thread of the argument quickly unravels. With their whimsical alternations
of tempo, style, and aect, the opening movements of Fantasias 3, 5, and 12 are
closely related to the Capriccio for ute and continuo in Der getreue Music-
Meister.57 These fantasia capriccios dier from the introductory toccata of Fanta-
sia 1 principally in their repetition of musical segments and avoidance of fugal
texture. Fantasia 12, with three contrasting segments, allows the collection to end
 Eight Telemann fr Kenner und Liebhaber 429

in much the same improvisatory mode as it began. Also in an improvisatory style

are the openings of Fantasias 2 and 11, the latter recalling in its incessant bro-
ken-chord guration the moto perpetuo pattern preludes of Bachs E-major par-
tita, BWV 1006, and suites in G major and C major, BWV 1007 and 1009.
The adagios, in the mode of slow sonata movements, are more varied in their
melodic and rhythmic content; like the rounded-binary corrente of Fantasia 10,
they give the impression of being more composed than improvised, and indeed
the inclusion of a second slow movement in Fantasia 2 creates an overall plan
reminiscent of the sonata da chiesa. (A weaker sense of a slowfastslowfast
movement scheme is provided by the brief, tonally open slow sections preceding
fast movements in Fantasias 9 and 11.) The more modern sonata scheme of
slowfastfast/dance is represented by Fantasias 4, 6, and 8. Similar variety is ex-
hibited by the mostly binary concluding dances, with that of Fantasia 12 having
an overall ternary form in which a rustic ddle tune (complete with simulations
of triple-stops in mm. 8 and 16) alternates with bird-call imitations. The other
two rustic dances are rondeaus in which the texture often becomes monophonic.
Elsewhere, however, Telemanns compound lines imply a two-voice textureand
even three voices in portions of Fantasia 10/i.
Most imaginative are those movements that reference genres seemingly un-
suited to a melody instrument incapable of producing chords. Whereas Hotte-
terre, J. S. Bach, and C. P. E. Bach included preludes, dances, and sonata-style
movements in their unaccompanied ute works, none attempted to write fugues,
a chaconne/passacaglia, or a French overture. In these last movements, Telemann
seems to delight in the sleight of hand needed to establish such generic references.
The overtures slow section begins with a bass pedal tone and includes stereo-
typical tirades before giving way to a three-voice fugue (the second and third sub-
ject entries are cleverly subsumed within a compound line). Dynamic echoes in
the episodes suggest solos for a wind trio. This movement functions as a prelude
not only to the second half of the collection, but also to the initial, dance-based
movements of the next three works, with which it forms a kind of discontinuous
suite (overtureallemandesarabandecourante). Fantasias 710 are in fact the
most suite-like of the collection, despite their inclusion of fugues. Counting the
fast section of the French overture and the toccata of Fantasia 1, no fewer than
eight of the fantasias include a fugue or fugal section. The fugue of Fantasia 6 is
particularly ambitious in its two stretto presentations of the subject (mm. 1617
and 2526).58 In the chaconne/passacaglia of Fantasia 5, the three-measure
theme is heard in both treble and bass registers a total of twelve times in fty-four
measures. At the movements outset, Telemann eects a rhythmic accelerando by
stating the theme in dotted quarters, then quarters, and nally in eighths.
430 The Hamburg Publications

The keyboard fantasias, by contrast, downplay the element of improvisation

and contain no fugues; they consequently seem more directly aimed at the ama-
teur musician of modest ability. Essentially in two voices, many of these works
are playable as solos for ute, oboe, or violin with bass. That they number thirty-
six in total, as opposed to the dozen of the other fantasia collections, no doubt
speaks to the healthy market for keyboard Galanterien during the 1730s. The
Italian-style fantasias (nos. 112 and 2536) generally follow a through-com-
posed fast movement with a slow movement, after which the fast movement is re-
peated; some of the later fantasias have instead a slowfast or fastfast movement
succession. Their style is modishly galant, especially in nos. 2536. We have al-
ready noted the presence of a few auf Concertenart fast movements (see chapter 6),
and there are also references to dance types such as the giga, sarabanda, siciliana,
and polonaise. Not surprisingly, binary and rondeau forms are more common in
the French fantasias (nos. 1324), where Telemann adopts a suite-like plan of
slow preludedancedance by adding a brief third movement that is played fol-
lowing the repeat of the rst (for an overall ABAC structure). The ternary eect
of the rst two movements in all thirty-six fantasias is repeated on a larger scale,
for Telemann instructs that each odd-numbered fantasia is to be repeated after the
following even-numbered work.
In a 1735 printed catalog of his published works, Telemann listed the violin
fantasias (40:1425) as 12 fantasias for the violin without bass, of which 6 in-
clude fugues and 6 are Galanterien.59 His distinction anticipates Quantzs obser-
vation that trios are, as the phrase goes, either elaborate [i.e., contrapuntal] or
galant. With the solos the case is the same.60 Indeed, four fugues occur in the col-
lections rst half (Fantasias 2, 3, 5, 6) and only one in the second (Fantasia 10).
The fugal fantasias are also more elaborate in their use of multiple stops to sug-
gest contrapuntal voices or to ll out the harmony. Structurally, the set incorpo-
rates elements of its predecessors: as in the ute fantasias, two or three move-
ments are followed by a binary dance; but like the keyboard works, Fantasias 1
and 11 reprise fast movements. Many of the movement types in the ute fantasias
are also found here, and there are new ones such as the allegro with varied reprises
(Fantasia 11/i) and the einstimmiges Concert (Fantasias 1/ii and 4/i; as noted in
chapter 6). Table 8.3 provides an overview of the collection.
The central fantasias (nos. 6 and 7) are the most sonata-like in their adoption
of a slowfastslowdance format. They also highlight dierences of style and
technique between the collections two halves. In Fantasia 6, a solemn sarabanda
beginning with a point of imitation leads to the collections most rigorously
worked out fugue, the four-note subject and chromatic episodes of which lend it
an archaic intensity. Both movements, and indeed the following siciliana and
 Eight Telemann fr Kenner und Liebhaber 431

Table 8.3 Movement types in the XII Fantasie per il violino senza basso
Fantasia Tonality Opening movements Concluding dance
1 B Adagio-concerto-adagio (sarabanda)-concerto None
2 G Prelude-fugue Giga
3 f Adagio-fugue Menuet
4 D Concerto-adagio Giga
5 A Capriccio-adagio-binary allegro None
6 e Adagio (sarabanda)-fugue-siciliana Bourre/rigaudon (ternary)
7 E Adagio-binary allegro-adagio Gavotte
8 E Adagio-binary allegro Passepied (burlesque)
9 b Siciliana-binary allegro Giga
10 D Fugue-adagio Giga
11 F (Binary) allegro-adagio-allegro Rustic
12 a Prelude-allegro Rustic

paired bourres/rigaudons make extensive use of multiple stops. Fantasia 7, by

contrast, begins with a galant adagio that seems to make deliberate reference to the
opening of Fantasia 1 through its cantabile melody over a descending bass line.
Both this movement and the ensuing binary Allegro are long on rhythmic con-
trast but short on multiple stops, instead implying counterpoint through the
compound-line technique of the ute fantasias; the following Adagio and gavotte
rely exclusively on this strategy. In these two works, as in the music of several
other published collections, Telemann moves uently between the old (baroque)
and new (galant).

The Musique de table and Six ouvertures 4 ou 6

Telemann had high expectations for the Musique de table, which in many ways rep-
resents a summation of all that he had accomplished in the realm of instrumen-
tal music up to the early 1730s.61 In this sense, it would not be entirely inappro-
priate to compare the collection with Bachs Brandenburg Concertos or Handels
Grand Concertos, op. 6. Prior to its publication, Telemann wrote to his friend Jo-
hann Reinhold Hollander in verse that I hope that this work will one day bring
me fame. At no time will you regret its cost.62 The composer had, in fact, already
won great fame for himself, but following the collections republication in 1927,
the Musique de table did much to rehabilitate his standing in the twentieth century.
By 1733 there was already a long tradition of vocal and instrumental music
associated with festive meals, especially those in courtly settings. Many musical
432 The Hamburg Publications

publications from the early seventeenth century onward note their suitability as
Tafel-Music, and indeed there was a great need for such background music until
well into the eighteenth century.63 (A late example that will immediately come to
mind for many readers is the Harmoniemusik accompanying dinner in the act 2
nale of Mozarts Don Giovanni.) A 1744 description of Tafelmusik notes that it

is heard daily at princely courts, as long as no great mourning is occurring, when

at noon and evening the court and chamber musicians set up in a room adjoining
the banquet hall and must play pleasant symphonies and concertos on all sorts of
instruments for the amusement of persons of high standing. Such Tafel-Musiquen
are also heard at public weddings, christenings, and other festivities held by people
of the middle class.64

The placement of musicians in an adjoining room is illustrated in an engrav-

ing commemorating a September 1719 banquet at the Dresden courts Turkish
Palace, part of the festivities surrounding the marriage of Crown Prince Fried-
rich August II to Maria Josepha, Archduchess of Austria.65 Here the entertain-
ment is provided by an oboist, at least three (and perhaps as many as six)
violinists/violists, two bassoonists, and two cellists (or a cellist and a gambist)
all dressed in Turkish garb. More players than these are likely to have been pres-
ent at the actual event, however, since the engravings focus on the banquet hall
necessarily relegates the musicians room to a small corner of the image. Indeed,
Scheibe notes that music in orchestral scorings was especially desirable in such set-
tings, because with a well-stocked banquet table surrounded by a large number of
people, a symphony will never have much of an eect unless it is amplied by a
full and loud harmony as well as lively, forceful activity in the middle voices.66 At
the Wrttemberg-Stuttgart court in 1717, Tafelmusik consisted of instrumental
works in as many as six to nine parts for oboes or recorders, horns or trumpets,
strings, and continuo, the full performing ensemble numbering about twenty mu-
sicians.67 With the addition of utes, these are precisely the instruments called for
in the Musique de table, which Telemann advertised as containing orchestral works
in seven parts.68 Yet despite its parallels with other baroque banquet works, the
Musique de table surpassed all previous Tafelmusiken both in its length and variety of
scorings. Each of the collections three musical sets or Productions (overture-
suite, quartet, concerto, trio, solo, and one-movement conclusion for the same
instruments as the overture-suite) might be considered a discrete performance
unit, designed to provide entertainment for sixty to ninety minutes. All that ties
the six works together musically, however, is the identical key and scoring of the
framing overture-suite and conclusion; neither the overall key scheme nor the in-
 Eight Telemann fr Kenner und Liebhaber 433

strumentation would discourage mixing and matching works from dierent pro-
ductions.
The overture-suites embody the three most common subtypes: galanterie dances
(Production 1), airs (Production 2), and characteristic pieces (Production 3);
all, as discussed in chapter 1, are concerts en ouverture. Each is scored for four soloists,
including two winds (utes, oboe and trumpet, and oboes) and two violins. In
this respect, they resemble the overture for two solo violins, two trumpets, drums,
and strings that opened Telemanns 1723 serenata Unschtzbarer Vorwurf erkenntlicher
Sinnen, TVWV 24:1. The concerto-like nature of the rst work is reected most
vividly in the overtures fast section, where each pair of soloists, supported by the
cello, receives a turn at its own episode and guration before joining with the
other in the third and nal episode. A similar organization is found in the trio of
the Rjouissance, scored for the four soloists and cello (continuo tacet). In the
gavotte en rondeau, where the lengthy episodes are given over to this quintet, the utes
enter with suspension chains over a running bassa momentary Italianate intru-
sion upon an otherwise Gallic dance. The soloists interaction in the trios of the
loure and passepied is more subtle, bringing to mind the suites of the Quadri. Most
impressive of all is their interplay in the episodes of the Air en rondeau, where the
integrity of the soloist pairs breaks down and a variety of colorful instrumental
combinations are explored. This dance, incidentally, also dissolves the barrier be-
tween rondeau and ritornello forms, for the interior refrains not only appear at di-
erent pitch levels, but are also abbreviated. Although the concluding gigue has no
trio, the soloists are given brief solos in each half of the movement.
As mentioned in chapter 1, the second overture-suite is the most concerto-like
of the three. Signs of the mixed taste surface as early as the overtures slow sec-
tion, where a passage of repetitive rhythms and circular melodic motion over a
dominant drone evokes the Polish or rustic style (mm. 1416). The ritornello of
the fast section is cast as a double fugue, with the imitation involving four con-
trapuntal voices. All of the soloists are introduced during the rst episode, some
of their material drawn from the ritornellos principal subject, but the second epi-
sode features only the oboe and rst solo violin in turn, and the third implicates
the two winds in a close dialogue with the tutti. In a clever touch, Telemann as-
signs the oboe and trumpet to play the brief Polish episode in the concluding
slow section. The rst of four airs that follow the overture has the rhythmic
prole of a bourre but is in fact a ritornelloda capo movement in which the A
section contains two episodes highlighting mainly the oboe and solo violins and
the B section is a long episode that omits the trumpet altogether. Next a graceful
passepied en rondeau momentarily reminds us that the piece is a suitethough its
soloistic couplets easily overshadow the refrains. Without the slightest pretensions
434 The Hamburg Publications

to being a dance, the following air would not be out of place as the rst fast move-
ment of a concerto; it follows the same formal plan as the rst air. The nal giga
en echo (both phrases of its ritornello are repeated softly, in reduced scoring) has
a looser da capo form: the second episodes cadence in the relative minor leads
immediately to a repeat of the opening ritornello.
Many writers have commented on the opening measures of the third overture-
suite, where in place of the standard rhythmes saccads, Telemann writes Lombard
rhythms in the violin parts, as if to eect a reversalin both the literal and gu-
rative sensesof the overtures majestic aect. But this does not come to pass:
despite the Lombard, triplet, and alla zoppa rhythms, the occasional drum bass, and
a passage for oboes in thirds over sustained harmonies, the slow section fully re-
tains its dignity and grandeur; Telemann has shown us that the Lullian and galant
styles can indeed coexist. Several venerable movement types are explored in the
following suite of dances. The bucolic Bergerie en rondeau calls upon an array of
pastoral topics, including 6/8 meter, drones, parallel thirds, and folk slides; it
is one of Telemanns nest pastorales. The Allegresse is suitably gay in the man-
ner of Telemanns Rjouissance movements and features the solo quintet in a
trio. Postillons, a menuet en rondeau, is lled with the octave leaps common to
musical evocations of the mail coach and its posthorn signals. (Telemann had
previously associated the posthorn topic with the giga, as in Les Postillons of
55:D18 and the Gigue of 55:d3.) Flaterie is a binary sarabande in which the
oboes and solo violins repeatedly interrupt the musical ow with frivolous gu-
ration. The tutti return the favor in the dances second half, but not before the
soloists engage in some mock-serious suspensions over a walking bassanother
Italianate non sequitur. Following a Badinage that includes many of the same
rhythmic gures found in the Battinerie of BWV 1067, as well as some de-
lightful bantering among the soloists in the dances trio, the suite concludes with
a pair of menuets.
We might pause here to consider how these three overture-suites compare to
the Six ouvertures 4 ou 6 for strings with ad libitum horns (55:F1, A1, Es1, a1,
D2, g1), another publication that might have lled the need for Tafelmusiken. Al-
though Telemanns print has been missing since World War II, the third and sixth
overture-suites survive in Darmstadt manuscripts (presumably copied from the
print), and the fourth is known from an early twentieth-century edition. The
three surviving works are briefer and less musically ambitious than those of the
Musique de table, but they are also more representative of Telemanns overture-suites
as a whole. Of these, the strongest is the G-minor suite, which includes two col-
orful invocations of folk music (Napolitaine and Polonaise), two eective
character pieces (Musette and Harlequinade), and the modish Mourky
 Eight Telemann fr Kenner und Liebhaber 435

(with a continuous murky bass). Suite 5 concluded with a passacaille, one of the
few such movements among Telemanns overture-suites, and other relatively un-
common dance types represented in the collection include the forlane (Suite 4),
branle, and galliard (both in Suite 2). If the Musique de table suites were written with
court Kapellen in mind, then the Six ouvertures appear to have been intended for a
broader audience, one that might also include collegia musica and ensembles in
domestic settings.
To return to the Musique de table, each of the concertos begins with a ritornello
in which the soloists are heard as such, a feature we have observed in other Tele-
mann concertos of the 1730s. Perhaps the most galant of the three works is Con-
certo 1, which opens with a ritornello packed with drum basses and alla zoppa and
Lombard rhythms. The solo group of ute, violin, and cello recalls that of 54:D1
(two utes, violin, cello), perhaps composed around the same time. Unusually for
Telemann, all four movements are in ritornello form. Although the second and
fourth movements exhibit the same ritornelloda capo structure found in the col-
lections overture-suites, their proportions are greatly expanded: the A section in-
cludes the usual three structural ritornellos, but the rst episode is punctuated by
tutti interjections of the Vordersatz. Both B sections highlight the ute and violin,
the second movement placing them in a delicate dialogue with pizzicato string ac-
companiment. By contrast, only the rst-movement Maestoso of Concerto 3,
for two horns, two violins, and strings, is in fully edged ritornello form (both
fast movements have binary structures, though there are ritornello elements in the
concluding giga alla caccia). As if to further demonstrate that the galant style is not
incompatible with the serious and majestic, Telemann inserts Lombard rhythms
into the opening fanfare idea. With two very dierent pairs of instruments as so-
loists in this concerto, Telemann mostly treats them as separate but equal entities.
The ritornello opening Concerto 2, for three violins and strings, exhibits a
classic tripartite organization. Interrupting the Epilog segment is a typically Vi-
valdian turn to the parallel minor, featuring the three soloists with bassetto ac-
companiment. This brief interlude returns not in a subsequent ritornello, as one
would expect, but during an episode. More importantly, it seems to aect the
tonal plan of the entire movement. As shown in Table 8.4, most of this F-major
movement explores minor tonalities; aside from the opening and concluding ri-
tornellos, only a handful of measures are in the major mode. To my knowledge,
no other concerto movement by Telemann features this kind of tonal compos-
ing out, and here it lends a special intensity to the piece. This intensity carries
over to the slow movement, an aria-like Largo with a ritornello frame featuring
canonic imitation and suspension chains between the soloists, who are accompa-
nied by a bassetto ostinato imaginatively broken up between the ripieno violin
436 The Hamburg Publications

(Violino grosso) and viola parts. As in so many of Telemanns ostinato-based

slow movements, the repeated gure migrates to one of the solo parts as the ri-
tornello concludes. The aria section allows the soloists to shine in turn, as did
the rst three episodes of the preceding movement. Much of the action happens
with only bassetto support, and the absence of bass-register accompaniment adds
an element of tension. Predictably, the third movement is lighter than the rst
two. But its fugal ritornello adds a kind of contrapuntal intensity that has so far
been lacking in the piece.
Each of the collections nine sonatas is scored for a dierent combination of
obbligato instruments, but only the scoring of Quartet 2 (recorder/bassoon/
cello, two utes, and continuo) was new for Telemann. These works exhibit all of
the progressive stylistic elements introduced in the sonata collections of the early
1730s but employ them in a more rened manner. Many of the movement types
and structures are modied to achieve greater internal contrast or appear with
greater consistency: auf Concertenart movements in da capo form (Solo 3/ii, Quar-
tet 1/ii) now include a B section in which not only the texture changes, but also
the tempo and meter; the French overtureinspired opening movement (Quar-
tet 1) replaces the dotted slow section with a siciliana; and rondeaus (Trio 2/ii,
Trio 3/i, Quartet 2/iv, Quartet 3/iii) are all in the mixed taste with tonally con-
trasting refrains. Throughout the nine sonatas, harmonic rhythm is further
slowed, homophonic textures are more common, motivic contrast is heightened,
and Lombard and alla zoppa rhythms are ubiquitous. Passages omitting the con-
tinuo are found in many movements, and in some fast movements (Trio 3/iv,
Quartet 3/ii and iv) the continuo does not participate in the fugal imitations; one
could, in fact, omit the continuo altogether in performing the rst allegro of
Quartet 3. Permutation technique is commonly, and extensively, employed in the
solos and trios (for example in Trios 1/ii and 3/ii). The rst movement of Trio
1 also reorders or isolates submotives, a process dubbed partitioning technique
by Swack.69 This Aettuoso is also remarkable for being one of the most sty-
listically progressive sonata movements in the collection. Here extreme rhythmic
contrasts, abrupt tonal shifts, suspensions, phrases unexpectedly broken up by
rests, written-out appoggiaturas, and angular melodies approach the midcentury
aesthetic of Empndsamkeit. One of the most magical eects in the entire Musique
de table occurs in the Largo of Quartet 2, where a brief passage in three-part canon
(mm. 2832) is followed by the Neapolitan harmony expressed as parallel 46
chords (mm. 3537).
The conclusions bring each of the Productions to a close by means of brilliant
fugues with virtuosic episodes for the soloists (though Conclusion 1 omits the
solo violins). The rst two works are both da capo forms in which the B section
Table 8.4 Structure of 53:F1/i (Musique de table II)
Measures 116 1630 3033 3347 4750 5073 7381 8195 95100 100118 11832
Ritornello/solo R1 S1 R2 S2 R3 S3 R4 S4 R5 S5 R6
Key I ii ii iii iii V V V/vi vi I I
Ritornello material V, F, I, E V V I V, F E V, F, E, E
Ritornello material: V = Vordersatz, F = Fortspinnung, E = Epilog, I = (Solo) Interlude
438 The Hamburg Publications

sharply contrasts with the A section through changes of tempo and aect, as in the
auf Concertenart movements of Solo 3 and Quartet 1. The A section of Conclusion
1 alternates a fanfare idea and pseudo-fugal imitation with brief episodes for the
utes, while that of Conclusion 2 is a concerto-allegro with fugal ritornellos and
episodes highlighting all four soloists. In Conclusion 3 (Furioso) a perdia
opening for two solo violins leads rst to a tutti fanfare and then to a vigorous
fugue on a repeated-note, galloping subject; this much is repeated in the domi-
nant before a codetta restates the fanfare and fugue subject. One has to wonder,
upon hearing this and many other works in the Musique de table, whether attentive
listeners in Telemanns time could have concentrated on the meal in front of them.

Divertimenti

If publications such as the Quadri and Musique de table were conceived with the so-
phistication and technical capabilities of professional musicians in mind, the Six
quatuors ou trios (43:D2, e3, 2, G3, a1, E1) and Scherzi melodichi (42:A4, B3, G5, Es2,
e4, g3, D7) were aimed at an amateur market that demanded fresh-sounding
music that made relatively few intellectual or technical demands. These last two
collections belong to a divertimento tradition that stressed simplicity and natu-
ralness in music written for the Liebhaber or dilettante. Indeed, Divertimento is
the title of several movements in the Six quatuors ou trios, and the word appears in
the title and dedication of the Scherzi melodichi.70
Whereas the Six quatuors ou trios display important elements of the galant style
as seen in the III Trietti methodichi e III scherzi and Musique de table (homophonic tex-
tures, slow harmonic rhythm, balanced phrase lengths, and alla zoppa rhythms),
other features such as heightened rhythmic contrast, written-out appoggiaturas,
permutation technique, and sonata forms are virtually absent. Telemann appears
to have tailored his galant style to an amateur audience by pruning away some of
its most modern, expressive, and dicult features. The works uncomplicated
textures and relatively modest dimensions must also have been calculated to ap-
peal specically to nonprofessionals. As discussed in chapter 5, such textural sim-
plicity is to some degree a function of the rst cellos dual role as obbligato voice
and bass line. Seventeen of the twenty-three movements in the Six quatuors ou trios
have relatively brief binary forms. Among the four through-composed movements
are several three-voice fugues (1/ii, 2/ii, and 3/ii) that oer the most contra-
puntal rigor among the sonatasalthough they, too, are relatively homophonic
in texture; that of Sonata 2 even includes a chromatically ascending subject that
is heard frequently in inversion. Countering the fairly conventional layout of the
 Eight Telemann fr Kenner und Liebhaber 439

rst three sonatas, which include not only fugues but other familiar movement
types such as the Aettuoso (2/iii) and siciliana (3/ii), is the suite-like succession
of binary divertimenti in the nal three sonatas. These divertimenti feature close
imitation and lively rhythmic patterns, many of which are reminiscent of Tele-
manns Polish dances. The third movement of Sonata 4 is, in fact, a polonaise, and
its tempo indication of Giocando is a further example of the association of
humor with the Polish style (recall the scherzos of the III Trietti methodichi e III
scherzi). The divertimenti concluding each sonata are only half the length of the
others and bear the uncommon tempo indication Allegro-Allegro, which, ac-
cording to Walther, means a doubling of the cheerfulness or quickness.71 Tele-
manns stylistic distinction in the Six quatuors ou trios between Sonatas 13 (learned/
fugal) and Sonatas 46 (simple/diverting) anticipates that of Francesco Du-
rantes Sonate per cembalo, divise in studii e divertimenti (Naples, 174749), where the
rst three sonatas (studii) have polyphonic textures and the last three (divertimenti)
include short, binary movements with homophonic textures.72
The Scherzi melodichi, scored for violin, viola, and continuo, are suites consisting
of six brief dance movements preceded by an Introduzione. Mirroring this seven-
movement scheme is the provision of one suite for each day of the week (Lunedi,
Martedi, Mercordi, Giovedi, Venerdi, Sabbato, Domenica). The col-
lections inspiration was provided by several visits that Telemann made to the min-
eral water springs and baths in Pyrmont (near Hameln in Lower Saxony), whose
value, he claimed in his Italian preface, is worth half a world. Thus the Scherzi
melodichi, as we read in the collections full title, both reect and promote the care-
free atmosphere of spa life: Melodic Scherzos for the Entertainment of Those
Who Drink the Mineral Water in Pyrmont, with Simple and Easy Ariettes for
Violin, Viola, and Continuo.73 Telemann expands on this notion of diverting en-
tertainments in the preface:

Pyrmont is where God conferred blessings on his mineral water so that incredible
miracles annually restore health to the inrm, a phenomenon that I myself wit-
nessed in astonishment for three years, and which had an eect on others as well as
on myself. Since music belongs to the innocent diversions, I had thought that the
present compositions, because of their simplicity and taste, might bring more plea-
sure to the strangers assembled there than other, more articial music.74

Although Telemann mentions having visited Pyrmont three times by 1734,

only one of these trips can be documented: in 1731 the composer played harp-
sichord in a performance of the Arolsen Hofkapelle at Schloss Pyrmont. His
name also appears in lists of guests at the Pyrmont springs in 1736, 1742, and
440 The Hamburg Publications

1751; another visit may have occurred in 1759.75 Whether Telemann invariably
came to take the cure is unknown. Although his 1731 visit was possibly con-
nected to an unknown ailment from which he was already suering in early 1730,
subsequent visits could have been primarily of a social or professional nature.76
Present at the 1731 performance was the collections dedicatee, Prince Carl Au-
gust Friedrich von Waldeck (170463), who had been so lled with sublime im-
pressions by the sweetness of Italian music that Telemann wondered in his
preface whether the Scherzi melodichi would be to the princes taste. The composers
description of his works as simple, easy, small, jocular (scherzante), and based on
joy and ease accords with their galant style, modest scope, and overall lack of pre-
tension. It is easy to imagine that these attributes, together with the suites mixed
taste, would have found favor with Pyrmonts diverse visitors, who unwound by
taking cheerful strolls, playing billiards and card games, dancing at balls, listen-
ing to pleasant music played by oboe bands, and attending the opera house and
theater.77 Apart from currying favor with Prince Carl August Friedrich, Telemann
may have been attempting with his music to carve out a niche in the growing spa
industry, for the 1730s and early 1740s saw a spike in Pyrmonts popularity.78
The planned but never realized second and third installments of the Scherzi
melodichi (see chapter 7) would have provided music for each day of a typical cure,
which lasted three to four weeks.79
Although Telemanns pairing of violin and viola in the suites is unusual, both
parts can be played on other instruments: the violin part only occasionally de-
scends below the range of the ute or oboe, and the viola part does not descend
below the violins G string. Texturally, the Scherzi melodichi are so homophonic as to
be virtually performable as solo sonatas, an option that Telemann may have taken
into consideration while writing them. In most movements, the viola merely lls
out the harmony and is linked rhythmically to the continuo; elsewhere, it doubles
the violin in thirds or engages in relatively facile imitation (as, for example, in
Scherzo 5/ii). The introduzioni all include a modied reprise of the opening ma-
terial (as do many opening movements in the keyboard fantasias), and several
make overt references to orchestral genres: the opening arpeggiated gesture and
dynamic echo of the fourth introduzione bring to mind the sinfonia or ripieno con-
certo; the fth is auf Concertenart; and the seventh is a French overture, its presence
in the scherzo for Sunday perhaps representing the entrance into Gods realm, as
French overtures do in some of Telemanns sacred cantatas. The opening phrase
of the second introduzione recalls the beginning of the concerto 53:A2/iv (Musique
de table I), and indeed this movement features the kind of rhythmic variety com-
mon throughout the Musique de table and III Trietti. Although most of the ariettes
are relatively simple French and Italianate airs similar to those in the Sonate metodiche
 Eight Telemann fr Kenner und Liebhaber 441

and Continuation des sonates mthodiques, there are also examples of standard dance
types, including the sarabande (1/vi, 2/v), bourre or rigaudon (3/v, 5/vi),
gavotte (4/iii, 6/ii), menuet (4/iv), gigue and giga (3/vii, 4/vii, 5/iv), loure
(5/v), passepied (5/iii), pastorale (3/iv), polonaise (1/v, 4/ii, 6/iv), and canarie
(5/vii; with the unusual tempo designation Accelerando allegro).

XII Solos violin ou traversire

Telemanns last publication of solos (41:F3, e4, A5, C4, g7, D8, d3, G8, h5, E6,
a5, s1) contains some of his most richly expressive music for the medium. It also
includes many of the cross-genre movement types familiar from his earlier sonata
collections: fast movements auf Concertenart (2/iv, 5/iv) and in da capo form
(3/iv: a particularly elaborate structure); slow movements with ostinato bass pat-
terns (3/iii, 7/i, 11/iii), double mottoes (6/iii, 7/i), or a ritornello frame
(5/iii); and a capriccio (8/iii). One of the most unusual movements is the third
of Sonata 3, where there are two distinct rhythmic ostinatos, the second based
loosely on the violins headmotive. As in the Continuation des sonates mthodiques, most
of the fast movements not in da capo or ritornello form have binary structures.
But whereas the two collections of methodical sonatas included only one fugal
movement between them, here there are three (2/ii, 5/ii, 9/ii).80
Not only do the XII Solos provide a rsum of Telemanns compositional ap-
proaches to the sonata, but they also show him continuing to move beyond estab-
lished paradigms. Sonata 11 may serve as a case in point. Its two slow movements
are a melancholy sarabanda (Dolente) and a ravishing Aettuoso (Piacevole) in
which the utes melody is supported by a simple basso ostinatoboth types that
Telemann had previously explored in dozens of sonatas. But the fast movements
have an experimental quality to them, as if the composer wished to see how far
he could push the concept of motivic heterogeneity before risking incoherence.
Let us consider the vivacious second movement. As seen in Example 8.15a, its
rst two measures introduce three principal motives: the violins cascading scalar
gure followed by three staccato quarters over a stock cadential gure in the con-
tinuo. The last two motives are repeated in measure 4 to eect a move to C major,
whereupon a new sequential motive is presented. This is followed, in the second
half of measure 8, by a second sequential motive (based upon the second half of
m. 6) that leads to an arrival in the subdominant at measure 11. The nal mo-
tive of arpeggiated eighths followed by a quarter, treated imitatively, is clearly de-
rived from the cadential gure of measure 2. All of this is a lot to digest in only
twelve measures, especially considering the degree to which these motives are
442 The Hamburg Publications

example 8.15. XII Solos no. 11/ii: (a) mm. 112; (b) mm. 1924
(a)

c
Vivace

Violin

or Flute

Continuo

c
6 6 #
5

3 3

6 7 6 6 6
6 6
5

3 3 3 3 3 3

7 6 # #

10



3 3

________ 6 ____ 6 6
E # 6 b # 6 #
#

(b)


19

# 6 6 D
4

22

3 3 3 3
3

6 6 4 6 6 E 6
4 5

rhythmically distinct from each otheralmost comically so, in fact. At the be-
ginning of the movements second half, shown in Example 8.15b, the motives are
reshued: the cadential gure, played unaccompanied by the violin, is followed
by the scalar gure in the bass, now heard against instead of preceding the three
staccato quarters. For good measure, Telemann reverses the melodic direction of
 Eight Telemann fr Kenner und Liebhaber 443

the ensuing transitional idea (m. 21 = m. 3), then restates the scalar gure in the
bass before skipping over the rst sequential motive and proceeding directly to the
second (mm. 2324). This last operation is a function of Telemanns permutation
technique, for the rst sequential motive is eventually heard, albeit in the wrong
place. The overall eect of this quirky ars combinatoria is, depending on ones point
of view, either delightfully disorienting or ramblingly incoherent. One could be
forgiven for wondering whether there is an element of self-parody at work here.

Scoring and Style in the Six concerts et six suites

The Six concerts et six suites (42:D6, g2, A3, e3, h1, a2; 42:G4, B2, h2, E2, a3, d3)
mark Telemanns return to the practice of including dierent subgenres in a col-
lection of sonatas, and to the use of the harpsichord as an obbligato instrument
in trios. In chapter 7 we noted that the collections title page lists no fewer than
ve possible scorings: harpsichord and ute; harpsichord, ute, and cello; violin,
ute, and cello; violin, ute, and continuo; and harpsichord, violin, ute, and
cello. The rst four of these options have ample precedent and yield agreeable re-
sults (note Telemanns willingness, as in the Six quatuors ou trios, to do without a
chordal continuo part), but the last entails an odd doubling of the second me-
lodic line by violin and the obbligato harpsichords right hand. Perhaps because
this scoring is so unusual, even unlikely, it was suppressed altogether in the stan-
dard modern edition of the trios.81 That it is a viable and sometimes even desir-
able performance option, however, is clear from how the parts relate to one an-
other. Consider Suite 5, in which the right hand of the obbligato harpsichord part
contains material from both the ute and violin parts. In the third movement, the
harpsichords right-hand abandons its role as the second melodic voice when it
doubles the ute for long stretches at a time. In the fth and seventh movements,
the texture approximates that of the classical accompanied keyboard trio, in which
the melody instrument plays a subservient role: the harpsichords right hand seems
to have the real continuous melody, which is doubled by the ute and violin in
freely alternating exchange (Example 8.16). Thus, when the ute and the harpsi-
chords right hand have the same music, the second melodic line in eect disap-
pears. Performances of these movements with obbligato harpsichord must there-
fore include both ute and violin if three real parts are to be present throughout.
This kind of texture seems to be virtually without parallel in contemporane-
ous trios with obbligato harpsichord. Yet Telemann may simply have been adapt-
ing an ad libitum performing practice in which a melody instrument plays along
with the tune in solo keyboard or lute music.82 On the other hand, one might
444 The Hamburg Publications

example 8.16. Six concerts et six suites, Suite no. 5/v, mm. 111

Un poco Vivace
Flute 43

43

Violin

43

43

Harpsichord

43
Violoncello or
Continuo

6 # 6

7 7 6 6

6b 5b 6 6

view the obbligato harpsichord part in these passages as embodying a continuo

practice, apparently widespread in Italy and Germany, of doubling the melodic
line. Such doubling was particularly associated with fugal entries but seems also
to have been used in other contexts.83 However one views the relative function of
the three obbligato voices, it is noteworthy that all doubling involves the harpsi-
 Eight Telemann fr Kenner und Liebhaber 445

example 8.17. Six concerts et six suites: (a) Concerto no. 6/iii, mm. 23; (b) Concerto
no. 5/ii, mm. 2829; (c) Suite no. 6/i, mm. 34
(a)

Flute c
2

3
3

Violin c
c
3 3 3 3

Harpsichord
c
3 3 3 3

Violoncello or
Continuo
c

3
3



3 3 3 3

3 3 3 3

(b)

23
28

Flute

Violin 23
23
Harpsichord
23
Violoncello or
Continuo
23

6
4

(continued )
446 The Hamburg Publications

example 8.17.Continued
(c)

c
3

Flute

Violin c
c
3 3 3 3
3 3 3

c

Harpsichord 3
3

c
3 3
3 3 3 3

Violoncello or
Continuo
7 7 7 7 7 7
#

chord; as in more conventionally scored trios, the violin and ute remain inde-
pendent of each other.
Although the parts for violin and harpsichord right hand are otherwise usually
identicalin nine of the twenty concerto movements and twenty-eight of the
forty-two suite movements there is virtually nothing to distinguish them from
one anotherthey diverge in numerous brief passages, sometimes to introduce
idiomatic keyboard guration such as crossed-hand writing (Example 8.17).84 A
performance of these passages with both violin and obbligato harpsichord would
yield a rich, quartet-like texture. But it is worth stressing that in most instances,
divergences between the parts do not appear motivated by idiomatic considera-
tions but entail alternative, and sometimes simplied, versions of the same pas-
sage.85 In the rst movement of the second concerto, to cite a further example,
the harpsichords right hand repeats the utes siciliana melody with embellish-
ments reminiscent of those in the methodical solos and trios; the violin, which
could easily negotiate these embellishments, is assigned only the plain version of
the melody (Example 8.18).86 Here the simultaneous performance of the violin
and obbligato harpsichord parts would result in a heterophonic texture not un-
like that of the fourth movement of Bachs sonata in C major for ute and con-
tinuo, BWV 1033, where the right hand of the harpsichord plays divisions of the
utes melody. One wonders if this kind of heterophonyimprovised rather
than written outwas in fact a common product of continuo realizations in
Germany during the 1730s.
Elsewhere in the Six concerts et six suites there is material for the violin or harp-
sichord right hand that is completely absent from the other part. In the rst suite,
 Eight Telemann fr Kenner und Liebhaber 447

example 8.18. Six concerts et six suites, Concerto 2/i, mm. 712

128
7

Flute





128

Violin

128

128

Harpsichord

Violoncello or
Continuo
128

6 # 5 6 7 6 6
#

6 5 # 6 5
b

11

6
6

6
6 #
6
#
448 The Hamburg Publications

the slow section of the prelude (mm. 16) contains an obbligato part for violin
while the harpsichord reverts to playing continuo. But in the second of two fol-
lowing menuets, the tables are turned: the violin is reduced to an accompani-
mental role as the harpsichord plays soloistic diminutions of the utes melody
(mm. 3360). At least in these two movements, the piece seems diminished if ei-
ther the violin or harpsichord is absent. A similar example is furnished by the rst
movement of the third concerto, where in two extended passages the violin falls
silent while the harpsichord provides an obbligato accompaniment to the ute
(mm. 18, 1720). Telemanns rationing of the melodic duties between the vio-
lin and harpsichord is far from arbitrary, for he seems to have calculated that cer-
tain passages would be more eective on one or the other instrument.
Stylistically, both the concertos and suites are thoroughly galant: passages in
thirds, heightened rhythmic contrast, alla zoppa and Lombard rhythms, drum bass
lines, relatively slow harmonic rhythm, and balanced phrasing pervade each work
and are often found in combination (see especially Concertos 4/iii, 5/i, and
6/i). We have already considered the concertos generic identity as sonatas auf
Concertenart in chapter 6. Here it is worth noting that the Dolce of Concerto 4
is unusual for dispensing with the second of two framing ritornellos, and for in-
terrupting the cantabile duet (supported by a murky bass) with an unexpected
turn to the parallel minor and prolonged Neapolitan-sixth harmony (mm.
2732). Other familiar movement types among the concertos include the Aet-
tuoso (1/i, 2/iii, 3/i, 5/iii), the minor-mode siciliana (2/i), the sonata-allegro
(4/iv), and the three-voice fugue (4/ii, 5/iv, 6/ii). Among the fugal movements,
the second of Concerto 4 is noteworthy for its binary form and presentation of
the subject in melodic inversion during a counterexposition. The nale of Con-
certo 5 is an ambitious triple fugue in which the principal subject and counter-
subject, each fteen measures long, exhibit galant rhythmic contrasts; three addi-
tional subjects are heard in the rst of three episodes. Perhaps the most striking
feature of Concerto 6 is its use of chromaticismas an intensier of a highly ex-
pressive melody (movement 1, mm. 14); as a coloristic, and slightly eccentric,
eect (movement 3, mm. 911, 1416); and as a humorous non sequitur (move-
ment 4, mm. 78, 3032, 6263).
The suites bear a supercial resemblance to the Scherzi melodichi in consisting of
six dances preceded by a prelude. Yet in their greater length and substance, they
bear a closer stylistic anity with the suites of the Quadri. The preludes of Suites
13 are essentially slow prelude-fugue pairs, with the fugues embodying a kind
of transparent counterpoint valued by the galant aesthetic. The fourth prelude has
the ABA form of the French overture, though it avoids the stereotypical rhythmes
saccads in the slow sections. Prelude 5 is noteworthy for its tragic slow section,
 Eight Telemann fr Kenner und Liebhaber 449

while Prelude 6 resembles the rst movement of Quadri Concerto 1 in its multi-
sectional structure. The movements that follow include a mixture of airs (so la-
beled in Suite 1) and standard dance types such as the menuet (1/iv, 2/iii, 3/ii),
giga (1/vii), bourre or rigaudon (1/iv, 2/vi, 3/vi, 4/vi, 5/iv), loure (4/v),
gavotte (6/vii), siciliana (6/vi), and polonaise (1/v). Suite 5, perhaps the best of
the lot, includes two decidedly old-fashioned dances: the allemande (see Example
8.16) and courante, both of which are attractively colored by chromaticism. In
the last movement of the same suite, extensive use of hemiola (necessitating fre-
quent shifts from common time to 6/8) recalls Telemanns fondness for metrical
ambiguity in his passepieds. The stylistic eclecticism of the suites as a set is fur-
ther underscored by the murky bass of Suite 3/ii and the loosely canonic organ-
ization of Suite 6/ii. There are also a few intertextual connections with other
works by Telemann: the opening of Suite 4/v was reused in the fourth movement
of Nouveaux quatuors no. 6, and Suite 1/ii quotes the opening measures of the cho-
rus Gedoppelt schn sind die Ergetzlichkeiten from the opera Calypso, TVWV
21:19 (Der getreue Music-Meister, Lection 15).

An Omaggio a Corelli?

The vogue for Corellis music during the late seventeenth and eighteenth centuries
is well documented.87 In the 1690s and 1700s numerous Italian, German, and
English composersincluding Tomaso Albinoni, Francesco Antonio Bonporti,
Antonio Caldara, Gottfried Finger, Francesco Geminiani, Nicola Haym, John
Ravenscroft, Francesco Maria Veracini, and Antonio Vivaldiused the Corellian
sonata as the point of departure for their rst instrumental opera. During the fol-
lowing decades in Italy and England, composers frequently entitled backward-
looking collections of sonatas ad imitazione darcangelo Corelli (Paolo
Benedetto Bellinzani) or composd in imitation of Archangelo Corelli (William
Topham). And others, such as Geminiani, Veracini, Thomas Billington, Obediah
Shuttleworth, and John Walsh, arranged or substantially revised Corellis works.
It was not long, in fact, before Corellis four opera of trio sonatas and, to a lesser
degree, his op. 5 solos and op. 6 concerti grossi became regarded as musical clas-
sics to be studied and emulated.
In the large constellation of composers who began their careers by emulating
Corellis music, Telemann is one of the few to have revisited it late in life. His
Sonates corellisantes (42:F2, A5, h3, E3, g4, D8) for two violins or utes and con-
tinuo appear, at rst glance, to mark a retreat from the galant style of his earlier
publications. Certainly Telemanns advertisements of the collection as Corelli-
450 The Hamburg Publications

ized sonatas (Corellisierende Sonaten) or Corellian emulations (Corellische Nachah-

mungen) suggest its intention as an omaggio to Corelli in the manner of Couperins
1724 Le Parnasse, ou lApothose de Corelli.88 Perhaps Telemann was hoping to exploit
the Italians posthumous fame, though by 1735 his own reputation was such that
he probably did not need Corellis name or style to sell music. Ludwig Finscher
has shown that the relationship between Corellis and Telemanns trios is in fact
rather complicated: the Sonates corellisantes belong to a classicizing tradition in
which individual elements of Corellis style are isolated, reinterpreted, regular-
ized, and stylized in music that in the end bears only a supercial resemblance to
its putative model.89 But it is also possible to view the collection less as a critical
summation of the Corellian style than as an encyclopedic survey of the Italian
style generally. That is, the signicance of Telemanns trios lies principally in their
unconventional expression of the mixed taste: a got runi not of the French, Ital-
ian, German, English, and Polish styles, but of the old (Corellian/late ba-
roque) and new (galant) Italian styles. Through such a concatenation Telemann
could introduce his largely amateur audience both to the essentials of the clas-
sic Italian style (made all the more palatable through a veneer of Corellianism)
and to the more modern galant style. A prototype in this respect was the Sonata
di chiesa of Der getreue Music-Meister.
As with the Hamburg edition of the Six sonates violon seul, the Sonates corellisantes
alternate three sonatas da chiesa (Sonatas 1, 3, and 5) with three sonatas da cam-
era (Sonatas 2, 4, and 6). In the da chiesa sonatas, as Finscher has noted, Tele-
mann expands his Corellian model through the insertion of movements or pairs
of movements; in da camera sonatas, he becomes in eect more Corellian than
Corelli by adhering to a four-movement sequence and employing standard dance
types (including the allemanda, corrente, gavotta, sarabanda, and giga). However,
like Corelli, Telemann allows himself to alter the movement order, introduce new
movement types, and occasionally mix da chiesa and da camera movements within
a single sonata. The feeling of archaism in the Sonates corellisantes is enhanced by the
brevity of many movements (though they are often slightly longer than Corellis),
and by an emphasis on certain style elements associated with the sonatas of
Corelli and his late baroque followers: walking-bass and sequential patterns, con-
servative thematic material, contrapuntal textures featuring suspensions and close
imitation between the obbligato voices, quotation of the stile antico (in Sonata 4/
iii), and cadential echoes.
In Finschers view, Telemann classicizes Corellis forty-eight trios by over-
stating certain elements of their style and by reducing them to a formal para-
digm. Yet the resemblance of the Sonates corellisantes to Corellis trios is in fact no
more than skin deep, for Telemanns eorts to modernize his model pervade
 Eight Telemann fr Kenner und Liebhaber 451

nearly every movement. Certainly Telemanns works are motivically, contrapun-

tally, and formally richer than Corellis and feature more distinctive themes. De-
spite the conservative motivic material and contrapuntal textures of the rst move-
ments (analogous to Corellis preludii), Telemann imposes symmetrical forms on
movement types that in Corelli are through-composed. The continuous eighth-
note bass motion in the rst movement of Sonata 2 is simplied by repeated notes
(slowing the harmonic rhythm), while the bass pattern in the rst movement of
Sonata 4 (a Corelli-ized Aettuoso), with its sequences and octave leaps, is de-
cidedly post-Corellian in character. The opening movement of Sonata 6 is one of
several in the collection that do not refer to Corellis sonatas at all. Marked Pas-
torale and full of drone basses, pastoral echoes, and parallel writing among the
upper voices, it is an undisguised genre piece in Telemanns galant style, complete
with the kind of motivic contrasts familiar from his earlier collections.90
The fast-movement fugues in the sonatas da chiesa all include thematic bass
lines and conservative subjects. Here Telemann emphasizes the learned aspect of
Corellis sonatas by writing counterpoint that is actually denser than that of his
model; with few exceptions, the kind of simplifying strategies common in his
galant fugues are absent. In the second movement of Sonata 5 he goes so far as to
write a fugue with four subjects, all of which are heard together during the course
of the movement. Yet in the fth-movement fugue of the same sonata he inserts
brief galant passages of alla zoppa rhythms in parallel thirds over a drum bass (mm.
1516 and 3536). Marpurg used this last movement to demonstrate the
progress of a fugue; he also cited the sixth movement of Sonata 3 as an example
of chromatic fugal writing.91
The dance movements in the sonatas da camera are perhaps the most outwardly
Corellian in the collection, but even these are often subjected to contrapuntal and
motivic enrichment along with a dose of the galant style. Both the Corrente of
Sonata 2 and the Allemanda of Sonata 4 include passages of alla zoppa rhythms
over murky basses, while the Giga of Sonata 4 makes a decidedly modern eect
with its homophonic texture and long appoggiaturas. Slow harmonic rhythm and
heightened motivic contrast characterize the Corrente of Sonata 6. On the
other hand, the same sonatas Gavotta features a genuinely Corellian running
bass, and its concluding menuet en rondeau (Vivace) seems directly inspired by
the nale to Corellis concerto grosso op. 6, no. 7. This last is the only movement
in the Sonates corellisantes to display any elements of the French style.
Finally, the movements inserted by Telemann into the four-movement scheme
of the sonatas da chiesa are either dance-based importations from the sonata da
camera or types common in Italian sonatas generally. Taking the place of the in-
terior slow movement in Sonata 1 are a galant siciliana that exhibits some use
452 The Hamburg Publications

of permutation technique and a brief harmonic movement consisting of a chain

of suspensions. Sonata 3 contains two inserted movements: a chordal-harmonic
Adagio e staccato resembling the Largo of Corellis op. 4, no. 1, but more typ-
ical of Vivaldis sonatas and concertos, and a brilliant Allegro assai marked by
broken-chord guration for the violins. In Sonata 5 the inserted movements in-
clude a binary gavotta (Presto) and a chordal-harmonic Grave.

The Parisian Sonatas

Telemann seems to have regarded his eight-month visit to Paris in 173738 as

the highlight of his career up to that point. Finally taking advantage of a long-
standing invitation to the city, he was celebrated for his vocal and instrumental
music by both royalty and publicmuch as another aging German-speaking
composer, Joseph Haydn, would be half a century later in London. Perhaps to
forestall further unauthorized editions of his works by Charles-Nicolas Le Clerc
and othersat least seven had already appearedTelemann obtained a twenty-
year royal publishing privilege and immediately used it to issue two collections of
instrumental music: the Nouveaux quatuors and the XIIX Canons mlodieux.92 He also
left behind a score of six trios that apparently became the Sonates en trio, published
by his host, the harpsichord builder Antoine Vater. All of this is recounted in
Telemanns 1740 autobiography with great enthusiasm:

My long-anticipated trip to Paris, where I had been invited several years earlier by
some virtuosos who had acquired a taste for a number of my printed works, com-
menced during Michaelmas 1737 and lasted for eight months. There, in accor-
dance with a twenty-year royal publishing privilege, I had engraved on copper
plates new quartets, sold by advance subscription, and six sonatas consisting of
melodic canons throughout. The admirable manner in which the quartets were
played by [Michel] Blavet, utist; [Jean-Pierre] Guignon, violinist, [Jean-Baptiste]
Forqueray the younger, gambist; and Edouard, violoncellist, would merit a de-
scription here if only words were adequate to the task. Suce it to say that they
found exceptionally attentive listeners at court and in the city, and quickly earned
me a nearly universal honor, which was accompanied by great courteousness.
Otherwise, I composed for amateurs [Liebhaber] two Latin, two-voice psalms of
David with instruments; a number of concertos; a French cantata called Polyphme;
a comic symphony on the popular song by Pre Barnabas; left behind a score of six
trios to be published; at the end set and heard the Seventy-rst Psalm as a large
motet for ve voices and various instruments, which was performed twice in three
days at the Concert Spirituel by nearly a hundred select people; and departed
thence full of pleasure, in the hope of returning.93
 Eight Telemann fr Kenner und Liebhaber 453

The virtuoso musicians who premired the Nouveaux quatuors, and for whom
the works were presumably written, are likely those who had invited Telemann to
Paris. (The precise identity of the cellist Edouard remains elusive, though in
1755 Marpurg mentioned a cellist by that name in the orchestra of the Concert
Spirituel.)94 One presumes that Telemann himself performed on the harpsichord,
though it is possible that the quartets were heard with only cello or gamba on the
continuo line. The Mercure de France reported that Forqueray, Blavet, the violinist
Marella, and the cellist Labb lan (Pierre-Philippe Saint-Svin) performed a
Telemann quartet at the Concert Spirituel ve times in June 1745, thus appar-
ently without chordal continuo.95 However, in dedicating the rst volume of the
Abhandlung von der Fuge to Telemann in 1753, Marpurg mentioned the harpsichord-
ist Anne Jeanne Boucon as having performed Telemanns works in Paris:

The masterpieces from your pen have long since contradicted the erroneous no-
tion that the so-called galant style cannot be combined with elements borrowed
from counterpoint. The perfect model in this respect, fashioned by you to such
universal approval, is known not only in Germany; your reputation has rendered
that of the Germans admirable in France, in incomparable France, as well. Through
the ngers of a Boucon, a Blavet, a Forqueray, [and] a Guignon, that reputation still
resounds on the banks of the Seine.96

Besides the three publications and the setting of Psalm 71 (Deus judicium tuum
regi da, TVWV 7:7), Telemanns Parisian music has either not survived or resisted
identication. The comic symphony, 50:8, was based on a song heard at the
Opra-Comique,97 and may have been the symphonie performed at the Con-
cert Spirituel in March and April 1751.98 Further indications that Telemanns
music was publicly performed in Paris during the 1740s and 1750s include Tou-
ssaint Rmond de Saint-Mards 1741 claim that every day one plays the con-
certos and symphonies of Telemann and Hasse,99 a 1746 review in the Mmoires
de Trvoux naming Telemann among the foreign musicians who were popular in
Paris, and the introduction of Pergolesis La serva padrona by a Telemann ouver-
ture at the Paris Opra on 1 August 1752.100
The Nouveaux quatuors suites (43:D3, a2, G4, h2, A3, e4) equal and in some re-
spects surpass the high standard for quartet writing established by the Quadri, es-
sentially picking up from where the earlier publications two suites had left o. Al-
though the collections success has been attributed to its perceived status as an
hommage lcole franaisethe dutiful bow of a foreigner before great tradition in
the midst of a universal wave of Italianism,101 the opposite is more likely to be
true: Telemanns quartets won friends in Paris not for their armation of the
454 The Hamburg Publications

French national style in the face of invading foreign inuences, but because they
were compelling expressions of the gots runis. In this sense, they could not have
been more au courant. As works in which each obbligato instrument partakes
equally of the thematic and motivic content, Telemanns quartets may also have
had strong cultural resonances in a society fascinated with the art of conversation.
Madame de Stal observed at the end of the century that in France [conversa-
tion] is not . . . merely the means of communicating ideas, sentiments, and trans-
actions; but, it is an instrument on which [Frenchmen] are fond of playing, and
which animates the spirits, like music among some people and strong liquors
among others.102 Indeed, the Nouveaux quatuorsalong with the Parisian editions
of the Quadri, Six quatuors ou trios, and Quatrime livre de quatuorsmight be consid-
ered harbingers of the musical style dialogu in vogue in Paris during the 1760s and
1770s. In this light it is signicant that Louis-Gabriel Guillemains published
sonata collections, two sets of Six sonates en quatuors, ou conversations galantes et amu-
santes for ute, violin, viola da gamba, and continuo (1743 and 1756), imitate not
only the scoring of the Quadri and Nouveaux quatuors, but also their Italianate style
and kaleidoscopic shifts of instrumentation and texture.
What was earlier observed regarding the Quadris scoring and texturein-
cluding the gambas independence from the continuo and the simplication of
the latteris generally applicable to the Nouveaux quatuors. However, Telemann
now omits the continuo line much more frequently: in seven of the thirteen alter-
nativement dance pairs, the obbligato instruments are unaccompanied during the
second dance. Occasionally, as in the third movement of Quartet 4, the texture is
even reduced to two voices. The continuo also drops out in variations 25 of the
nale to Quartet 2, and for long stretches in Quartet 1 (movement 4, mm.
8086; movement 5, mm. 4152) and Quartet 4 (movement 2, couplets). Al-
though the gamba is generally independent of the continuo, Telemann is content
to have it double the bass line more often than in the Quadri. Rapid shifts of tex-
ture and instrumentation are also more frequent in the Nouveaux quatuors, as in the
rst movement of Quartet 3 and the fourth movement of Quartet 2.
The preludes to each suite are more substantial and sophisticated than any
Telemann had written previously, and all but the last are thoroughly Italianate in
style. Their highly dierentiated nature recalls the variety of Bachs preludes to
the keyboard partitas in Clavier-bung I. The prelude of Quartet 1 has a multi-
sectional structure similar to those of the rst movements of Quadri Concerto 1
and Six suites no. 6. Here, however, the slow sections are replaced with perdia pas-
sages, and the second contrasting section includes concerto-like solos for each of
the three obbligato instruments. As noted in chapter 6, the preludes of Quartets
2 and 4 are solo concerto movements for the ute and viola da gamba, respec-
 Eight Telemann fr Kenner und Liebhaber 455

tively. Quartet 3 opens with an Aettuoso-like prelude in which diverse thematic

and motivic material is treated imitatively and subjected to the permutation pro-
cess (see in particular mm. 5659), whereas the prelude of Quartet 5 is a four-
voice fugue with a tuneful subject and virtuosic episodes. A particularly ne
French overture precedes the dance movements of Quartet 6. Its expressive slow
section (A discrtion) includes a perdia passage for violin and gives way to a
pseudo-fugal fast section displaying rhythmic characteristics of the passepied (in-
cluding hemiolas that necessitate frequent metrical shifts between 3/8 and 3/4).
As a whole, this overture eects a remarkably seamless union of the French and
Italian styles.
Unlike the binary dance movements of the Quadri suites, those in the Nouveaux
quatuors are not labeled Air or with the names of standard types (the sole excep-
tion is the nale of Quartet 4), but bear French tempo indications or aective ti-
tles such as Tendrement, Flatteusement, Lgrement, Coulant, Gracie-
usement, Triste, and Distrait. (This last movement, from Quartet 6, is a
characteristic piece in which syncopated gures depict one who is distracted or ad-
dled.) Not a few movements nevertheless display characteristics of standard dance
types, including the bourre (3/ii), canarie (3/iv), gavotte (6/ii), giga (1/vi, 2/iii,
5/iv), loure (6/iv), menuet (1/iv, 4/vi, 5/ii), polonaise (3/v, 5/iii), and sara-
bande (4/v). More so than in the Quadri, Telemann makes liberal use of agrments
such as the coul, port de voix, and tremblement (see especially 1/ii, 3/iii, 4/ii).
Three of the quartets conclude with weighty, non-binary movements: Quar-
tets 2 and 4 have variation sets for their nales, and Quartet 6 ends with a cha-
conne. In addition, the last movement of Quartet 3 takes on a prelude-like char-
acter by virtue of its multisectional organization, entailing an alternation of slow,
dotted sections with fast, fugal sections; a binary form results from the repetition
of each slow-fast pair. Although the nale of Quartet 1 is dance based (a partic-
ularly lively giga), it displays the only clear example of incipient sonata-allegro
form in the collection. Here the second key area is marked by deceptive modal
mixture, the development has a somewhat developmental character, and the
recapitulation includes alterations of the opening material.
As noted in chapter 4, the nale of Quartet 2 may have been devised as an ho-
mage to Jean-Philippe Rameau, for its theme reworks that of the Gavotte et doubles
from his Nouvelles suites de pices de clavecin. Nowhere in the Nouveaux quatuors is Tele-
manns genius for instrumental color and textural variety employed to better eect
than in the ve variations. The rst variation is fairly conventional in retaining the
themes scoring, breaking the half-note motion of the melody into sighing quar-
ter note gures, and simplifying the bass. But a complete change of texture oc-
curs in variation 2, where the gamba, supported by continuo, plays a compound
456 The Hamburg Publications

line reminiscent of the fantasias for unaccompanied ute and violin. Variation 3
is a rescoring of the theme: the ute and violin are again in octaves, this time an
octave lower; the gamba again doubles the continuo, but breaks the half notes
into reiterated eighth notes. As a result of these relatively simple modications,
the theme now takes on a darker, unsettled character. In variations 4 and 5 Tele-
mann returns to duet texture, rst assigning a compound line to the ute and a
bassetto to the violin, then pairing eighth-note divisions in the violin with a bass
accompaniment for the gamba.
Undoubtedly the most impressive movement among the Nouveaux quatuors is
the chaconne at the end of the sixth quartet, an appropriate conclusion both to
the work and to the entire collection. The movement consists of nineteen state-
ments, or couplets, of a six-measure bass pattern, over which the three obbligato in-
struments play a series of free variations. One senses this chaconnes singularity
from the opening measures, when, in place of the ascending opening gesture typ-
ical of the dance, Telemann gives us a sighing gure the expressive eect of which
is heightened by dynamic echoes. This gives way, in the second pair of couplets
(mm. 1325), to an imitative gure combining large descending leaps and rising
chromatic lines, and which leads to the magical, slightly hypnotic eect of a cir-
cular melodic gure harmonized by rst-inversion triads (Example 8.19). Mod-
ulations to the relative major, to the dominant, and back to the tonic result in the
foreshortening of couplets 5, 9, and 13 (mm. 2528, 4750, 6972). These mod-
ulations also cause a disjunction between the phrasing in the obbligato voices and
the bass pattern, so that couplets 6 and 10 in the bass (mm. 2934 and 5156)
begin in the middle of six-measure phrases in the obbligato voices. Bass and
melody are again synchronized in couplets 7 and 11 (mm. 3540 and 5762). At
the modulation back to the tonic, Telemann avoids a similar disjunction by fore-
shortening both bass pattern and melody (couplet 13, mm. 6972). Not only is a
dierent texture or combination of instruments introduced for each pair of cou-
plets, but the second couplet in a pair usually features either a rescoring or an inver-
sion of the counterpoint as well. Solos for one instrument accompanied by the
others occupy couplets 56 (mm. 2535), as well as a large central complex of cou-
plets 915 (mm. 4785). This texture recalls the third movement of Quadri Sonata
1, but here the interaction between solo and accompaniment becomes progres-
sively more complex. The nal two couplet pairs provide a textural, rhythmic, and
harmonic intensication: couplets 16 and 17 (mm. 8596) feature brilliant eighth-
note divisions in the ute and gamba, and concerto-like arpeggiated chords in the
violin (rhythmically accelerated in couplet 17); and couplets 18 and 19, again scored
for all three obbligato instruments, feature the Corellian texture of suspensions
 Eight Telemann fr Kenner und Liebhaber 457

example 8.19. Nouveaux quatuors no. 6/vi, mm. 119

Modre
3
Flute 2

23
p

Violin

23
p

Viola da gamba
23
p

Continuo
p
6 7 6
4
5





f
p

f p

f p

f p
5 6 4 # 6 6
5 4

11

f
5 6 6 5 5 5 6
5 4 #

16



p f

p f

p f

6 9 6 5 5
7 4 #
458 The Hamburg Publications

in the ute and violin over a walking bass in the gamba. Thus, in another gesture
to the contemporary French fascination with the Italian style, Telemann con-
cludes the chaconne with four couplets in the mixed taste or got runi. None of
these observations, however, adequately communicates the deeply wistful, pro-
found eect the chaconne makes in performance, which places it rmly among
the greatest examples of its type.
We have already mentioned the XIIX Canons mlodieux (40:11823) within the
context of galant canons from the 1720s and 1730s. Besides their strict canonic im-
itation at the unison, they dier from the earlier Sonates sans basse in having only three
movements (fastslowfast) and placing an emphasis on rondeau form in the fast
movements, a lone concession to French taste in what are otherwise Italianate
duets. Several non-rondeau movements (1/i, 2/iii, 3/i, 4/ii) also include returns
of the opening material in more or less clear ABA forms. Like the canonic sonata
in Der getreue Music-Meister, most of the duets vary the distance between the dux and
comes from movement to movement. Perhaps the most unusual movement in the
collection is the Soave of no. 6. Its identity as a siciliana probably explains the
unusual key of B-at, standing in a Neapolitan relationship to the duets other
movementsa large-scale composing-out of a harmony traditionally associated
with the dance. Equally striking is the evocation of birdcalls in measures 47.
The XIIX Canons mlodieux were reprinted in London by Simpson in 1746, the
same year that saw Walshs edition of the Sonates sans basse. It seems that they were
especially popular in eighteenth-century Berlin, for no fewer than six extant man-
uscript copies of the collection can be placed within the citys various musical
circles.103 These copies may reect an interest in canon on the parts of such Berlin
musicians as Carl Friedrich Christian Fasch, Frederick the Great, Carl Heinrich
Graun, Johann Philipp Kirnberger, Marpurg, and Quantz.104 In fact, one copy
also contains canons by Kirnberger and Quantz. Marpurg quoted the rst move-
ment of Telemanns second duet as an example of how the canonic style may be
employed in the most pleasant manner in chamber sonatas, then referred his
readers to the XIIX Canons mlodieux for further illustrations.105 And the duets re-
mained popular in Paris decades after Telemanns visit: two movements (2/i and
4/iii) were included in the appendix to the 1770 French edition of Leopold
Mozarts Grndliche Violinschule,106 and Pierre-Evrard Taillart advertised the collec-
tion in December 1775, seven years after Le Clerc stopped selling his reprint edi-
tions of other Telemann collections.107
Telemanns last Parisian publication was the Sonates en trio, containing three trios
for utes, violins, and other instruments with continuo and three without
(42:d5, f1, A7; 40:15052). Although the collection is known only from a single
copy of the second ute partbook, one may make a few tentative comments about
 Eight Telemann fr Kenner und Liebhaber 459

its style. The four-movement trios with continuo appear to have been intended
for ute and violin or two violins, because the second part goes below the utes
range in all but four movements. That the second trio is in F minor, an unusual
and dicult key for the baroque transverse ute, may also indicate a conception
for violins. Despite the concluding rondeaus of the rst two trios, all three works
display a predominantly Italian idiomseemingly a further nod to contempora-
neous French taste. The trios for three melody instruments without continuo may
have been inspired by French works for the same scoring: Antoine Dornels Sonates
en trio (1713) and Concerts de simphonies (1723) both contain one sonata for three
dessus without continuo, and Joseph Bodin de Boismortier published an entire
collection of such works as the Sonate en trio pour trois tes traversieres sans basse (1725).
The rst two of Telemanns trios are four-movement Italian sonatas. Among the
more distinctive movements are the third of Trio 1, which appears to be in the
mode of an aria with ritornello frame, and the fourth of Trio 2, a polonaise en
rondeau. Breaking with the sonata model is the third trio, a suite of four Arias
preceded by a Preludio.

Galanterien

The three instrumental publications that appeared between 1745 and 1765 were
all aimed at satisfying the amateur musicians appetite for uncomplicated works
in two parts. The rst of these was the VI Ouverturen nebst zween Folgestzen (32:5
10), a collection of fashionably galant keyboard music such as Telemanns pub-
lisher Schmid often issued during the 1740s. Each of the six works presents
some conguration of the mixed taste, as proclaimed in the collections full title:
Six Ouverturen Together with Two Accompanying Movements, Either French,
Polish or Otherwise Triing, or Italian. As in the keyboard fantasias and the
Fugues lgres & petits jeux, Telemann restricts the texture to two voices. And the
idea of following a substantial movementwhether a French overture, fugue,
free fantasia, prelude, or other typewith a few playful bagatelles clearly derives
from these two collections and the other fantasia sets. The VI Ouverturen them-
selves are varied in style; most modish is the fth, which eschews the usual
rhythmes saccads in its rst section and includes some murky bass writing in the
second. Several of the collections second movements are in the Polish style,
while others, such as the Pastorello of Suite 6, are indeed pleasantly triing.
We observed in chapter 6 that two of the third movements are einstimmige Konz-
erte, and here it is worth calling attention to the B section of Suite 4/iii, which
follows an empndsam modulatory scheme featuring abrupt modulations to dis-
460 The Hamburg Publications

tantly related keys (Ii IIIiii VIviI). Also noteworthy is the third move-
ment of Suite 3, a pair of alternating gavottes that includes written-out varied
reprises in the rst dance.
The Second livre de duo (40:12429) for two violins, utes, or oboes may be con-
sidered an easy sequel to Telemanns earlier duet collections. Not only are these
duets slighter than their predecessors (three relatively brief movements), but they
also make fewer intellectual demands on the player and listener. They are never-
theless well crafted and ingratiating works. Symptomatic of the collections em-
phasis on homophony is an almost complete avoidance of canon and the conne-
ment of fugues to the third and fourth duets. Rondeaus, as might be expected in
a French publication, are more evenly spread throughout. Dance movements are
not as common as one might imagine, though there are examples of the siciliana
(1/i), polonaise (2/ii), and giga (2/iii, 5/i). The last of these movements is alla
caccia, with delightfully clever imitations of horn signals, and forms a counterpart
to the third duets air en trompette. As indicated in Table 5.1, excerpts from these
duets appear in Quantzs Solfeggi, where they are headed Duetto di Telemann, la
franaise. There is nothing particularly French about the music in a stylistic sense
(the rondeaus notwithstanding), so the rubric likely indicates Quantzs awareness
of the Paris edition.108
Telemann also composed two sets of duets transmitted solely in manuscript
copies, and although these can be considered Hamburg publications only in the
broadest sense, they are best considered within the context of his printed works.
Let us turn rst to the nine sonatas for two utes, 40:14149, discovered in the
musical archive of the Sing-Akademie zu Berlin in 2002.109 Entitled simply
SONATA . . . Del Sign. Teleman, these works previously belonged to the Berlin
collection of Sara Levy (17611854), a virtuoso harpsichordist, music collector,
patron, and great-aunt of Felix Mendelssohn who performed with and donated
numerous musical manuscripts to the Sing-Akademie.110 Both manuscript parts
were marked 5. Collection sometime after copying, possibly in acknowledg-
ment of Telemanns other four sets of duets (the Sonates sans basse, XIIX Canons
mlodieux, Second livre de duo, and Sei duetti). The Sing-Akademie duets appear to have
been widely known in Berlin musical circles, for eight of them are excerpted in
Quantzs Solfeggi (see Table 5.1). Yet the fact that there are nine in all is cause for
suspicion, for we have seen that Telemann habitually followed the convention of
grouping sonatas into sets of six or twelve. Such suspicion has a musical basis as
well, for Sonatas 79 lack the stylistic polish and imaginative spark of their pre-
decessors in the setand of Telemanns duets generally. For example, the fugal
fast movements of Sonatas 7 and 8 present routine workings-out of banal sub-
jects, most of the slow movements in Sonatas 79 are unusually brief and melod-
 Eight Telemann fr Kenner und Liebhaber 461

ically awkward, the contrast movement opening Sonata 8 (Vivace-Grave) oers

little more than empty guration, the dotted-style rst movement of Sonata 9
lacks harmonic direction and adequate rhythmic variety, and the brief rondeau
concluding the same work limits the second ute to accompanimental running
eighths (without any place to breathe!), resulting in a texture at odds with Quantzs
prescription for a good duet. In short, it would not be surprising if these three
duets turned out to stem from another composers pen.
Sonatas 16, at least, constitute signicant additions to the ute repertory. Al-
though their style is consistent with the 1730s, several unusual movement
schemes (Sonata 2: slowmoderatedance; Sonata 4: fastfastslowfast; Sonata
5: fastslowfastdance) could indicate a later date of composition. Three slow
movements (2/ii, 3/i, 4/ii) are remarkable for their especially galant rhythmic lan-
guage, featuring drum basses, written-out long appoggiaturas, and triplet, Lom-
bard, and alla zoppa gures. The lovely Piacevole opening Sonata 2 is marked by
close, canonic imitation and ingratiating touches of melodic chromaticism (Ex-
ample 8.20). This movements expressive twin, the Andante of Sonata 3, is in full-
blown Aettuoso mode and provides the only at-side tonality (G minor) in the set.
As in the Sonates sans basse, canonic and fugal writing plays an important role in
most of the duets; strict canons are found in Sonata 5/iii and in the second of
two ensuing menuets, and rigorous fugues occur in the other ve sonatas (1/i,
2/iii, 3/ii, 4/ii, 6/i, 6/iii). One episode in the fugue of Sonata 4 (mm. 2334)
moves briey to F-sharp minor and C-sharp minor by stressing vii7 in a manner
recalling the empndsam harmonic language of Wilhelm Friedemann Bachs ute
duets. Also especially attractive is the giga-fugue of Sonata 3, the eective coun-
terpoint of which harks back to a similar movement in the Sonates sans basse (Sonata
4/iv). In the fugue that opens Sonata 6, a canonic eect arises from consistent
answers of the brief subject at the unison. The fugal nale to Sonata 2 doubles
as a particularly ne polonaise; in the dance context, one might hear subject en-
tries as returns of a rondeau theme (Example 8.21). This last movement is one of
three lightly comic nales (the others being 3/iv and 4/iv) that bring to mind
several of Telemanns sonata publications from the 1730s. Finally, in a collection
stressing the mixed taste, it is no surprise that several movements are inuenced
by the French style. Besides a ne gavotte en rondeau (1/iii), as Italian as it is
French, are two sarabandes (4/iii and 5/ii) and an Aettuoso in the true
French style (6/ii; even including a petite reprise). The sarabande of the fourth
sonata includes written-out reprises for both halves of the dance, allowing the
utes to switch between melody and accompaniment. Its tonality of F-sharp
minor allows Telemann numerous opportunities to exploit the half-step E
F
,
an expressive (and dicult-to-tune) interval on the one-key ute.
462 The Hamburg Publications

example 8.20. Duet in E minor for two utes, 40:142/i, mm. 113

Piacevole
Flute 1
c


c
Flute 2


6

10

example 8.21. Duet in E minor for two utes, 40:142/iii, mm. 119

Scherzando

Flute 1

4
3

Flute 2

4
3




7

12

16

 Eight Telemann fr Kenner und Liebhaber 463

Standing out in sharp relief from Telemanns other duets are the Sei duetti for
two utes (40:13035), another set of duets surviving in a scribal copy.111 Their
tonalities (B-at major, C minor, E-at major, F minor, B-at major, and E
major) are among the most unforgiving for the one-key ute; all, with the excep-
tion of E major, are rare among Telemanns compositions for ute. The Sei duetti
are also lled with technical challenges of a kind that Telemann normally avoided
in his instrumental worksfor example, wide, slurred leaps (1/i, 1/iv), FG  al-
ternations (2/iii), and fs (4/ii). In other words, this is music designed for play-
ers of no small technical attainment and musical sophistication: the Kenner rather
than the Liebhaber.
The Sei duetti are also in a more advanced style than Telemanns other four duet
collections, suggesting that he composed them no earlier than the 1740s. The
level of rhythmic contrastand amount of Lombard, alla zoppa, and triplet
rhythmsequals or exceeds anything in the Musique de table or XII Solos, and the
written-out long appoggiaturas associated with the midcentury galant style appear
in profusion. There are also signicant amounts of melodic chromaticism and di-
minished or augmented intervals, such as the prominent augmented fourth com-
mencing the fugue subject in Sonata 1/iv and the diminished octaves in Sonata
2/i. This type of expressivity, verging on the empndsamer Stil, is illustrated by Ex-
ample 8.22. The texture in this slow rondeau is melody and accompaniment
something mostly avoided in the other duet collections. Following a twelve-mea-
sure refrain, stated by the rst ute, the second ute takes the lead in a balancing
couplet (mm. 1324) that quickly moves to C major as dominant preparation for
F minor (note that the cadential triplet in m. 16 is itself a hallmark of the mid-
century galant style). The sequential passage beginning in measure 17 is analogous
to that of the refrain but proceeds to the cadence without interruption as it is an-
imated by chromaticism (starting with the Neapolitan of C major) and long ap-
poggiaturas. If the XIIX Canons mlodieux explored a few unusual tonal relation-
ships between the middle and outer movements, the Sei duetti go a step further:
interior slow movements are in the major submediant (Sonata 3, but making a
surprising, last-minute move to end in the minor submediant), minor dominant
(Sonata 5), and minor subdominant (Sonata 6). The amount of canonic writing
is comparable to that in the Sonates sans basse and Sing-Akademie duets, but fugues
are less numerous (1/ii, 1/iv, 4/ii, 5/ii); in place of rondeaus, all the remaining
fast movements are in binary form.
A few movements are worth singling out for their amalgamations of modern
and archaic styles. The opening Grave of Sonata 2 begins as a loure, the only
specically French reference among the duets. As shown in Example 8.23, it is
464 The Hamburg Publications

example 8.22. Sei duetti no. 1/iii, mm. 124

Dolce

Flute 1 38

3
8
Flute 2


7

13

19

example 8.23. Sei duetti no. 2/i, mm. 14

46
Grave



Flute 1

6
4
[ ]
Flute 2


3

colored by chromaticism in measures 24. Following a repetition of the opening

ve-measure phrase at the upper fth, the dance reference dissolves into a series
of galant motives before being reprised toward the end of the movement. What is
most striking about this dance reference, however, is that it seems to refer to one
dance in particular: the loure-like prelude of the trio alla francese 42:d11 (Example
5.8). Now, Telemann composed many loures, but so far as I am aware, only these
two examples begin with a quarter-measure anacrusis consisting of an ascending
 Eight Telemann fr Kenner und Liebhaber 465

octave leap. Similarly, Sonata 4 self-consciously looks back to music of previous

decades. The rst measure of its opening movement makes a tongue-in-cheek ref-
erence to the Corellian Adagio, with its half-note melody over a walking eighth-
note bass. But the alla zoppa rhythms of the following measure sweep the past
away in favor of the modern, galant style, as they do whenever Corellis ghost
briey reappears during the course of the movement. The following movement,
the only double fugue in the set, has two traditional subjects. Further underscor-
ing the duets supercially archaic style is the third-movement siciliana, which is
galant-ed through triplet and Lombard rhythms as well as some frivolous chro-
matic ourishes.
What motivated Telemann to compose these unusual duets? The fact that they
are quoted in the Solfeggi (see Table 5.1) suggests that we need look no further than
Berlin for an answer, and specically to Quantz and his royal pupil, Frederick the
Great. We saw in the previous chapter that Telemann was in touch with some of
the most prominent musicians at the Berlin court: Johann Friedrich Agricola,
C. P. E. Bach, Franz Benda, Carl Heinrich Graun, and Christoph Nichelmann.112
Given these contacts, and Grauns repeated invitations to visit him in Berlin, Tele-
mann might well have traveled from Hamburg to the court sometime during the
1740s or 1750s.113 Did he bring or send the Sei duetti as a musical oering to
Frederick and his ute teacher? The possibility is strengthened by the duets di-
cult tonalities. Quantzs apparent fondness for challenging keysa fondness that
may have been shared by his Berlin colleagueshas been taken as an explanation
for the tonalities of J. S. Bachs ute compositions for the Berlin court: the E-
major ute sonata, BWV 1035, and the C-minor Sonata sopril soggetto reale
from Das musicalische Opfer, BWV 1079.114 Like Bach, Telemann may have sought
to accommodate the prevailing Prussian taste by casting the Sei duetti in fashion-
able keys. The duets midcentury galant style, too, would no doubt have met with
the Berliners approval. Further suggesting Quantz and Frederick as Telemanns
inspiration is the apparent reference to 42:d11, a trio that Quantz knew, recom-
mended in the Versuch, and used in his teachinga musical wink from Telemann
to his dedicatees.
Telemanns nal publication was the Symphonie zur Serenate auf die erste hundertjhrige
Jubelfeyer der Hamburgischen Lblichen Handlungs-Deputation (Symphony to the Serenade
for the First Hundred-Year Jubilee of the Commendable Hamburg Commerce
Deputation), Anh. 50:1. Printed in a keyboard reduction by Michael Christian
Bock using Breitkopf s music type, it was no doubt intended as a souvenir of an
important celebration, one that lled the entire day of 19 January 1765. A con-
temporaneous account mentions that Telemanns symphony and serenade (TVWV
24:4; lost) were performed during the last course of a festive meal.115 In a brief
466 The Hamburg Publications

preface to the symphony print, Telemann explained the meaning of his charac-
teristic movement titles:

The creation of this symphony was inspired by the idea of several changes of mu-
sical style occurring during the course of a century, from which styles I have cho-
sen those that are able to arouse a cheerful emotion instead of the rage of ordinary
symphonies. The symphony is divided into four sections: the rst I call Die alte Welt
[The Old World], with the tempo indication Altdeutsch [Old German]. Such hon-
orable melodies were formerly danced to by the high, low, and venerable. The sec-
ond part ows from the rst, the only dierence being that it moves along some-
what more briskly; thus the caption reads Ernsthaft-munter [Serious-cheerful]. The
mittlere Welt [Middle World] comprises the third part, and the word Capellmig [alla
breve] indicates its meter. The movement consists of a fabric that arises from a
single clause. Such elaborations had long been employed for devotional purposes
in court chapels, but were also used widely for secular purposes about fty years
ago. The jngere Welt [The Young World] concludes [the work] with a cheerful
menuet. Regarding the changes in posterity, many would probably say in advance:

Alas, I am too small

To be a Saul.

Telemann,
in his 85th year116

It would not have been lost on Telemanns audience that the composer had
himself witnessed and helped shape many of the centurys musical styles. In
its depiction of the past, the symphony recalls the earlier Ouverture des nations anci-
ennes et modernes, 55:G4. The rst movement (Die alte Welt. Altdeutsch
Ernsthaft-munter) comprises versions of Scherzos 2 and 3 (Danze Polo-
niche) from the divertimento 50:22, also composed around the mid1760s.
Telemanns association of this movement with the distant past is reected not
only in the duple-meter dances title (Altdeutsch), but also in its pairing with a
triple-meter versiona Tanz-Nachtanz conguration reminiscent of the early sev-
enteenth century.117 The title of Ernsthaft-munter recalls his earlier character-
izations of the Polish style as ernsthaft-lustig (serious-comic), a dialectic we
shall explore in the following chapter. In order to depict the more recent past
(Die mittlere Welt. Capellmig), Telemann selected a version of his alla breve
fughetta, 30:28, the next datable source for which is Johann Adam Hillers
Wchentliche Nachrichten und Anmerkungen die Musik betreend (Leipzig, 1767).118 Cer-
tainly such music must have seemed old-fashioned to audiences in 1765. That a
menuet represents the present is likewise unsurprising, given its currency in the
 Eight Telemann fr Kenner und Liebhaber 467

midcentury symphonic style; this particular dance is not known in any other ver-
sion. Although Telemanns modest symphony is not among his most inspired
eorts, it should not necessarily be taken as evidence of the octogenarian com-
posers creative exhaustion.119 (His mention of the rage of ordinary sympho-
nies, however, does seem like an old mans aversion to the younger generations
musical taste.) If some of the Symphonie zur Serenate was recycled from earlier works,
and if Telemann felt no need to proselytize, Saul-like, about the musical future,
then this was only appropriate in an occasional work intended to commemorate
the past.
This page intentionally left blank
 Chapter 9
Telemanns Polish Style
and the True Barbaric Beauty
of the Musical Other

Representations of the Other in Western art music of the long eighteenth cen-
tury (ca. 16701830) typically involve Orientalist evocations of Turkish or Gypsy
music.1 Among the most celebrated examples of the so-called stilo alla turcawith
its percussive eects, crude harmonies, and characteristic melodic and rhythmic
patternsare Lullys Le Bourgeois gentilhomme (1670), Rameaus Les Indes galantes
(1735), Glucks La rencontre imprvue (1764), Mozarts Die Entfhrung aus dem Serail
(1783), Haydns Symphony no. 100 (Military; 179394), and Beethovens
Symphony no. 9 (182224). Telemann, too, composed Turkish pieces such as
the characteristic suite movements Les Janissaires (55:D17), Les Turcs (55:
B5), and Mezzetin en turc (55:B8). As many critics have noted, one purpose
of the stilo alla turca and the Gypsy-inspired style hongrois (which blossomed during
the nineteenth century) was to dene the musical self through negative example;
by presenting an array of musical barbarisms, these exotic styles reassured West-
ern Europeans of their cultural superiority over the East. Yet one important epi-
sode in this project of self-denition has received comparatively little attention:
the incorporation of musical characteristics associated with traditional Polish
songs and dances into what we shall call the style polonais. As has long been recog-
nized, no other composer explored this mode of expression as thoroughly as Tele-
mann. Six of his multimovement instrumental works and an additional fty-one
movements are identied in their sources as Polish by such titles as Polonoise,
Serras, Hanaquoise, and the like;2 dozens more movements, both instrumen-
tal and vocal, incorporate elements of the style polonais or are Polish dances in all
but name. This is a repertory without parallel during the eighteenth century, for
no other Western European composer of art music remained so closely engaged

469
470 Music for a Mixed Taste

with elements of traditional music over so many years. By way of comparison, we

have ten polonaises by Christoph Graupner and three named ones by J. S. Bach,
who also referenced the style polonais in a handful of other works.3 Little wonder,
then, that Johann Adolph Scheibe (in a passage quoted later) considered Tele-
mann to be the leading practitioner of the style among German composers.
A further, though not entirely positive, measure of the impression Telemanns
Polish music made on his contemporaries may be taken from an undated manu-
script in the hand of Johann Mattheson. Here twelve music-theoretical questions
signed Telemann are posed to the keyboardist and composer Conrad Friedrich
Hurlebusch (16951765), possibly as part of a job interview at Hamburg. The
eleventh question asks whether Polish music is not the best of all? After re-
sponding in the negative, Hurlebusch oers that

I know of no Polish music other than [Telemanns] that sounds to me quite so bar-
baric and just as beautiful as that of the bear trainers. Yet I have been assured by
several people that Telemann does not properly understand Polish music, which is
really for dancing, and therefore makes a fool of himself. Because he is so enam-
ored with it, the Poles should, after his death, acquire his skin and have a beautiful
Polish Bock [bagpipe] fashioned from it.4

Hurlebuschs impolitic response is unsurprising given the Bach familys appar-

ent opinion of him as conceited and arrogant, and the poor impression he made
on Telemann as a keyboard player.5 His charge that Telemanns use of the style po-
lonais bespeaks an ignorance of Polish musicthe several people are surely a
mask for Hurlebusch himselfmust have struck Mattheson as both ridiculous
and haughty (was Telemann not present at the interview?), and his suggestion that
the composers skin be made into a bagpipe seems more than a little contemptu-
ous. The comparison of Telemann with bear trainers may have been intended as
another backhanded compliment, though bear training had been associated with
Poles and bagpipe music since at least the sixteenth century.6 Particularly inter-
esting is Hurlebuschs description of Telemanns works as barbaric and beautiful,
which echoes the latters own characterization of traditional Polish music as pos-
sessing a true barbaric beauty (see below).
Previous studies of Telemanns style polonais have concerned themselves above
all with dening the idiom, mostly in terms of rhythm and meter, and cataloging
its occurrences in his works. Exhaustive in this respect is Klaus-Peter Kochs
seminal study of Telemanns Polish and Hanakian music.7 The goal of this
chapter is instead to consider how the composer enlisted the style polonais to gen-
erate musical and social meanings for his audience. We shall see that these mean-
 Nine Telemanns Polish Style and the Musical Other 471

ings depended principally on a series of dichotomies that still resonate in the

modern world: East versus West, high/urban versus low/rural, and serious ver-
sus comic.

Ideas to Last a Lifetime: Telemann in Poland

When Telemann wrote to Johann Gottfried Walther in 1729 that his earliest pre-
occupation as a composer was with the Polish style, he had surely not forgotten
his previous involvements with other national stylesthe French (Lully), Italian
(Corelli, Caldara, Steani), and German (Rosenmller)as a Gymnasium and
university student. Rather, he was underscoring what he considered to be among
his most signicant achievements as a composer, and the rst that he had made
as a fully professional musician.8 In both his 1718 and 1740 autobiographies he
recalled his exposure to Polish and Hanakian traditional music while serving at
the Sorau court of Count Erdmann von Promnitz in Upper Silesia between 1705
and 1708.9 Because the count spent months out of each year at his residence in
Pless (now Pszczyna), with side trips to Krakw, Telemann was able to hear such
music in both rural and urban settings.10 The earlier recollection, though brief, re-
veals the composers genuine aection for the Polish style. The later one is perhaps
the most frequently quoted passage from Telemanns writings; it includes a fasci-
nating account of music making in Polish taverns and his strong reaction to it:

Moreover, owing to [Soraus] location, I became acquainted with Polish music,

about which I must confess to having found much that is good and agreeable to
serve me subsequently in many endeavors, including serious ones. With regard to
this style, so poorly regarded by the musically literate world, I cannot refrain from
writing a small panegyric:
One praises everything except that which pleases.
Now a Polish song sets the entire world a-leaping;
Therefore its no trouble for me to conclude:
Polish music must not be made of wood.11
When the court spent half a year in Pless, an upper-Silesian territory ruled by
the Promnitz family, I became acquainted, as in Krakw, with Polish and Hanakian
music in its true barbaric beauty. In the common taverns it consisted of a ddle
strapped to the body and tuned a third higher than usual so that it could drown
out a half dozen others, a Polish Bock, a bass trombone, and a regal. At more re-
spectable places there was no regal; instead, the ddles and bagpipes were increased
in number: I once saw thirty-six bagpipes and eight ddles together. One can
472 Music for a Mixed Taste

hardly believe what wonderful ideas such Bock players or ddlers have when they
improvise [fantaisiren] while the dancers rest. In eight days an observant person
could snap up enough ideas from them to last a lifetime. Suce it to say that there
is very much in this music that is good, if it is handled properly. Since this time I
have written various large concertos and trios in this style, clothing them in an Ital-
ian dress with alternating adagios and allegros.12

Telemanns panegyric about a Polish song setting the entire world a-leaping
was more than generic praise, for Polish musicespecially when played on the
bagpipewas strongly associated with dancing. Numerous manuscript collec-
tions and printed editions from the sixteenth and seventeenth centuries testify to
the widespread popularity of Polish dances in Germany and Sweden.13 Consider
also the Tanz der Nationen performed in celebration of the 1616 baptism of
Prince Friedrich of Wrttemberg in Stuttgart and memorialized in a contempo-
rary engraving. After dancers and instrumentalists representing England, France,
and America entertained attendees with appropriate national musics and dances
(a galliard, courante, and movements by the native American to a straunge
noise), all were caused by a Polonian dancer (with bagpiper) to imitate his
kind of dauncing.14 Thus, symbolically, the entire world danced to a Polish tune.
An anonymous poem of 1707 promotes a similarly international mixture: A
German draft of wine grown on the Rhein, Italian violins, French legs; one likes
to fetch the dances of Poland, too. These rhyme very well.15
The type of performing ensemble described by Telemann may be seen in a
1693 woodcut from Krakw, reproduced in Figure 9.1. Depicted here is the in-
terior of a Polish inn, where three musicians and a dancing couple in the fore-
ground seem oblivious to a violent altercation unfolding in the background. The
violinist holds his instrument vertically, a position that would seem to require
that it be strapped to the torso for stability, as Telemann describes. Beside him
are a bagpipe player and a utist, who also wears a small drum around his neck.
The bagpipe itself is of the variety mentioned by Hurlebusch and Telemann:
Bock (literally goat) or polnischer Bock, which was made from goatskin and often
included the animals fur, appendages, and head as well. Although neither a bass
trombone nor a regal is present, the latter instrument was apparently common
among itinerant musicians in Poland during the seventeenth century.16 Early
eighteenth-century images of dancing to bagpipes (Sack-Pfeie) or Bock may be
seen in Figures 9.2 and 9.3. The Sack-Pfeier has set two peasant couples in mo-
tion, and in a short verse included with the engraving he emphasizes their mer-
riment and the loudness of his instrument.17 A crowd in the background
 Nine Telemanns Polish Style and the Musical Other 473

figure 9.1. Jakub Kazimierz Haur, Musicians at a Polish Inn, from Sklad abo skarbiec znako-
mitych sekretw ekonomiej ziemianskiej (Krakw, 1693)

watches a juggler and other entertainers perform onstage. The Bock player, on the
other hand, provides music for ve well-dressed people who are either members
of the landed gentry or urbanites visiting Arcadia for a little rustic amusement.
In his verse he proclaims with a wink: I am a handsome man and can pipe so
splendidly on the charming Bock that its enough to make many sick. Well! As the
bears enjoy a menuet, though your eyes are completely averted because of their
great diculty, you dancers soon give me something in the Bock despite the bears
leaping about! It makes me want to sing with joy!18
474 Music for a Mixed Taste

figure 9.2. Sack-Pfeie, from Johann Christoph Weigel, Musicalisches Theatrum (Nuremberg,
ca. 1722)
 Nine Telemanns Polish Style and the Musical Other 475

figure 9.3. Polnischer Bock, from Johann Christoph Weigel, Musicalisches Theatrum (Nurem-
berg, ca. 1722)
476 Music for a Mixed Taste

Telemanns description of the tavern violinists tuning has led to the suggestion
that German musicians associated Polish music with the violino piccolo, a small
instrument tuned a third or fourth higher than a standard violin.19 But this tuning
could instead relate to a practice, still current among Polish traditional musicians,
of binding the violins strings one-third of the way up their length with a cappotasta
(nut), allowing the instrument to be tuned up a fth or a sixth and more nearly
match the bagpipes volume.20 Be that as it may, loudness appears to have been a
quality highly valued by Polish violinists: Martin Agricola described Polish violins
in 1529 as producing greater resonance than Italian instruments, and in 1687
Daniel Speer noted that some Polish violinists tuned in doubled fths to produce
a stronger sound.21 As for the music itself, the dances Telemann heard almost cer-
tainly belonged to an orally transmitted repertory, the relationship of which to no-
tated Polish dances from the seventeenth and eighteenth centuries is unclear.
Still, more recent repertories and performance practices in Silesia and south-cen-
tral Poland can perhaps oer a rough approximation of his experience.22 Might he
have witnessed, for example, the kind of tempo rubato nowadays eected though
the improvisatory shifting of accents, meters, and phrasing patterns?23
Telemanns accounts raise a number of other questions as well. Why was Pol-
ish traditional music so poorly regarded by the musically literate world? What
made it sound barbaric? For which of Telemanns nonserious endeavors was the
Polish style suitable? And what are the musical and aesthetic implications of his
clothing Polish music in an Italian dress? Answering these questions requires
that we rst consider what Poland, and Eastern Europe generally, meant to Ger-
mans and other Western Europeans during the eighteenth century.

A Country in the Moon: Poland, Pastoral, and the Past

Telemanns characterization of Polands traditional music as beautiful yet bar-

barous captures the ambivalence with which many of his contemporaries regarded
the country and its people. Larry Wol has argued persuasively that Western
Europe dened its civilization with respect to the semi-Oriental backwardness of
Eastern Europe, an area that seemed to occupy the historical and cultural space
between the darkness of barbarism and the light of civilization.24 This view of
Eastern Europe as a crossroads of the Orient and Occident arose in part from an
aura of mystery surrounding its geography, for Poland, the Ukraine, the Ottoman
Empire, and the Russian Empire were all poorly mapped during the eighteenth
century.25 In the case of Poland, decades-long domination by Saxony (1697
 Nine Telemanns Polish Style and the Musical Other 477

1763), economic devastation wrought by the Great Northern War (170021),

and three partitionings (1772, 1793, and 1795, the last of which eliminated the
country as a political entity) all contributed to the countrys precipitous decline
from its political and cultural zenith during the seventeenth century. A Saxon
pamphlet of 1711 entitled Confused Poland observed that in this great con-
fused part of the world its evident that unhappy Poland is the most confused
province.26 Several decades later, the Encyclopdie portrayed the country as a cul-
tural vacuum, noting that it has no school of painting, no theater; architecture
is in its infancy; history is treated there without taste; mathematics little culti-
vated; sound philosophy almost unknown; no monument, no great city.27 In
1761 Voltaire placed Poland centuries behind Western Europe: I still give ve
hundred years to the Poles to make the fabrics of Lyon and the porcelain of
Svres.28 For Edmund Burke, writing at the end of the century, the Poles were
a people without arts, industry, commerce, or liberty. In 1793, the year of the
second partition, he oered that with respect to us, Poland might be, in fact,
considered as a country in the moon.29 From confused eastern province to
cusp of the Orient to otherworldly landthe process of displacing Poland from
its European context was completed guratively as the country was literally being
wiped o the map.
Travelers to Eastern Europe, and to Poland in particular, often expressed
shock at the living conditions they witnessed in villages and cities. Around 1680
an anonymous German poet depicted the country as a land of contradictions
of simultaneous plenty and poverty, beauty and baseness:

Here there are many feathers, and yet the beds are poor.
Many thieves and mischievous people, but hardly any justice of the gallows.
Much fruit and little bread, much wood and poor bridges.
Much war and little blood, and many mosquitoes in summer.
Sabers are not rare, nor are arrows and quivers.
The houses are neglected, the rooms are black holes.
There are certainly beautiful horses here, and yet horrible stables.
They do have cannons, and yet the ramparts are poor.30

Perceptions changed little over the following century. Voltaires opinion in

1731 that Poland was part of ancient Sarmatia was later echoed by those who
considered the country less a location in the modern world than a portal to the
distant past.31 One of these was Count Louis-Philippe de Sgur, who in 1784
journeyed from Berlin to Warsaw, a distance that he found bridged two vastly dif-
ferent worlds and epochs:
478 Music for a Mixed Taste

But the moment we enter Poland, we think we have gone altogether beyond the
bounds of Europe, and our eyes are struck by new and strange prospects. An im-
mense region, almost wholly covered with pines, always green, but always melan-
choly, intersected at great distances by some cultivated plains, similar to the islands
scattered over the ocean; a poor population of serfs, lthy villages, and cottages
little dierent from the hut of the savage Indian; everything conspires to make one
believe that we have retrograded ten centuries, and that we are in the midst of those
hordes of Huns, Scythians, Veneti, Slavi, and Sarmatians.32

A similarly sudden transformation was witnessed four years later by the Amer-
ican John Ledyard, who reversed Sgurs path by crossing from Poland into Prus-
sia. Though he described the change more in terms of moral character, Ledyard,
too, viewed Poland and Eastern Europe as belonging to a dierent continent than
Western Europe:

I have within the Space of 3 English Miles leapt the great barrier of Asiatic & Eu-
ropean manners; from Servility, Indolence, Filth, Vanity, Dishonesty, Suspicion,
Jealousy, Cowardice, Knavery, Reserve, Ignorance, Basses dEsprit & I know not
what, to everything opposite to it, busy Industry, Frankness, Neatness, well loaded
Tables, plain good manners, an obliging attention, Firmness, Intelligence, &, thank
God, Cheerfulness & and above [all] Honesty, which I solemnly swear I have not
looked full in the Face since I rst passed to the Eastward & Northward of the
Baltic. Once more welcome Europe to my warmest Embraces.33

While traveling from Saxony to Poland in 1791, the young philosopher Johann
Gottlieb Fichte was received by the locals with great politeness, but he found the
peasants dress somewhat wild and neglected, both the people and environment
dirty, and Polish women to exhibit a stronger sex drive than German women.34
This last observation replays the common trope of the oversexed Oriental or sav-
age, and with it Fichte rendered the Poles both wild and sexually threatening.
Telemanns claim in 1718 that the musically literate world reacted unenthu-
siastically to Polish musicand, one imagines, to music of the Eastern European
peasantry in generalseems credible in light of such negative pronouncements
on Polands culture. For proof of his assertion, he needed look no further than
his older Sorau colleague Wolfgang Caspar Printz, with whom he enjoyed con-
versing but disagreed on musical matters.35 In 1696 Printz described staying
overnight at a place in Siberia where

there were two beer ddlers who played such harmony as made my ears ache for four
weeks, since the bass player struck up in the ensemble simply as he wished, so that
he played hardly anything except loud dissonances, and generally sustained notes a
 Nine Telemanns Polish Style and the Musical Other 479

degree above or below the note which would have made an octave with the violin.
All the same, this music pleased the peasants there so extremely well, and they be-
came so jolly hearing it, that I thought they were going to break up the room.36

Printzs reaction to traditional music could not have been more dierent than
Telemanns, and his distasteful experience led him to develop a half-serious tax-
onomy of musical ears possessed by various types of listeners: (1) the Siberian
ear that cannot judge music at all and accepts any sound; (2) the rustic or
peasant ear that tolerates anything but dissonance; (3) the cultivated (hich)
or urban ear with a taste for the delicate but lacking musical knowledge; and
(4) the musical or noble ear that makes judgments on the basis of theoreti-
cal knowledge and reason.37 We recognize in Printzs third and fourth types the
Liebhaber (amateurs) and Kenner (connoisseurs). Another well-known German mu-
sician of the time, the Berlin Kantor Martin Heinrich Fuhrmann, similarly dis-
paraged lower-class musicians in a book published during Telemanns Sorau years:

Vitium conjunctionis [the vice of joining] is when musicians patch together old-fash-
ioned passages that sound like the sort of ornaments that country and tavern
ddlers play, or the kind of music that bunglers, eld ddlers, Bock pipers, hurdy-
gurdy players, and bagpipers like to turn out. But these are not the only ones who
play this way. Artists with more grandiose pretensions can do it too, so that any-
one would swear that they learned their trade from the beer ddlers.38

A satirical, though not entirely unsympathetic, portrait of such lower-class

musicians is provided by Johann Valentin Meders Der polnische Pracher (The Polish
Beggar) for two violins, two violas, violone, and basso continuo. Meder was Kap-
ellmeister at the Marienkirche in Danzig (now Gdansk) between 1687 and 1698,
and his characteristic sonata appears to reect direct contact with traditional Pol-
ish music during this period (the manuscript source is dated 1689). As such, the
sonata is related to a number of other seventeenth-century works representing
rustic music making, including Johann Heinrich Schmelzers Die Polnische Sackpfeie
(1665) for two violins and continuo and the undated Sonata Jucunda for two
violins, three violas, and continuo, attributed to Heinrich Ignaz Franz von Biber.
Schmelzer frequently interrupts his urban musical discourse with bagpipe im-
itations and rustic tunes played in unison, whereas Biber makes a sudden and per-
manent switch to this earthy style at his sonatas midpoint, gracing bagpipe
drones with improvisatory violin solos evocative of Gypsy ddlers. Meder, on the
other hand, is less concerned with reproducing the type of music played by bag-
pipers and ddlers than with sketching a stylized portrait of the tragicomic char-
acters in his colorful title: The Polish beggar, playing his bandorahewn from
480 Music for a Mixed Taste

an old piece of Babylonian willow, speckled with various shriveled eelskins, [and]
strung with three and a half pairs of rusted iron stringswith a quill hanging
from an old thimble, along with his discantist boy who sings with wretched
beauty, in the form of a Musical Concentum for ve instruments.39
It is noteworthy that Meders beggar plays the bandora, a type of metal-strung
bass lute that was invented as a solo instrument England but used for continuo
accompaniment on the European continent. Perhaps it carried lower-class associ-
ations in Germany and Poland, though one was owned by the Berlin Hofkapelle
in 1667, and another is seen hanging on a church wall in the frontispiece to
Walthers Musicalisches Lexicon (1732).40 In 1742 Johann Valentin Grner claimed
to have been assured that many comical and love songs of the Poles and the mar-
tial dumy of the Cossacks, which they play on the bandora, are incomparable in
their own way, and could give the most beloved songs of the French and Italians
a run for their money.41 Despite the fact that bandoras were normally played
with the ngers, both Roger North in the late seventeenth century and Johann
Heinrich Zedler in 1740 agree with Meder on the use of a quill plectrum.42
Pizzicato passages throughout the sonata (mit den Fingern anschlagen) evoke
the bandoras sound and provide a stylized representation of its strings being
tuned. In what appears to be a sacred-profane parody, the wretched beauty of
the boys singing (compare Telemanns barbaric beauty) is represented by a
chorale setting in which the simple tune is given a pizzicato accompaniment by
the bandora.
Joachim Kremer has suggested that mention in the sonatas title of Babylon-
ian willow, an unlikely material for a musical instrument, carries symbolic mean-
ing. Not only has Babylon been associated with confusion and the fruitless wil-
low tree with hypocrisy and feigned innocence, but together they also recall the
Israelites Babylonian captivity, as memorialized in the opening verses of Psalm
137: By the rivers of Babylonthere we sat down and there we wept when we
remembered Zion. On the willows there we hung up our harps.43 Does the ban-
dora therefore symbolize the Israelites harps? And are the characters in Meders
title then to be understood as Jewish musicians, or klezmorim, whose confused and
artistically barren music making reects their social disenfranchisement in the Di-
aspora? Klezmorim did, in any case, perform on lute-type instruments in Eastern
Europe during the sixteenth and seventeenth centuries.44
Meders contemporary Johann Beer, Konzertmeister at Weissenfels and an ac-
complished novelist, repeatedly placed lower-class musicians against the sharp
edge of his satirical wit.45 His 1701 pamphlet Bellum musicum oder musicalischer Krieg
includes a map of the battleeld (New and Completely Accurate Description of
the Musical Realm) for an allegorical musical war (Figure 9.4). In the Land
 Nine Telemanns Polish Style and the Musical Other 481

figure 9.4. Johann Beer, New and Completely Accurate Representation of the Musi-
cal Realm, from Bellum musicum oder musicalischer Krieg (Weienfels, 1701)

of the Haters (Terra Osorum), located in the maps northwest quadrant, are the
neighboring towns of Bagpipeville and Bockpipeville (Sackpfeingen and Bock-
pfeingen), both situated between the rivers Contempt (Despectus uss) and Stu-
pidity (Dumm uss), and not far from Beer-Fiddlerville (Bieredlingen) and the
Place of Ignorance (Locus ignorantium). Thus the musically and socially margin-
alized are geographically marginalized as well. Beers Musicalische Discurse, written
around 1690 and published posthumously in 1719, includes a particularly caus-
tic screed on beer ddlers shortcomings, both musical and moral, as well as a col-
orful recollection of a Polish violinist heard at the university Pauliner-Collegio
(student residence) in Leipzig,
482 Music for a Mixed Taste

who moved around so much with his violin, to and fro, up and down, top to toe,
freely and with restraint, hopping and jumping, that I kept thinking the fellow and
his ddle would fall out of the window. The German violinist playing with him
was having none of it, and, treating the Pole like a musical moth, smacked him on
the behind with a small, half-pound racquet; then one heard a ddle faddle, quidel
quadel, ropeldi popeldi, rumpidi pumpidi such as never before, whether it be clob-
bered or stabbed, stitched or hit, cabbage or turnip, wine or milk; in short, they
moved their heads so much in this ridiculous dance that one had his wig move to
half-past twelve, so that he could see his part with only one eye.46

This scene is like something out of a vaudeville show (or perhaps a Laurel and
Hardy movie), with the wild Pole violating the decorum of musical performance
while his German colleaguethe straight man in this comedy teamattempts
to restore social order by reining him in. Both are laughable, but it is the need to
tame the seemingly uncivilized Pole that sets events in motion.
Beers condescension toward the musical underclass, like that of Printz and
Fuhrmann, was typical of court and town musicans. Members of the latter group,
bearing ocial titles such as Stadtmusikant, Stadtpfeifer, Kunstpfeifer, Kunstgeiger, and
Trmer, often found themselves in direct competition with beer ddlers and itin-
erant Spielmnner (or Spielleute) for playing engagements such as weddingssome-
thing that they naturally resented, given their superior social position and more
extensive musical training.47 In an eort to shift the advantage toward its musi-
cian employees, the Worms town council decreed in 1708 that Jewish Spielleute were
to pay Stadtmusikanten half of the fees they earned from playing at weddings.48 One
way the guilds regulating urban musicians enforced professional standards was by
banning their members from performing on traditional instruments. In a mid-sev-
enteenth-century statute, Kunstpfeifer in Upper and Lower Saxony were forbidden
from playing dishonest instruments such as Sackpfeifen, Schafsbcke [shepherds Bock],
hurdy-gurdy, and triangle, which the beggars often play when collecting alms and
thereby treat art with contempt and diminish it.49 Such prohibitions appear to
have been widespread and long-lasting, for Wrttembergs guild declared in 1721
that none of this profession, be he master, journeyman, or apprentice, should
dare to make use at performances of Sackpfeifen, Pohlnischer Bock, hurdy-gurdy, trian-
gle, or other unmusical instruments of this kind. Those in violation were subject
to a monetary ne.50 Even among the peasantry, traditional musicians were ac-
corded low social prestige, especially those itinerant players who turned to begging
and thievery. Some villagers feared that wandering musicians dissatised with their
fees might set houses on re before eeing to another locale.51 A 1739 denition
of Musicanten notes that court musicians disassociated themselves from this
term, commonly used for Stadt-Pfeier, Bieredler, or Scher-Geiger [eld ddlers] who
 Nine Telemanns Polish Style and the Musical Other 483

play for weddings and in taverns and pubs. They preferred to be identied as
Music-Verstndige (musical literati or experts), Musici, and Virtuosen.52
All of this jockeying for status reects, of course, the close proximity in which
these various groups of musicians operated and the often uid boundaries be-
tween them: Bieredler might perform with Stadtmusikanten, who themselves often
worked alongside courtly Music-Verstndige. In Hamburg, for example, the so-called
Rollbrder played as Bieredler in the surrounding countryside but were also hired by
the city on various occasions.53 Similarly, the Kthen Hofkapelle included several
Stadtmusikanten on its payroll during J. S. Bachs tenure as Kapellmeister from 1717
to 1723, and it was during this time that Johann Joachim Quantz made the tran-
sition from Kunstpfeifer to court musician at Dresden.54
Not all opinions of beer ddlers and the like were as negative as those cited
above. The street musicians status as an entertainer is reected in a series of pop-
ular German chapbooks published from the 1660s. With titles such as Der Leyer-
matz (The Hurdy-Gurdy Man), Der lustige Scheergeiger (The Merry Field Fiddler),
and Der polnische Sackpfeier (The Polish Bagpiper), these books are lled with jokes
and merry stories, supposedly as collected and told by the ctional street musi-
cian in the title.55 Real lower-class musiciansor at least their instruments as
played by Stadtmusikanten or Music-Verstndigeoften provided exotic entertainment
at courts and urban centers. During the 1730s the Wrttemberg court employed
an ensemble called the Collected Heyducks and Bock Music, three violinists and
two Bock players who probably doubled as lackeys and may also have been
outtted in elaborate costumes imitating those of the Heyducks, Hungarian foot
soldiers. This manner of dress, featuring billowing pants, seems to have been
widely adopted among lackeys at German courts. The Dresden electoral court,
too, is known to have employed Bock players in 1697, the year that the Saxon Elec-
tor Friedrich August I converted to Catholicism and was crowned King August II
of Poland. Other German cities and towns had musicians who played the instru-
ment as well: in Leipzig, for example, one could listen to the polnische Bock while
smoking and playing cards at the Lust-Saale.56 This fascination with the foreign or
lower-class Other is reected in the instrumental and vocal polonaises that were
composed in increasing numbers from the turn of the eighteenth century, one ex-
ample being Johann Fischers published sets of Polnischer Tntze (1702 and
1706).57 Such exoticisms were mirrored in Poland itself, where the nobilitys Sar-
matian lifestyle valorized Ottoman and Islamic culture. Cossack and Turkish mu-
sicians were employed at courts from the late seventeenth century, and both for-
eigners and native Poles staed Janissary, Wallachian, and Jewish ensembles. As in
Germany, exotic dress was favored: court pages, attendants, and musicians donned
the garb of Arabs, Heyducks, and Janissaries.58
484 Music for a Mixed Taste

Franz Benda was one professional musician whose humble origins instilled in
him an appreciation of peasant music making. His 1763 autobiography includes
a touching account of his formative contact with a blind Jewish ddlera musi-
cal and social Other in several respects. (Again, one wonders how many of the
beer ddlers and Spielmnner described in seventeenth- and eighteenth-century
writings were in fact klezmorim.) Benda was about fteen and living with his par-
ents in the small Bohemian village where he was born in 1709:

In those days, an old Jew, whose name was Lebel and who was born blind, used to
play for dancing in another tavern. He was a man with quite excellent gifts for
music. He himself composed the pieces he performed, played cleanly and, in the
highest register, very clearly, and made his instrument sound exceptionally pleas-
ant, although his violin was not particularly good. I often followed him to have the
opportunity to think about the way he played, and I must honestly admit that I re-
ceived more stimulation from him than from my master to make my instrument
sound well.59

Benda wrote these words just before an awakening of interest in the traditional
music of Europe. The late eighteenth-century discoverers of peasant culture
were attracted by its exoticism and described the people as natural, simple, illit-
erate, instinctive, irrational, and tradition bound. This interest in cultural primi-
tivism tended to equate the ancient, the distant, and the popular.60 Hungarian
Gypsy entertainers, for example, were believed to represent the musical past be-
cause they played older Hungarian music (marked by pentatonicism, ecclesiasti-
cal modes, and homophonic or heterophonic textures), engaged in excessive or-
namentation, and used bagpipes and ddles.61 The fascination with Gypsy music
gave rise during the late eighteenth and nineteenth centuries to the style hongrois,
which has been called the rst wholesale and conscious embrace of a popular
music associated with a lower societal caste by the composers and listeners of
more formal, schooled music.62 A contemporaneous interest in Volkslieder was
spearheaded by Johann Gottfried von Herder, whose anthropological approach to
Eastern European folklore resulted in the publication of two song collections in
1778 and 1779. For Herder, the peoples of Eastern Europe preserved rem-
nants of the barbaric and displaced nations of ancient history, and a country
such as Poland was to be regarded more as a constituent part of Slavic civiliza-
tion than a discrete entity with its own traditions.63 Emblematic of the increased
appreciation of traditional music is Christian Friedrich Daniel Schubarts mid-
1780s opinion that the melodies of Poland are so majestic and at the same time
so graceful that they are imitated all over Europe. Who is not familiar with the
serious, proudly solemn pace of the so-called polonaise, or the softly nasal bag-
 Nine Telemanns Polish Style and the Musical Other 485

pipe melodies of the Poles? Their songs and dances are among the most beauti-
ful and charming of all peoples.64
Against this background, Telemanns strong interest in Polish traditional music
from about 1705 seems both enlightened and pioneering, even if he refrained
from applying a late eighteenth-century scientic rigor to his eld studies, and
despite the failure of the style polonais to develop into as complex a musical lan-
guage as the later style hongrois. Given the strong link between Eastern European
traditional music and archaism, it now becomes clear why Telemann used a Pol-
ish Tanz-Nachtanz pair to represent the old world in his 1765 Symphonie zur Sere-
nate, Anh. 50:1 (see chapter 8), for he must have considered Poland to embody
the remote past (as did Voltaire and Sgur), and its barbaric music to evince a
timeless primitivism. Of course, Poland also represented the old world of his
own youthful excursions in Pless and Krakw, now six decades past.
Meaning further attached to Polish traditional songs and dances through their
intersection with the pastoral aesthetic cultivated in aristocratic circles. If the
earthiness of Poland and its music was symbolized by the Bock, the pastoral was
musically embodied in the musette, a more rened type of bagpipe that inspired
its own large repertory of music in France, and that features prominently in sev-
eral of Jean-Antoine Watteaus most famous ftes galantes, including LAmour au
thtre franais (1714), Les Bergers (ca. 1716), and Ftes vnitiennes (ca. 1718). In keep-
ing with such idealized, Arcadian views of the countryside, Polish bagpipers
tended to be portrayed as jovial and contented: the Sack-Pfeier in Figure 9.2 en-
courages dancers to leap joyfully (spring Lustig) and be merry (lustig), while the
Bock player in Figure 9.3 sings with joy (lustig singen) when he receives a few coins
for his troubles. Another bagpiper illustrated in a seventeenth-century Austrian
woodcut becomes contented (lustig seyn) only when properly lubricated with
wine.65 No doubt these slightly buoonish characters were perceived as lustig in
the comic sense as well.66 Recall, in this regard, Beers Polish ddler, and that the
jocular Harlequinade movement of 55:a7 is identied in one manuscript as a
Polish dance. The association of rustic dances with humor seems to have per-
sisted during succeeding decades. In August 1778 the Englishman William Coxe
was entertained with a fte champtre at the villa of the Polish Prince Adam Zarto-
riski, who had fashioned his estate at Zamosc into a kind of rustic-exotic fantasy
land: the main house was constructed like those of the peasants but was fur-
nished with every species of elegant magnicence which riches and taste could
collect; the grounds, laid out in the English taste, included ruins, rustic
sheds, romantic bridges made of tree trunks and branches, and a Turkish tent
of rich and curious workmanship.67 After dinner, Coxe and the other guests were
treated to a display of music and dance:
486 Music for a Mixed Taste

We ranged about as fancy dictated, and were gratied with the sound of wind in-
struments in dierent parts of the grounds. We repassed the bridge, and returned
into the cottage, when the two eldest daughters of the princess, habited in Grecian
dresses of elegant simplicity, performed a Polish and Cossac dance; the former se-
rious and graceful, the latter comic and lively. The eldest son, a boy eight years of
age, next performed a hornpipe with great agility, and afterwards a dance in the
style of the Polish peasants with much humour.68

Certainly there was a long and widespread tradition of mixing the pastoral-
rustic and comic, beginning with the idylls of Theocritus (ca. 316260 BCE),
who provided his urban readers with the sometimes sad, sometimes comic spec-
tacle of bucolic love.69 Taking a broadly anthropological view, Mikhail Bakhtin
notes that in the folklore of primitive peoples, coupled with the cults which
were serious in tone and organization were other, comic cults which laughed and
scoed at the deity (ritual laughter); coupled with serious myths were comic and
abusive ones; coupled with heroes were their parodies and doublets.70 Closer to
the eighteenth century, the simples in Shakespeares plays are shepherds who,
taking on the role of clown, humorously critique courtly life.71 And closer still
are the pastoral divertissements of Molire and Lully, which often contain strongly
comic, parodistic, or satiric elements. In the intermdes to Molires play La Princesse
dElide (1664), for example, poetic and musical conventions of the pastoral genre
are given a vulgarly comedic twist by the court fool Moron.72 Yet as already inti-
mated, there was a sadness associated with the countryside as well: Sgur found
the pine trees of rural Poland to be always green, but always melancholy, just as
urbanites who lingered too long in Arcadia were supposedly susceptible to a
lonely melancholy. Bellmans characterization of the especially fraught relation-
ship between Western Europe and the Gypsies cannot automatically be extended
to lower-class musicians generally, but it surely speaks to some of the ambivalent
feelings and social tensions at play when a German court Kapellmeister like Tele-
mann observed peasant music making in provincial Polish taverns:

One could look at societal outcasts performing this music and hear an almost too-
desperate celebration, a bottomless grief, and a wild, kaleidoscopic shifting be-
tween moods with no attempt at (or desire for) transition between them. This
music came to suggest the condition of those who played it and thus was a con-
stant reminder of societys mixed feelings about the Gypsies, of the fear and re-
vulsion, envy and attraction.73

The multiplicity of emotions that such music was capable of expressing and
eliciting seems to lie behind Telemanns observation that the Polish style was use-
 Nine Telemanns Polish Style and the Musical Other 487

ful in many endeavors, including serious ones; that is, it was a locus for both
frivolous and sober sentiments. The former are expressed in the ode Vergngen,
TVWV 25:87 (Vier und zwanzig theils ernsthafte, theils scherzende Oden no. 2), where
Telemann supplies the rubric Polnisch and sets the words Lass mich lachen,
weil ich kann! (Let me laugh, because I can!). A more serious aect is embodied
by 55:D5/v, a polonaise with the unusual expression marking Serieusement
mais avec cadence. Telemann rst explicitly acknowledged the emotional duality
of the style polonais in the commentary to his lied Sanfter Schlaf (TVWV
25:63; Singe- Spiel- und General-Bass-bungen no. 25), where he coins the phrase die
lustige polnische Ernsthaftigkeit (the comic Polish seriousness).74 This oxy-
moronic formulation was echoed by his Hamburg colleague Johann Adolph
Scheibe just a few years later:

The famous Herr Telemann was the rst to create a vogue for [Polish music], and
to demonstrate for us by means of the most splendid examples how beautiful this
musical style is when practiced with perfection. . . . This style is generally quite
comic [lustig], but nevertheless of great seriousness [Ernsthaftigkeit]. One may very
easily employ it for satirical purposes. It seems almost to mock itself: in particular,
it bets a really serious and bitter satire.75

Telemanns and Scheibes conception of the Polish style as comic-serious, self-

mocking, and satiric may have derived from a combination of pastoral associa-
tions, humorous representations of Poles, and a tradition of comic or satirical
song in the western part of Poland.76 Self-mockery is, in any case, an element in
the verse accompanying our ironically winking Bock player (Figure 9.3). We have
already observed the association of Polish music with jocular sentiments in Tele-
manns cantata Wie? ruhet ihr, versteckte Saiten?, in the dedication of the Zweytes Sieben
mal Sieben und ein Menuet, and in numerous works and movements entitled Scherzo,
Scherzando, or Giocando.77 If obviously satirical movements such as Le
couch de Quichotte (55:G10) are scarce by comparison, there is nevertheless a
signicant repertory of comic-serious works in the Polish style that merits our
attention.
It should be pointed out that the association of Polish music with a comic-se-
rious aect was far from universal, even among Scheibes and Telemanns Ham-
burg colleagues. Mattheson noted with dismay that the Polish styles popularity
had inspired la polonais settings of the most serious words and poems, which
made a strange eect indeed. He then oered that if I had to compose some-
thing or set words in which a particular frankness or a really free manner pre-
dominated, I would choose no other melody type than the Polishan estimation
488 Music for a Mixed Taste

based, in my opinion, on its true colors or character and aect. Seldom is the gen-
uine nature and quality of a people concealed by its festivities and dances, though
this may easily occur in other respects.78 For Mattheson, then, Polish music ap-
pears to have conjured up a directness of expression and freedom from social con-
straints associated with the pastoral.
Although not referring specically to the Polish style, a few writers of the fol-
lowing generation acknowledged that certain types of humor embrace an element
of seriousness, even if it is merely feigned. In the early 1770s Johann Georg
Sulzer considered that the high comic borders on tragedy, where strong and se-
rious passions come into play.79 And the anonymous author of An Essay on
Humour, Translated from the German, which appeared in a 1789 issue of Lon-
dons Literary Magazine and British Review, noted that humor requires singularity and
a certain air of seriousness and that an author possesses real humor when, with
an air of gravity, he paints objects in such colors as promote mirth and excite
laughter.80 At the same time, there was critical resistance to mixing the comic and
serious in music. During the 1760s Johann Adam Hiller, himself the composer
of polonaises, advised composers against attempting any synthesis of the comic
and serious: Let [the instrumental composer] beware of that strange mixture of
the comic and the serious, the happy and the sad, the elevated and the lowly, that
will remain tasteless as long as it is unnatural to laugh and cry at the same time.81
Hiller joined with a number of north German critics in singling out Haydn and
other Viennese composers for inappropriately combining comic and serious ex-
pression in the same work.82 As Charles Burney was informed by a Hamburg
friend in 1772, the genius, ne ideas, and fancy of Haydn, Ditters, and Filtz,
were praised, but their mixture of serious and comic was disliked.83 Whatever
Hiller and his colleagues may have made of Telemanns comic-serious music in
the Polish style, by the end of the century critical resistance to the Viennese brand
of comic seriousness had subsided.

Representing Poland Musically

By clothing Polish music in the guise of the sonata or concerto, as Telemann

put it in 1740, he was not only distancing himself from its true barbaric beauty,
but also in a sense transcending and domesticating it, as if it were a naked savage
in need of civilizing garments.84 His desire to shape this raw material into a form
recognizable and palatable to Western Europeans not only recalls the sonatas of
Biber, Meder, and Schmelzer mentioned earlier, but also anticipates Franz Liszts
 Nine Telemanns Polish Style and the Musical Other 489

similar intentions regarding Hungarian music more than a century later: The
pleasure of transferring to our instrument [piano] the eloquent apostrophes, the
lugubrious displays of feeling, the reveries, eusions and exaltations of this wild
muse seemed more and more seductive.85 Yet unlike many of his contemporaries,
who tended to exercise complete aesthetic control over Polish music by taming it
into submission (one thinks especially of the polonaises in the First Brandenburg
Concerto, BWV 1046; the B-minor overture-suite, BWV 1067; and the Grand
Concerto op. 6, no. 3, HWV 321), Telemann often allows its earthier elements
to poke through the musics galant veneer. In these cases, the listener is invited to
question just who is controlling whom. Such mediation between the music of Eu-
ropes dominant culture and that of its internal Othersthe peasantry living
in close proximity to urban centers and courtsmust have seemed novel to au-
diences accustomed to gallicized exoticisms such as Fischers Polnischer Tntze.86
To the extent that appropriations of music from a dierent culture do not im-
itate the Other so much as represent our own thoughts about the Other,87 the
stilo alla turca furnishes a convenient case in point. Musical representations of the
Turkish mehter (military or Janissary band) become especially popular following
the 1683 Siege of Vienna by the Turks, who were defeated by the Habsburg prin-
cipalities allied with Poland. Both warring sides played music as the battle raged
on, and the percussive sounds of the Turks became xed in the European imagi-
nation from this point onward.88 Already in December 1672, Turkish musicians
had played at the coronation festivities for King Carl XI of Sweden, which may
have been the rst performance of its kind at a European court. Following the
signing of the Treaty of Karlowitz in 1699, the Turkish sultan, Mehmet IV, pre-
sented the Saxon elector Friedrich August I with a mehter that performed fre-
quently at the Dresden court.89 Yet most courtly performances of Turkish
music featured European musicians dressed as Janissaries and playing Western in-
struments, and what became the stilo alla turca was in large measure an imagined or
roughly translated style. Jacob von Sthlin, who described the barbaric music
played by the Janissary band of Friedrich August II as Oriental, foreign, and
wonderful, found imitations of Turkish music at the imperial Russian court to
be unconvincing:

Already at the court of Empress Anna [Iranovna], on the occasion of the Turkish
Peace of Belgrade in 1739, a fair imitation of Turkish music was presented by an
ensemble of German court musicians under the direction of . . . concertmaster
Hbner, and employed as a pleasurable change of pace during the Tafel-Musik.
However, it was always too melodious and not irregular or Turkish enough.90
490 Music for a Mixed Taste

Yet for most Western listeners, such representations adequately reected per-
ceptions of the Turkish Other as exotic, barbaric, and militaristic. Telemanns
Les Janissaires movement from 55:D17, excerpted in Example 9.1, exemplies
these qualities through its melodic and rhythmic repetitions, drone bass,
Mixolydian atted seventh scale degree, unison writing, and crude harmony; es-
pecially characteristic of the stilo alla turca are the percussive eects evoking the bat-
terie turque (bass drum, tambourine, cymbals, and Turkish crescent) in measures
1216. Many of the same features are present in the comic-exotic Mezzetin en
turc from 55:B8 (Example 2.1), and in the Sinfonia, March[e] en Persien from
act 2, scene 12 of the opera Miriways, TVWV 21:24 (1728), set in Esfahan, Iran.
According to the operas libretto, the sinfonia represents the military drums,
shawms, and kerenei winds that are played at sunset following Persian custom. As
in Les Janissaires and two other movements from the opera emphasizing local
color (the Chor der Persianer and Miriwayss aria Ein doppler Kranz, both
in act 1, scene 2), the string orchestra is supplemented by horns or trumpets that
are apparently meant to evoke Ottoman and Arabian wind instruments.
Ironically, the audience for such fanciful representations of Oriental Other-
ness could also read authentic literature from Turkey and the Middle East in
translations carefully prepared from centuries-old manuscript sources. For ex-
ample, Antoine Gallands Les mille et une nuits: Contes arabes (1704) was immediately
rendered into English as Arabian Nights Entertainments. And Franois Ptis de la
Croixs Histoire de la sultane de Perse et des viziers (1707) and Les mille et un jour: Contes
persans (Paris, 171012) were variously translated as Turkish tales, Consisting of Sev-
eral Extraordinary Adventures, with The History of the Sultaness of Persia and the Viziers
(1708), The Thousand and One Days: Persian Tales (1714), The Persian and the Turkish Tales,
Compleat (1714), and Tausend und ein Tag; das ist, Persianische Historien und allerley Liebes-
intriguen (1745). Signicantly, however, these tales quickly inspired a number of
European-written imitations that remained popular throughout the eighteenth
century.91
The more easily accessedor at least, more easily reproducedmusic of the
Gypsies eventually lent itself to representations of greater verisimilitude through
the style hongrois. Yet both this style and the stilo alla turca were little more than ex-
otic topics during the eighteenth century, and the many characteristics they share
with each other and the pastoral style has led one writer to subsume all three
modes of expression under the rubric stylus rusticanus.92 This relatedness of the ex-
otic and the rustic is neatly encapsulated in Prince Zartoriskis Polish gardens,
where peasants, Cossacks, ancient Greeks, and Turks rubbed shoulders, and in the
title of a description of festivities at the Wolfenbttel court during Carnival
 Nine Telemanns Polish Style and the Musical Other 491
example 9.1. Suite in D major for 2 horns or trumpets, strings, and continuo, 55:
D17/ii, mm. 118

Hrn/Tpt 1 in D

C
Hrn/Tpt 2 in D
C
Violin 1

C
Violin 2 C
C
Viola

Continuo
C
7 5 6 5 6
4 3 4 3 4
2

5 7
3 4

13










5 5 b7 5
4 3 4 3 3
2 2
Table 9.1 A lexicon of musical exoticism
Oriental
(17th-20th centuries)
Modal inections: raised
Lydian 4th and
augmented 2nd
Crude, unprepared, or
nonfunctional harmonies
Drones
Grace notes, trills, and
jangling ornamentation
Repetitive rhythms and
melodies
Long note values giving way
to shorter diminutions
Motoric 16th-note
passagework
Parallel 4ths, 5ths, 8ves
Percussion or percussive
eects
Ad libitum or improvisatory
passages
Use of triplets in duple time
Double reed instruments
Chromaticism
Complex or irregular rhythms
Ostinati
Sources: Bauman, Die Entfhrung, 6365; Bellman, The Style Hongrois, chapters 2, 3, and 5; and Scott, Orien-
talism and Musical Style, 327.
Stilo alla turca
(17th-19th centuries)
Modal inection: raised
Lydian 4th
Crude, unprepared, or
nonfunctional harmonies
Drones
Grace notes, trills, and
jangling ornamentation
Repetitive rhythms and
melodies
Long note values giving way
to shorter diminutions
Motoric 16th-note
passagework
Parallel 8ves
Percussion or percussive
eects
Melody in parallel 3rds
2/4 meter
Prominent use of melodic
3rds
Style hongrois
(18th-19th centuries)
Modal inections: raised
Lydian 4th and Gypsy
scale (major scale with
lowered 2nd and 6th)
Crude, unprepared, or
nonfunctional harmonies
Drones
Grace notes, trills, and
jangling ornamentation
Ad libitum or improvisatory
passages (from the Gypsy
hallgat)
Use of triplets in duple time
Soloistic treatment of oboe,
clarinet, or violin
Melody in parallel 3rds
2/4 meter
Kuruc 4th (5-1 Hungarian
fanfare gure)
Alla zoppa (syncopated) and
Lombard (reverse-dotted)
rhythmic gures
Anapest (short-short-long),
spondee (long-long), and
chroriambus (long-short-
short-long) rhythms
Dotted rhythms (from the
Gypsy verbunkos)
Minor mode
Pizzicato
Extremes of range
 Nine Telemanns Polish Style and the Musical Other 493

1697: Trken-Ballet, und Bauren- oder Hirten-Masquerade (Ballet of the

Turks and Masquerade of the Peasants or Shepherds).93
The means by which Turks, Gypsies, and other exotic nationalities or ethnic
groups have traditionally been represented to Western European ears are outlined
in Table 9.1, a condensed lexicon of musical exoticism from the seventeenth
through twentieth centuries. Note that this list is by no means exhaustive, and
that certain characteristics are tied to specic chronological periods. In the left-
hand column are musical devices commonly employed to evoke the Orient,
broadly dened as anything east of Western Europe. The middle and right-hand
columns list the main elements of the stilo alla turca and style hongrois. As Bellman
notes, in aggregate these characteristics yield stylized noisemaking that was in
direct opposition to everything a delightful, elegant piece of European music was
supposed to be.94 Or as Mary Hunter puts it with regard to the stilo alla turca, they
result in a decient or messy version of European music.95 Those characteris-
tics central to all three styles constitute the most conventional signiers of the
musical Other: modal inections; crude, unprepared, or nonfunctional harmony;
drones; and grace notes, trills, and various jangling ornaments. Although oth-
ers signify only one or two styles, there is sucient overlap to create the potential
for doubt as to which culture a given musical work or passage refersGypsy,
Turkish, or something farther east. Turks might also be musically confused with
Poles: Telemanns Mezzetin en turc lurks among the danses dPolonese in one
manuscript.96 In fact, the style polonais shares much with both the stilo alla turca and
style hongrois. Aside from distinctive rhythmic and metrical characteristics, dis-
cussed below, Polish markers include modal inections, crude harmony, noisy or-
namentation, pronounced rhythmic and melodic repetition, restricted melodic
range, unison and octave doublings, drones, and alla zoppa and Lombard rhythms.
Eighteenth-century theoretical descriptions of the polonaise and mazurka
the two Polish dances heard most frequently outside of Polandtend to focus
on the parameters of rhythm and meter, though some also address the issue of
authenticity vis--vis the dances transformation by Western European com-
posers. In his manuscript treatise Disputatio de tactu musico (Uppsala, 1698), Harald
Vallerius gives examples of a duple-meter polonaise, a French triple-meter ver-
sion with iambic rhythms, and a folk triple-meter version with trochaic
rhythms.97 Several decades later, Mattheson also discusses both duple-meter and
triple-meter polonaises and further notes that the dance is characterized by
spondaic or iambic rhythmic patterns, frequent pitch repetitions, the lack of an
anacrusis, and unison performance. As a practical demonstration, he transforms
the chorale Ich ruf zu dir into a Tanz-Nachtanz pair la polonais.98 The unusual
metrical stresses associated with the Polish style are described by Scheibe: duple-
meter dances have the accent in the middle of the measure, whereas triple-meter
494 Music for a Mixed Taste

dances are accented on the last two beats of each measure. He notes that the Pol-
ish style may appear in both slow and fast movements.99 Marpurg, echoing Val-
lerius, distinguishes between the German polonaise and the authentic Polish dance.
Instead of repetitions of rhythmic patterns such as the eighth-sixteenth-sixteenth
or eighth-sixteenth-sixteenth-quarter-quarter gures found in German dances, he
observes, true Polish polonaises make extensive use of syncopation and often fea-
ture passages of straight eighths or sixteenths. Moreover, the Polish prefer to end
both halves of their dances in the tonic and refrain from introducing trios and pas-
sages marked piano. Other features of authentic Polish dances, according to Mar-
purg, include hocket-like imitation and cadential appoggiaturas below, rather than
above, the nal note.100 He also associates the mazurka with the French musette
(they dier essentially in name only), thus conating Polish and pastoral.101
Several later eighteenth-century discussions of the style polonais also distinguish
between genuine Polish dances and those written by Germans. Johann Philipp
Kirnberger quips that German polonaises dier from true polonaises as much
as gravediggers dier from priests, though both are clothed in black.102 Georg
Simon Lhlein nds that these Polish dance melodies have their strange beauty,
especially when they appear in their own costume rather than that of Germany.
They are more dicult to compose and play than one might suppose. Their per-
formance requires a certain vitality that one can learn only from the Poles them-
selves.103 And Johann Gottlieb Trk considers that few polonaises written by
German composers and danced in Germany possess the character of a genuine
polonaise.104 It is noteworthy that both Kirnberger and Lhlein turn to the same
clothing metaphor used previously by Telemann (though they claim to prefer their
Polish music in its native garb), and that Lhleins strange beauty recalls Tele-
manns barbaric beauty.
In turning now to Telemanns application of the style polonais, let us rst review
his vocabulary of musical gestures drawn from traditional Polish music. Klaus-
Peter Koch has identied a number of rhythmic and melodic similarities between
Telemanns Polish-style works and Eastern European melodies notated in seven-
teenth- and eighteenth-century manuscript sources.105 These do not appear to in-
dicate conscious borrowings from authentic dances so much as a receptivity to
common melodic-rhythmic archetypes. For example, one feature common in the
sources, a descendental eect in which rhythmic density progressively decreases
within each measure or phrase, may be seen in the rst two measures of the nales
to 43:D1 (Example 6.7) and 40:142 (Example 8.21).106 Similar polonaise
rhythms, but in the less common duple meter, are found along with other char-
acteristic elements in the Sonata Polonese 3 for violin, viola, and continuo,
42:a8, each movement of which is in the style polonais (Example 9.2). This unusual
 Nine Telemanns Polish Style and the Musical Other 495

example 9.2. Sonata Polonese 3 for violin, viola, and continuo, 42:a8: (a) movement
1, mm. 15; (b) movement 2, mm. 14
(a)

Andante
c
Violin

Viola c

Continuo
c

(b)
4
Allegro


Violin 4

4
Viola 4
Continuo
44

3

work may represent one of Telemanns earlier eorts in the style, for its manu-
script source can be dated to the Frankfurt period. Note especially the polonaise
rhythm in the sonatas rst movement, the rhythmically animated drone of the
second movement, and the persistent repetition of short rhythmic cells in both
movements. Excerpted in Example 9.3 is another relatively early work, the nale to
the concerto for oboe and strings, 51:c1. Here the style polonais blends seamlessly with
the Italian concerto style. The ritornellos rst segment (mm. 17) tends to em-
phasize beats 2 and 3 of the measure (the strokes could indicate either staccato or
heavy execution), and the second concludes with a polonaise rhythm in allunisono
scoring (mm. 1215). Next comes some rustic ornamentation above a drone bass
(mm. 1617), a concluding cadence, and the reentry of the oboe as soloist in the
rst episode (m. 22).
The sort of rhythmic repetition seen in the Sonata Polonese, again com-
bined with a bass drone, marks the refrain to a rondeau concluding the popular
example 9.3. Concerto in C minor for oboe and strings, 51:c1/iv, mm. 122

Oboe 43
Allegro

3

Violin 1 4
Violin 2 43





Viola
3
4





Continuo
43

12

18

 Nine Telemanns Polish Style 497

concerto for ute, recorder, and strings, 52:e1. As illustrated in Example 9.4,
this movement is remarkable above all for an earthy rhythmic drive that imbues
it with an aura of authenticity, regardless of how far the music may be from ac-
tual Polish dances of Telemanns time. Just as rustic are the soloistic couplets, with
their emphasis on unison and octave writing, reiterated pitches, repetitions of
rhythmic cells, ornamental slides, and rapid, motoric passagework (another ex-
otic trope). This is Telemanns style polonais at its most viscerally thrilling. We have
already noted some of the harmonic barbarisms associated with the style, par-
ticularly the use of abrupt tonal shifts, modal inections, and modal mixture.
Worth recalling here is the bizarre modulatory plan of the rst couplet in 42:E1/i
(III scherzi) and the arresting chromatic passage in 43:B3/ii (Example 3.16). On
the surface, such eects may seem purely comedic; on a deeper level, however,
they embody the perceived incoherence and irrationality of Eastern European
traditional music. The same may be said of the grotesquely disconnected se-
quence of motives in 43:B3/ii, where we also encounter syncopation and
straight eighth-note gures (both mentioned by Marpurg as characteristic of
true Polish dances), as well as numerous ornamental slides, snapping graces, and
trills. Similar jangling ornaments grace a companion work, the Concerto alla
Polonese, 43:G7, as well as the fourth-movement Scherzo of the concerto en
suite 51:F4.
Two movements furnish particularly striking examples of the style polonais (or
at least, the stylus rusticanus) as a defamiliarizing element. Concluding the trio for
recorder, treble viol, and continuo, 42:d7, is a gavotte en rondeau in the mixed taste.
As noted in chapter 5, the encroachment of the Italian style upon the French is
felt here especially in the running eighth notes of the bass and the recorders rapid
divisions during the second coupletin other words, business as usual for a galant
sonata such as this. But the third and nal couplet brings with it a sudden shift to
the parallel major, repeated tonic and dominant pitches in the bass, and the rep-
etition of short rhythmic cells in the two treble parts, now playing in thirds and
sixths (Example 9.5).107 This is the Polish style as comically disruptive and
grotesquean intrusion of the lower class upon the domain of the upper class,
of the country upon the city, of the crude upon the rened. As Bakhtin
might say, the couplet enacts a carnivalesque overturning of the social order, at once
disconcerting and lled with the spirit of regenerative laughter. (Laughter itself,
incidentally, is portrayed in Le Ris from the double lute suite 39:1; perhaps not
unexpectedly, the music exhibits the kinds of abrupt tonal and metrical disjunc-
tions found in some of Telemanns Polish dances.) A similar eect occurs during
the second movement of the violin concerto 51:C2, where a central solo epi-
sodesignicantly, the only one in this ritornello-form movementsuddenly
example 9.4. Concerto in E minor for ute, recorder, and strings, 52:e1/iv, mm. 120

Presto

Recorder
and Flute C
C
Violin 1
Violin 2 C
Viola

C

Continuo
C

13

17








 Nine Telemanns Polish Style and the Musical Other 499

veers o into the Polish mode via repetitive melodic and rhythmic gures ac-
companied by drones (mm. 3749). This music has a decidedly improvisatory
quality that may itself be taken to signify the low or rustic style, and once again
the oending passage is more interruption than elaboration of the musical argu-
ment, in the same way inappropriate laughter intrudes upon a serious discourse.
As if rendered speechless by this uncalled-for display of lower-class ddling, the
tutti merely repeats its opening material to close out the movement. Yet despite
the unexpectedly liberating nature of the outbursts here and in the trio move-
ment, both are safely containedas if behind the glass of a curio cabinetby
upper-class musical styles and structures (French/rondeau and Italian/ritor-
nello). The music may be jolted out of complacency, but it does not completely
forget itself.
Few types of music are more serious in aect than the French overture. Even
here, however, Telemann is willing to mix courtly and country styles and to ren-
der the stately silly. In the index to Der getreue Music-Meister he identies the key-
board suite 32:2, which opens with an Ouverture la Polonoise, as an Ou-
verture burlesque, thereby explicitly linking the Polish style with parody or satire.
The overtures rst section dispenses with the usual rhythmes saccads in favor of
what might be described as a Polish light style, featuring repetitive rhythms and
melodic gures above a drum bass; in the imitative fast section, Telemanns sub-
ject begins with the characteristic eighth-sixteenth-sixteenth-quarter-quarter
polonaise rhythm. Most of the ensuing dance movements, including the usually
noble loure, are also inected by the style polonais. Likewise, both sections of the
overture to 55:D12 rustically parody the genre through polonaise rhythms,
drones, unisons, and atted sevenths (the fast section also features the posthorn
topic of octave leaps).
Although the chaconne, too, is strongly associated with noble and stately ex-
pression (as, for example, in the tragdies lyriques of Lully), it was also a favorite
dance for commedia dellarte characters such as Harlequin in both the French and
Italian traditions. Lullys Chaconne des Scaramouches, Trivelins et Arlequins
from the fth act of his comdie-ballet Le Bourgeois gentilhomme (1670) is perhaps the
best known example. In Germany, Lambranzis 1716 dance treatise illustrates
Harlequin dancing a chicona.108 However, the music for such burlesque dances
tends not to be especially humorous itself; the comedic eect is created largely
through the dancers costume, hopping steps, and exaggerated gestures.109 We
have already seen Telemann poking fun at the genre in his Lilliputsche Cha-
conne from the Intrada, nebst burlesquer Suite, 40:108, and equally ridiculous
is the Chaconne comique for strings from the pastoral singspiel Der neumodische
Liebhaber Damon, TVWV 21:8. In act 3, scene 5 of Damon, the satyr Hippo unin-
500 Music for a Mixed Taste

example 9.5. Trio in D minor for recorder, treble viol, and continuo, 42:d7/iv,
mm. 3250

c
32

Recorder
Treble viol c
c
Continuo

36

40









44

47

 Nine Telemanns Polish Style and the Musical Other 501

tentionally releases several merry masked characters from his box of rarities. The
entre of these characters commences with the comic chaconne, which seems to draw
its repertoire of antic musical gestures from both opera bua and the style polonais.
Much of the melodic material is based on the sixteenth-sixteenth-eighth rhythm or
its reverse, and the dances couplets are a riot of repeated gures, bua unisons, mock-
serious chromaticism, excessive trills, and sharped fourths over a tonic drone. This
is one chaconne in which musical frivolity complements burlesque choreography.
The opposite eect may also occur: a Polish dance can suddenly stop smirk-
ing when serious music intrudes upon the fun. In the rollicking nale of the
concerto alla francese 53:G1, which provides one of the most extensive catalogs of
rustic topics in Telemanns music, sober suspension chains for the utes (mm.
8794) seem incongruously artful, as does a chromatic descent divided between
soloists and tutti (mm. 12430). Within the context of the movements jocular
discourse, however, these passages are surely to be heard as tongue-in-cheek wit-
ticisms. Similarly, the rst couplet in the Scherzo of 51:F4 delights in its teasing
banter between instrumental groups. But the winds soon darken the mood
through more suspensions, then momentarily silence the violin soloist with
canonic gures over a bass pedal tone (mm. 3549). When the violin reenters, all
trace of comedy has vanished as a result of this brief excursion to the musically
learned realm.
A nal instance of comic Polish seriousness returns us to Telemanns operas.
In the concluding duet of the intermezzo Pimpinone, oder Die ungleiche Heirat, a ri-
tornello passage beginning on the last beat of measure 3 seems to reference the
style polonais through repetitive rhythmic gures, restricted melodic range, scoring
in octaves with primitive harmonization in parallel thirds, and a drone bass
(Example 9.6). (Very similar music occurs in the Scherzando nale to the oboe
concerto 51:D5, which may also have been written during the mid-1720s.) This
passage eventually attaches to Vespetta, the waspish former maid who sings to her
browbeaten husband, Pimpinone, the comically serious lines: Schweig hinkn-
ftig, albrer Tropf! / Sonst erwarte nur den Stekken. / Dieses ist der Grobheit
Lohn, / Ungeschliner Pimpinon! (Keep quiet from now on, stupid rascal!
Otherwise the cane awaits you. This is the reward for your rudeness, uncouth
Pimpinone!). Thus Vespetta reects Pimpinones uncouthness back onto him
through her rustic musical language. At the same time, however, her sting is dulled
by the comic-pastoral associations of the Polish style; we cannot take her bullying
seriously. One is reminded here of Mozarts remark, in a famous letter to his fa-
ther of 26 September 1781, that Osmins anger will be rendered comical by the
use of Turkish music in the aria Solche hergelauf ne Laen from Die Entfhrung
502 Music for a Mixed Taste

example 9.6. Schweig hinknftig, albrer Tropf! from Pimpinone, act 3, mm. 15

Violin 1

c
Violin 2 c
Viola c
Violoncello

c
c
Continuo
6 7 6 6 7 7

6 4 6
2

aus dem Serail.110 Indeed, if Osmin seems slightly ridiculous as a result of his alla
turca bluster, Vespetta is rendered a bit less threatening when she sings la polonais.
These few examples suggest that Telemann, perhaps alone among his Western
European contemporaries, regarded Polish music as something more than an-
other exotic topic. For him the style polonais appears to have stood almost on a par
with the French and Italian styles as a foundational element of the German mixed
taste. At the same time, its association with comic or satiric expression allowed it
to take on a mediating role between the dominant culture and an internal, low
Other; a polonaise could comment upon, and even undermine, the French and
Italian styles through humor. Perhaps, then, it was this familiar-yet-foreign,
slightly subversive aspect of Polish traditional music that most strongly attracted
Telemann to the style polonais. We might even go so far as to cast him in the role of
social critic, commenting on dierences of class, ethnicity, and nationality through
the Polish styles true barbaric beauty.
 Afterword

How are we to evaluate Telemanns legacy as a composer of instrumental music?

After surveying the entire corpus of his concertos, sonatas, and suites, oering
summarizing thoughts that do it justice is no easy task, for the myriad musical
and cultural meanings generated by such a diverse body of work strongly resist
generalization. Yet the broad outlines of Telemanns achievement are clear enough.
With regard to the overture-suite, it may be said that none of his predecessors or
contemporariesnot Bach, Fasch, Graupner, Handel, Kusser, or Muatmade
such an important and sustained contribution to the genre. If he was not the rst
to expand the overture-suites dimensions, enrich it through Italianisms such as ri-
tornello form and solo-tutti contrast, and fully exploit its potential for musical
mimesis, then he was certainly a seminal gure in all of these developments. De-
spite what some in the eighteenth century considered the genres inherent limita-
tions, Telemann made it a vehicle for some of the most brilliant outpourings of
his imagination. No less signicant are his sonatas, which exhibit his uency in
every major musical idiom of the early eighteenth century, his creative responses
to stylistic and generic convention, and his uncommon sensitivity to instruments
strengths and weaknesses. Indeed, collections such as the ute fantasies, method-
ical solos and trios, Sonates sans basse, Essercizii musici, Quadri, Nouveaux quatuors, and
Musique de table enjoy a well-deserved status as mainstays of the baroque chamber
music repertory. These and several dozen other publications issued by the com-
poser, including the rst music periodical to appear in Germany, constitute a
major achievement in the history of music publishing. Although Telemann can-
not be accused of indierence toward the concerto (notwithstanding a famous
passage in the 1718 autobiography), his works in the medium might be thought
less inuential and pathbreaking than the overture-suites and sonatas. He seems
to have introduced few, if any, formal innovations, and just three works were pub-
lished during his lifetime. Yet Telemanns were some of the rst solo and ripieno
concertos to appear in Germany, and he was pioneering in his incorporation of

503
504 Music for a Mixed Taste

French and Polish stylistic elements into a predominantly Italianate art form.
Equally progressive were his choices of solo instruments: oboe, viola, two utes,
two horns, and recorder and viola da gamba, to name just a few. That his concer-
tos were widely admired by his contemporaries is suggested not only by patterns
of manuscript dissemination, but alsoin a most immediate wayby Bachs
borrowing from 51:G2.
These are among Telemanns claims to something at least approaching great-
ness, for his eect on the musical language and culture of the early eighteenth
century was considerable. Moreover, he was an original thinker who could engage
with his art on a deeply intellectual levelresulting, remarkably enough, in music
that pleased Liebhaber, Kenner, and professional musicians in equal measure.
All well and good. But what of the individual works themselves? Should they
be regarded in similarly lofty terms? As we saw in the preface, this question
formed the basis for much critical reaction to the composer during the nineteenth
and twentieth centuries. It was formulated rst and most inuentially three years
after his death by the Hamburg literature professor Christoph Daniel Ebeling,
who admired Telemanns music but concluded that in general, he would have
been greater had it not been so easy for him to write so unspeakably much. Poly-
graphs seldom produce many masterpieces.1 Ebelings words have colored Tele-
manns posthumous reputation for well over two centuries now, and if the debate
over the composers place in history has quieted down since the middle of the
twentieth century, it still simmers beneath the surface of critical opinion. Briey
revisiting this debate will provide us with a useful lens through which to view the
prospects for his continued appreciation.
In a pair of essays published by the German periodical Musica in 196970,
Ludwig Finscher and Martin Ruhnke discussed Telemanns historical signicance
and his musics intrinsic value.2 Finscher proposed that the composer had achieved
his high standing in the eighteenth and twentieth centuries not because of the
quality of his musicwhich, he argued, was no better than that of a middling tal-
ent such as Christoph Graupnerbut because he wrote in a style that pleased
many listeners. Moreover, some of Telemanns most forward-looking activities (for
example, his founding of the Leipzig collegium musicum) were, in Finschers view,
no more than opportunistic responses to already-existing trends. But Telemanns
main failing was his willingness to sacrice compositional rigor for supercial
eect, a kind of selling out with far-reaching implications for the history of music:

Ease of production, sensitivity, and precise calculation combined to create music

that was certainly not great, but extraordinarily adaptable and accordingly success-
ful. Nothing seems to have been further from Telemanns mind than the thought
 Afterword 505

which occurred to Bachof using his powers to realize musical ideals, of system-
atically composing out genres, and of avoiding the lowering of a self-imposed
compositional standard at all costs. . . . By dint of the ease, abundance, and uni-
versality of his production, and thanks to his strategic position at the center of for-
ward-looking, bourgeois musical life, Telemann paved the way for a stylistic change
that sought to compensate for a rigorous simplication of compositional craft
with the concepts of idea and originality. . . . Telemanns ideas are not unfailingly
original; they are ideas that almost always make an eect.3

Although Finschers invocation of Bach and accusation of unoriginality were

both tired tropes of Telemann criticism by the 1960s, his essay also contains a
number of truths and original insights. Still, it is dicult to see how Telemann
could have achieved such popularity during his time and ours on the strength of
pedestrian (if stylish) works, even granting that some of his music ts this de-
scription. (Despite Graupners merits, few would now place him in the same com-
pany as Telemann.) As for Ruhnke, he convincingly refuted many of Finschers re-
visionist arguments regarding Telemanns place in history. But with respect to the
musics quality, Ruhnke averred only that very many of the composers works are
interesting, lively, humorous, and touchingin short, not mediocre.4 If this
seems like faint praise, especially coming from the postwar periods leading Tele-
mann scholar, one must realize that many readers in 1970 still needed convincing
that the composer was better than a mediocrity possessed of a keen business sense.
Today, with Telemanns reputation higher than at any time since the eighteenth
century, it would be easier to dispute the premise that his music is certainly not
great, and that his approach to composition was not rigorous or systematic.
Similarly divergent opinions on Telemann were expressed by English-speaking
critics during the 1950s and 1960s, though their arguments were not always as
nuanced. Thurston Dart minced no words in a 1957 review of several early vol-
umes of Georg Philipp Telemann: Musikalische Werke. Of the volume containing the two
sets of methodical solos, he sneered that each sonata has four or ve movements;
each movement six or seven ideas; each idea about as much absolute musical value
as a plantain leaf. Lawns are the better for a dose of selective weed-killer, and two
of these sonatas would adequately represent the lot. Summing up his thoughts
on this volume and the ones containing Der harmonische Gottes-Dienst, the Six suites,
and a selection of overture-suites, Dart asked rhetorically: How are students to
be encouraged to learn for themselves the dierence between an undisputed mas-
ter and a mediocrity? Not by re-issuing complete sets of commonplace sonatas
and cantatas, not by spending slim library budgets on handsome mausoleums
containing the complete works of hacks.5 Scarcely less harsh was Mosco Carners
1956 description of a case of acute Telemannitis contracted by the BBCs
506 Music for a Mixed Taste

Third Programme some years earlier: Granted, it was all agreeable, charming
music with, very occasionally, a faint spark of genius in it. Granted, too, that it
was extremely well written for the various media. Yet a little of it seemed to go a
long way in satisfying our historical curiosity. He went on, less charitably, to call
the publication of anything more than a selection of cantatas from Der harmonis-
che Gottes-Dienst to be a futile waste of time, labour, and material and to criticize
Telemanns rather nave and jejune predilection for programme music.6 (Dart
had suggested that the collection of seventy-two cantatas could well be replaced
by, say, ten of the best.)
As ill-considered as these views now seem, they were balanced by the more
positive stances of other critics. Reviewing the same editions as Dart, Alfred
Mann found the methodical sonatas to constitute a very valuable source for the
art of ornamentation and the cantatas of Der harmonische Gottes-Dienst to contain
music of ingratiating melodic inventionthough he also perceived little of the
highly original and at times truly profound writing characteristic of Telemanns
music published in the series Denkmler Deutscher Tonkunst and Das Erbe Deutscher
Musik.7 Equally sympathetic toward the composer was Alexander Silbiger, who
suggested in 1964 that it was on the basis of Telemanns trios that the recorder
can make its strongest claim for acceptance as a real chamber music instrument.8
Such polarization of critical opinion on the composer led Richard D. C.
Noble to editorialize in 1967 that the musical world is divided about Telemann
and partisanship is rife. One has to be either pro-Telemann or anti-Telemann. No
middle path is allowed. Attempting to follow such a path nonetheless, Noble
found Telemanns music to be instantly rewarding to play and immediately in-
gratiating to hear, yet acknowledged that neither its forward-looking aspect nor
its professionalism necessarily elevated it to the status of greatness. He posed
the question of whether the eort and expense of reviving Telemann is worth-
while before concluding that we must explore him and explain him slowly and
methodically.9
As the process of exploring and explaining Telemann has gathered momentum
in recent decades, the value of his music has become ever more apparent. The true
wonder is not that he composed more than Bach and Handel put together, but
that he composed so much goodeven greatmusic. Meanwhile, the question
of whether Telemann was a Minor Master or Great Man, if not entirely settled
in some minds, has become less urgent with musicologys retreat from historical
narratives centered around a handful of canonical gures. There is good reason
to believe that interest in Telemann will continue to grow in future years, and not
only because his music is more accessible than ever before. First, because he wrote
so idiomatically for various performance media, he has beneted to a greater ex-
 Afterword 507

tent than most of his contemporaries from the modern revival of period instru-
ments. The subtle timbral contrasts and textural intricacies of works such as the
Nouveaux quatuors, for example, can be fully appreciated only when the music is
played on instruments of Telemanns time. Indeed, it is not entirely coincidental
that the mid-twentieth-century Telemann Renaissance (as the Germans refer to
it) coincided with the coming-of-age of the historically informed performance
movement; Telemanns music not only provided a seemingly inexhaustible reper-
tory for the new period-instrument ensembles, but also went a long way toward
justifying the use of these obsolete musical tools in the rst place. Even before
this, the recorders adoption in German schools accelerated the composers redis-
covery by prompting many rst editions of chamber works. Second, the recent
historiographical tendency to think in terms of epochs dened, at least in part,
by social and political change rather than exclusively by musical style promises to
cast Telemann in a more attering light. James Webster, for instance, proposes a
long eighteenth century running from about 1670 to 1815 or 1830, depend-
ing on whether one considers the Congress of Vienna or the deaths of Beethoven
and Schubert to be more epoch-making. He divides this era into three periods of
roughly equal length: 16701720 (late baroque), 172080 (galant), and
17801815 or 1830 (rst Viennese modern).10 Such a scheme helps move us
beyond categorizing Telemann as either baroque or galant, as a forerunner
or transitional composer; for his six-decade career marks him as a central gure,
both musically and chronologically, during the late baroquegalant century of
16701780.
Telemanns reputation should also prot from musicologys renewed concern
with contextualizing the objects of its study, for he oers us an exceptionally wide
portal into eighteenth-century musical culture. We have seen that there is poten-
tially much to gain from viewing the history of styles, genres, and ideas from the
perspective of his works. Prime examples in this respect are the overture-suite and
ripieno concerto, two genres that have yet to receive their due in eighteenth-cen-
tury studies. One encouraging trend is the growing appreciation of Telemanns
inuence on his German contemporaries, a welcome change from the bad old
days when historians reexively denigrated him in order to underscore the great-
ness of Bach and Handel. But if coming to terms with Telemanns achievement is
essential for a genuine understanding of eighteenth-century music, the study of
his works ought to be recognized rst and foremost as its own, rich reward.
This page intentionally left blank
 Glossary

accent. An ornament, largely associated with French baroque music, in which a single or-
namental note (usually slurred to the preceding principal note) rises one step before
falling to the next principal note.
agrments. A general term referring to French baroque ornaments normally indicated by
the composer through symbols, though they might also be freely added by performers.
alla caccia. Music representing the hunt, frequently through simulated horn calls.
alla zoppa. A syncopated rhythm, characteristic of the galant style, producing a halting
or limping eect. Its most common conguration is sixteentheighthsixteenth.
bassetto. A diminutive of basso indicating a bottom part that sounds the musical
bass in a tenor, alto, or soprano register.
capriccio. In Telemanns works, either a solo cadenza (as in the rst movement of the
violin concerto 51:E3) or a movement alternating fast and slow passages (as in the
Capriccio for ute and continuo, 41:G5, from Der getreue Music-Meister).
chasse. A characteristic movement alluding to the hunt, frequently through simulated
horn calls.
chte. An ornament, largely associated with French baroque music, in which a single or-
namental note (usually slurred to the preceding principal note) descends to the pitch
of the following principal note.
concert en ouverture. An overture-suite in which a single soloist assumes a concertante role
in the overture and in most, if not all, subsequent movements.
concerto en suite. A work similar in conception to a concert en ouverture, but beginning
with a concerto-allegro movement in place of a French overture.
concerto ripieno. A concerto for strings without soloist, though one or more members
of the ensemble may be treated soloistically. The term was not widespread during the
eighteenth century but is found on autograph manuscripts of several such works by
Vivaldi.
coulade. A French baroque ornament, referred to as slide in English, in which two or
more slurred and adjacent ornamental notes connect two principal notes.
double cadence. In French baroque music, a trill terminating with a two-note turn gure.
double Devise. The opening period of an aria or instrumental movement in which the
initial solo phrase (the motto) is repeated following a brief interjection by the ac-
companiment.

509
510 Music for a Mixed Taste

drum bass. A type of repeated-note bass accompaniment common in the galant style.
durchbrochene Arbeit. A term denoting a musical texture in which all of the instruments
in a given composition state the thematic material in free and colorful alternation.
entre. In overture-suites by Telemann and other composers, a movement evoking entry
music in French baroque opera. Such movements typically emphasize the slow tempo
and dotted rhythms of the entre grave and therefore bear a resemblance to the French
overtures rst section.
Epilog. A term coined by Wilhelm Fischer (Zur Entwicklungsgeschichte des Wiener
klassischen Stils, Studien zur Musikwissenschaft 3 [1915]: 2484) to describe a cadential
phrase, especially in a Vivaldian ritornello, that reestablishes the tonic key.
fte galante. A subject popularized by the French painter Jean-Antoine Watteau
(16841721) in which elegantly dressed members of the upper class participate in
outdoor social gatherings such as picnics, conversations, irtatious games, dancing,
and music making.
Fortspinnung. A term coined by Wilhelm Fischer (Zur Entwicklungsgeschichte des
Wiener klassischen Stils, Studien zur Musikwissenschaft 3 [1915]: 2484) to describe the
spinning out or continuation of motivic material into a complete phrase or period
through repetition and sequential treatment. With reference to ritornello form, the
term indicates a phrase in which spun-out material embellishes a modulatory tonal
plan.
galant. A term that in the seventeenth and early eighteenth centuries connoted a general
ease and gracefulness. Musically, it is associated with periodic melodies in a singing
manner, light textures, simple harmony, formulaic cadences, and a variegated rhythmic
palette often including triplet, alla zoppa, and Lombard gures.
Gruppenkonzert. A concerto with a group of three or more soloists.
Lombard rhythm. A reverse-dotted rhythm often expressed as a stressed sixteenth note
followed by an unstressed dotted eighth note. The rhythm is also referred to as a
Scotch snap.
mordente. Italian term for the mordent, an oscillation of a principal note with its lower
neighbor.
motto. See double Devise.
murky bass. A type of bass accompaniment, asssociated with the galant style, featuring
rapid octave leaps.
parties de remplissage. The inner or lling-in parts in French baroque orchestral works.
These parts, usually played by violas, were often added by composers assistants after
the treble and bass parts had been written.
passaggi. A general term referring to Italian baroque ornaments that are orid and usu-
ally improvised, though they might also be written out.
perdia. A passage featuring brilliant guration for one or more treble instruments over
a pedal tone in the bass. The term is found in works attributed to Torelli, and similar
passages (though unlabeled) occur in the sonatas of Corelli.
petite reprise. In French and French-style baroque music, a repeat of the nal phrase or
period in the second half of a binary form.
plainte. A lamenting piece in the French baroque style.
 Glossary 511

port de voix (double). In French baroque music, a one-note ornament that ascends to a
principal note. A two-note version is known as the port de voix double.
prramiste. A term referring to the generation of French composers active mainly be-
tween the death of Jean-Baptiste Lully (1687) and the premiere of Jean-Philippe
Rameaus rst opera, Hippolyte et Aricie (1733).
rhythmes saccads. The jerky or hopping dotted rhythms associated particularly with
the French overtures rst section and the entre grave. Also referred to as sautillant
rhythms.
ripieno. A term denoting the tutti (or extra musicians) in an orchestral or choral
work, as opposed to the principal/solo players or singers.
sautillant. See rhythmes saccads.
Scotch snap. See Lombard rhythm.
sommeil. A slumber scene found in many French baroque stage works. Characteristic
suite movements entitled Sommeil evoke such scenes through a slow tempo, duple
meter, the alternation of strings and winds, and slurred pairs of conjunct quarter
notes.
sonnerie. A signal given by church bells, as imitated by three-note ostinatos in Les
Moscovites from Telemanns overture-suite 55:B5 and in the Sonnerie de Sainte-Genevive
du Mont de Paris (1723) by Marin Marais.
stile antico. Also known as the strict, learned, or Palestrina style. A historically conscious
musical idiom arising during the second half of the seventeenth century and marked
by musical features associated with Renaissance polyphony such as alla breve meter, im-
itative textures, a conservative approach to dissonance, and the smooth melodic style
of Giovanni Pierluigi da Palestrina.
tempte. A storm scene found in many French baroque stage works. The tempestuous
music associated with such scenes, often including tremolos and rapid passagework,
was sometimes imitated in characteristic movements of overture-suites.
tierce coule. A French baroque ornament in which an unaccented ornamental note is in-
serted between two principal notes a third apart.
tirade or tirata. In French and Italian baroque music, a scale-like series of ornamental
notes connecting principal notes a fth or more apart.
tour de chant. In French baroque music, a mordent followed by a trill.
tremblement. The French baroque term for trill.
Vordersatz. A term coined by Wilhelm Fischer (Zur Entwicklungsgeschichte des
Wiener klassischen Stils, Studien zur Musikwissenschaft 3 [1915]: 2484) to describe an
opening phrase, especially in a Vivaldian ritornello, that establishes the tonic before
closing on either the tonic or (more frequently) the dominant.
This page intentionally left blank
 Notes

Preface and Acknowledgments

1. The New Yorker, 25 October 1982, 51.

2. If a composer such as Domenico Scarlatti is often relegated to the second-class sta-
tus of Interesting Historical Figure (Sutclie, The Keyboard Sonatas of Domenico Scarlatti, 1),
then Telemanns position in much contemporary historical discourse remains that of For-
gotten Master (Rolland, Telemann).
3. Petzoldt, Georg Philipp Telemann.
4. Among textbooks that devote substantial attention to Telemann are Buelow, A His-
tory of Baroque Music; Hill, Baroque Music; Schulenberg, Music of the Baroque; and Stolba, The De-
velopment of Western Music. (A signicant exception to this trend is Taruskin, Oxford History,
vol. 2.) Still, discussions of specic works remain uncommon, and the composer was bet-
ter served by score anthologies of an earlier generation. He is represented, for example, in
Davidsons and Apels Historical Anthology of Music (1950), and in Parrishs A Treasury of Early
Music (1958).
5. This Telemann might have understood, for he himself was incredulous at the liter-
ary output of his nephew, Carl Johann Friedrich Haltmeier: da mir es fast unglaublich
vorkommt, wie eine Person von weniger, als vierzig Jahren, solche Menge von Schriften,
an deren meisten man Merkmahle von Schweisse ndet, habe zu Papiere bringen knnen
(I nd it almost unbelievable that a person under forty years of age could put onto paper
such an enormous amount of writings, most of which show signs of great eort). Tele-
mann, preface of 14 March 1737 to Haltmeier, Anleitung, 4.
6. See Klein, preface to Dokumente zur Telemann-Rezeption; Ruhnke, Telemann im Schat-
ten von Bach?; and Zohn, Images of Telemann.
7. Bcken, Musik des Rokokos, 63; Buelow, A History of Baroque Music, 569.
8. Riemann, Die franzsische Ouverture, 67: Nachdem ich ein paar hundert Seiten
Telemann spartirt, kann ich meinen Gesammturtheil nur dahin prcisiren, dass derselbe
im Allgemeinen glatt, manchmal piquant, in den Tanzstcken sogar hie und da recht ott
schreibt, aber das Interesse nicht dauernd zu fesseln vermag, da er nicht zu steigern ver-
steht. Trotz seiner grossen Erfolge bei Lebzeiten hat er daher auf eine Wiederbelebung
wenig Anspruch.

513
514 Notes to Pages vii4

9. Niecks, Programme Music, 60.

10. Graeser, Telemanns Instrumental Kammermusik, 1:24041.
11. Mersmann, Die Kammermusik, 11421.
12. Einstein, Greatness in Music, 12930, 21112.
13. Compare Leo Blacks reection (A Very Small Problem) on Telemanns status as
BBC Radio 3s Composer of the Week in 1991: It was the old Telemann problem, shared
with many a minor masteran unremitting euphoria, only temporarily suppressed even
in the parts of his Passion music on oer. . . . On balance here really was Dr. Johnsons
man who wanted to be philosophical but found cheerfulness kept breaking in.
14. Hutchings, The Baroque Concerto, 237.
15. Newman, The Sonata in the Baroque Era, 28889.
16. Drummond, The German Concerto, 237.
17. Heartz, Music in European Capitals.
18. Homann, Die Orchestersuiten; Kross, Das Instrumentalkonzert.
19. Hirschmann, Studien zum Konzertschaen.
20. Swack, The Solo Sonatas.
21. Zohn, The Ensemble Sonatas.

Prologue

1. BDok 1, no. 22: Es ist ohne dem etwas Wunderliches, da man von denen tetschen
Musicus praetendiert, Sie sollen capable seyn, allerhand Arthen von Music, sie komme nun aus
Italien oder Franckreich, Engeland oder Pohlen, so fort ex tempore zu musiciren.Translated in
NBR, no. 151.
2. Beer, Smtliche Werke, 5:171: die allerschnsten Stcklein von der gantzen Welt au-
musiciren / bald Frantzsisch / bald Burgundisch / bald Trckisch / bald Italinisch /
bald Siebenbrgisch bald Tyrolisch.
3. Muat, Florilegium Primum, 8: Ich habe erachtet . . . nicht einerley, sondern ver-
schiedener Nationen best zusammengesuchte Art sich geziemen wrde. . . . Da ich die
Franzsische Art der Teutschen und Welschen einmenge, keinen Krieg anstite, sondern
vielleicht derer Vlker erwnschter Zusammenstimmung, dem lieben Frieden etwan vor-
spiele. Translated in Wilson, Georg Muat on Performance Practice, 1314.
4. Mattheson, Das neu-ernete Orchestre, 208.
5. Baron, Historisch-theoretisch und practische Untersuchung, 17576: Weilen nun die Ital-
inische Art serieux, der Franzsische Gusto aber divertissant, so hat man in Teutschland
alles beydes angenommen, weil diese Nation gerne Vernderung liebet, und von einer
Sache auf die andere, aber so gar von einem Extremo zum andern fllt.
6. Heinichen, Der Generalbass in der Composition, 1011 (note): eine glckliche Melange
vom Italienischen und Franzsischen Gout das Ohr am meisten frappieren, und es ber allen
anderen besondern Gout der Welt gewinnen msse.
7. Gottsched, Der Biedermann, 85. Blatt (20 December 1728): Sonderlich hre ich
von dem obgedachten Hrn. Telemann rhmen, da er sich nach dem Geschmacke aller
Liebhaber zu richten wei. Er folget zuweilen der Welschen, zuweilen der Franzsischen,
otmahls auch einer vermischten Art im Setzen seiner Stcke. Quoted in TD, 14647.
 Notes to Pages 48 515

8. Scheibe, Critischer Musikus, 765; Mattheson, Der volkommene Capellmeister, 34445.

9. Scheibe, Compendium Musices, 8485: Eine gute eiige Deutsche Arbeit, Italin-
ische Galanterie und Franzsisches Feuer thun dabey das beste.
10. Quantz, Versuch, 332: Wenn man aus verschiedener Vlker ihrem Geschmacke in
der Musik, mit gehriger Beurtheilung, das Beste zu whlen weis: so iet daraus ein ver-
mischter Geschmack, welchen man, ohne die Grnzen der Bescheidenheit zu berschreiten,
nunmehr sehr wohl: den deutschen Geschmack nennen knnte: nicht allein weil die Deutschen
zuerst darauf gefallen sind; sondern auch, weil er schon seit vielen Jahren, an unter-
schiedenen Orten Deutschlands, eingefhret worden ist, und noch blhet, auch weder in
Italien, noch in Frankreich, noch in andern Lndern misfllt. Translation adapted from
Reilly, On Playing the Flute, 341.
11. Was Welschland schmeichlendes in seine Stze schliesset, / Die ungezwungne
Munterkeit, / So aus der Franzen Lieder iesset; / Der Britten springendes gebundnes
Wesen; / Ja, was Sarmatien zu seiner Lust erlesen, / Bey welchem sich der Scherz den
Tnen weyht: / Die alles wird der Teutsche Flei, / Zu seines Landes Preis, / Mehr
aber noch, die Hrer zu vergngen, / Durch Feder, Mund und Hand allhier verfgen.
Quoted in TD, 121.
12. Der Franzen Munterkeit, Gesang und Harmonie, / Der Welschen Schmeicheley,
Erndung, fremde Gnge, / Der Britt- und Polen Scherz, verknpfst Du sonder Mh /
Durch ein mit Lieblichkeit erflletes Gemenge.
13. Burney, The Present State of Music in Germany, 25960.
14. The eighteen works include: 50:12, 2123, 44; 51:F4, B1; 52:h2; 53:D1, h1;
and 55: D2123, F16, g9, A10, B11.
15. See principally Fechner, Studien zur Dresdner berlieferung; Landmann, Die Telemann-
Quellen; Stewart and Bill, unpublished study of the Darmstadt sources; Swack, The Solo
Sonatas; Wei, Zu Papieren und Wasserzeichen; and Zohn, The Ensemble Sonatas
and Music Paper. Many of the Stewart-Bill dates are incorporated into TWV 2 and 3.
16. Graeser, Telemanns Instrumental Kammermusik, 1:251; Bttner, Das Konzert in
den Orchestersuiten, 68; Homann, Die Orchestersuiten, 15, 18; Kross, Das Instrumentalkonzert, 27.
17. Mattheson, Grundlage einer Ehren-Pforte, 357.
18. Noack, Musikgeschichte Darmstadts, 180, 188, 213; Bill, Telemann und Graupner, 33.
19. However, several Darmstadt manuscripts of Telemann trios and quartets, in the
hands of various copyists, bear the possessor mark C.B. on their title pages. As these
initials do not match any members of the Hofkapelle, perhaps they stand for Concert-
meister Bhm.
20. Quantz, Lebenslauf, 20607: Das knigliche Orchester war zu der Zeit schon
in besonderm Flor. Durch die, von dem damaligen Concertmeister Volumier eingefhrte
franzsische egale Art des Vortrags, unterschied es sich bereits von vielen andern Orchest-
ern: so wie es nachgehends, unter der Anfhrung des folgenden Concertmeisters Herrn
Pisendel, durch Einfhrung eines vermischten Geschmacks, immer nach und nach zu
solcher Feinigkeit der Ausfhrung gebracht worden; da ich auf allen meinen knftigen
Reisen, kein bessers gehrt habe. Es prangete damals mit verschiedenen berhmten In-
strumentalisten, als: Pisendeln und Verracini auf der Violine; Pantaleon Hebenstreiten auf
dem Pantalon; Sylvius Leopold Weien auf der Laute und Theorbe; Richtern auf dem
Hoboe; Buardin auf der Flte traversiere; der guten Violoncellisten, Fagottisten, Wald-
516 Notes to Pages 814

hornisten, und Contraviolonisten, zu geschweigen. Quantz (211) further recalled that by

about 1720 Pisendels style was already a mixture of the Italian with the French.
21. Fischer, Frankfurter Telemann-Dokumente, 197.
22. The history of the Dresden manuscript collection is outlined in Fechner, Studien
zur Dresdner berlieferung, 924; and Landmann, Die Telemann-Quellen, 526.
23. See Koch, Die Rostocker Telemann-Quellen; and Zohn, New Sources.
24. See Pfeier, Telemann und Mecklenburg.
25. For a facsimile of the inventory, see Concert-Stube des Zerbster Schlosses. Poetzsch
(Telemann-Werke) has attempted to identify some of the works in question.
26. However, an inventory of the Gera Hofkapelles music collection in about 1718
lists six Telemann overture-suites obtained from Bayreuth. See Maul, Johann Sebastian
Bachs Besuch, 11011, 118.
27. Jaenecke (Bisher unbekannte Quellen, 114) notes the pseudonyms presence in
the librettos to two lost wedding cantatas performed in Frankfurt on 24 May 1712 (Lat
uns immer lustig sein and Belintes lebte noch in bester Jahre Blte, neither listed in the TVWV). Its
last datable use by Telemann is on the title page to the 1733 second edition of the Lustige
Arien aus der Opera Adelheid, TVWV 21:17.
28. See Fuller, Of Portraits, Sapho and Couperin, 153, 15860.
29. Telemann, Sonate von Georgio Melande.

Chapter 1

1. TB, 365: An der Stelle wo ich von Hendeln und Telemanen rhme, da sie den
Lll in Verfertigung der Ouvertren, bertroen htten, (in andern Stcken versteht sich
eben diees von sich selbst schon) nehme ich die Ouvertren in weitluftigern Verstande.
Ich sehe auch keine Ursache ein, warum ich hier einen Unterschied einfhren, und eigent-
liche frantzsische Ouvertren statuiren sollte, da die Erndung von den Frantzosen her-
kmmt. Doch will ich hierinnen nachgeben, wenn Ew. Hochedelgebohren eine recht bes-
timmte Erklrung, der eigentlichen frantzsischen Ouvertren zu geben belieben wollen.
Da aber Telemann und Hendel nicht noch unendlich beere Ouvertren als Lull ge-
macht haben sollten, diees lasse ich mir nimmermehr einreden. Sie wissen ja selbst wohl
was fr ein Commoder Schreiber, und seichter Helld Lull in der arbeitsamen und fu-
girten Musick war. Translation adapted from Reilly, Quantz and His Versuch, 62.
2. Quantz, Versuch, chap. 18, 42, 301: Llly hat davon gute Muster gegeben. Doch
haben ihn einige deutsche Componisten, unter andern vornehmlich Hndel und Telemann,
darinne weit bertroen. . . . Nur ist, wegen der guten Wirkung welche die Ouvertren
thun, zu bedauern, da sie in Deutschland nicht mehr blich sind. Translated in Reilly,
On Playing the Flute, 316. In 1759 Quantz began the sixth of his Sei duetti a due auti traversi
with a French overture.
3. Publications of overture-suites by German Lullists are listed below in Table 1.1.
4. TB, 25154; TD, 7582. The quotation belongs to a letter of 18 November 1717
from Telemann to Johann Mattheson, who in 1725 published the letter both in the orig-
inal French and in German translation (Critica musica, 2:27779).
 Notes to Pages 1416 517

5. The Graun-Telemann correspondence is reprinted in TB, 27494. In his letter to

Graun of 15 December 1751, Telemann pointed out that the changes of meter [in
recitative] cause no diculty for the French. Everything ows continuously like cham-
pagne (TB, 282).
6. Telemann, Lebens-Lau, 17172: Ich lie die Stcke derer neuern Teutschen
und Italinischen Meister mir zur Vorschrift dienen / und fand an ihrer Erndungs-
vollen / singenden und zugleich arbeitsamen Arth den angenehmsten Geschmack / bin
auch noch jetzt der Meynung / da ein junger Mensch besser verfahre / wann er sich
mehr in denen Stzen von gedachter Sorte umsiehet / als denenjenigen Alten nachzuah-
men suchet / die zwar krau genung contra-punctiren / aber darbey an Erndung nackend
sind / oder 15. bis 20. obligate Stimmen machen. . . .
Ich hatte damahls das Glck / zum tern die Hannverische und Wolenbttelis-
che Capellen zu hren / von deren ersteren man gestehen muste:
Hier ist der beste Kern von Franckreichs Wissenschat
Zu einem hohen Baum und reister Frucht gediehen.
Hier fhlt Apollo selbst der muntern Lieder Krat /
Und mu / als halb beschmt / mit seiner Leyer iehen;
Und von der zweyten:
Venedig dar nicht mehr in Bhnen triumphieren
Denn Braunschweig reisset ihm die Ehren-Sulen ein
Und weil auch hier so Stimm als Instrument oriren
So knnte dieser Ort ein kleines Welschland seyn.
Also bekam ich bey jener Licht im Frantzsischen / bey dieser im Italinischen und
Theatralischen Got, bey beyden aber lernete die diversen Naturen verschiedener Instru-
mente kennen / welche nach mglichstem Fleisse selbst zu excoliren nicht unterlie. Wie
nthig und ntzlich es sey / diese Arten in ihren wesentlichen Stcken unterscheiden zu
knnen / solches erfahre noch bi auf den heutigen Tag / und sage / es knne niemand /
ohne solches zu wissen / hurtig und glcklich im Ernden seyn.
7. Mattheson, Grundlage einer Ehren-Pforte, 357: Die Stze von Steani und Rosenmller,
von Corelli und Caldara erwhlte ich mir hier zu Mustern, um meine kntige Kirchen-
und Instrumental-Music darnach einzurichten, in welchen beiden Gattungen denn kein
Tag ohne Linie vorbey ging. Die zwo benachbarten Capellen, zu Hanover und Braun-
schweig, die ich bey besondern Festen, bey allen Messen, und sonst mehrmahls besuchte,
gaben mir Gelegenheit, dort die frantzsische Schreibart, und hier die theatralische; bey
beiden aber berhaupt die italinische nher kennen, und unterscheiden zu lernen.
8. Smart, Doppelte Freude der Musen, 23234.
9. These and other theatrical productions heard at Brunswick and Wolfenbttel be-
tween 1697 and 1701 are listed in Chrysander, Braunschweig-Wolfenbttelschen
Capelle und Oper, 24357. Regarding Brunswick performances of Steanis works, see
Timms, The Dissemination of Steanis Operas, 34445. Keisers Orpheus, a ve-act
opera to a libretto by Bressand, was broken up into two three-act operas and performed
in 1699 as Die sterbende Euridice and Die verwandelte Leyer des Orpheus. The 1699 librettos and
Tempel der Tugend und Ehre are discussed in some detail by Smart, Doppelte Freude der Musen,
25669 and 21830.
518 Notes to Pages 1619

10. Telemann might nevertheless have seen La costanza nelle selve by Luigi Mancia with a
libretto by Ortensio Mauro during the summer of 1697. See Timms, Polymath of the Ba-
roque, 52.
11. Albertyn, The Hanover Orchestral Repertory, 45152.
12. Schneider, Unbekannte Handschriften, 18081; Timms, Polymath of the Baroque, 47.
13. D-DS, Mus. ms. 1227. For an inventory of the manuscript and identication of
Valoix as the composer of some of its contents, see Albertyn, The Hanover Orchestral
Repertory, 46367. See also Schneider, Unbekannte Handschriften, and Trinkle,
Telemanns Concertouverturen, 8496.
14. D-DS, Mus. ms. 1221. See Albertyn, The Hanover Orchestral Repertory,
46768.
15. Gustafson, The Legacy in Instrumental Music, passim.
16. Schneider, The Amsterdam Editions of Lullys Orchestral Suites, 11516 and
118.
17. One twelve-movement suite of movements from Armide nominally preserves
Lullys scoring designations with parts labeled Haut Contre, Taille, and Quinte (D-
Dl, Mus. 1827-F-34). The Dresden arrangements also include suites by Campra and
Destouches, and may be dated to the 1710s based on copying hands, paper types, and
performers names on the parts. The paper types are those described in Zohn, Music
Paper, 138 (Watermark 4) and 14748 (Watermark 9).
18. Kussers Apollon enjo and Festin de muses, and Fuxs Concentus musico-instrumentalis were
all available at the Leipzig St. Michaels Day fair in 1703. Available at the 1705 St. Mi-
chaels Day fairshortly after Telemann left for Sorauwas Schmierers Zodiaci musici. See
Ghler, Verzeichnis, 2:15, 3:6, 3:21. Ian Payne (A Tale of Two French Suites and Tele-
mann and the French Style Revisited) identies a number of Telemann borrowings
some more persuasive than othersfrom overture-suite and theatrical dance movements
by Campra, Destouches, Erlebach, Fux, Kusser, and Muat.
19. Beer, Musicalische Discurse, chap. 19 (Von Teutschen / Welschen / Franzsischen
Sngern und Instrumentisten), 328: Die Frantzsische Music / gleichwie sie einer son-
derlichen Art ist / also brauchet sie auch sonderliche Liebhaber. Ihre Suiten klingen brav
bey der Tael. . . . Und wer ein Liebhaber davon ist / kan jetzt auf vielen teutschen Hfen
grosse Satisfaction von dergleichen Compositionen . . . geniessen.
20. Mattheson, Grundlage einer Ehren-Pforte, 359.
21. Telemann, Lebens-Lau, 17374: Die Approbation derer Herren Virtuosen in
Dresden / bey denen die Delicatesse Welschlandes / und Franckreichs Lebhatigkeit / als
in einem Mittel-Puncte zusammen kommt. . . . Dieser ihre Approbation, sage ich / wormit
sie meine Executionen beehreten / hal allhier nicht wenig zu meinem fernern Fortgange.
22. Telemann, Lebens-Lau, 173: Dieses Collegium, ob es zwar aus lauter Studiosis
bestehet / deren ters bi 40. beysammen sind / ist nichts desto minder mit vielem
Vergngen anzuhren / und wird nicht leicht / derer mehrentheils darinnen bendlichen
guten Snger zu geschweigen / ein Instrument zu nden seyn / welches man nicht dar-
bey antrit. Es hat etliche mahl die Gnade gehabt / Se. Knigliche Pohlnische Majestt /
und andere grosse Frsten zu divertiren. Sonst versiehet es die Music in der neuen Kirche.
Endlich gereichet auch zu dessen Ruhme / da es vielen Oertern solche Musicos mitge-
 Notes to Pages 1920 519

theilet / die man jetzo unter die berhmtesten zehlet. Als in Dreden excelliret Mr. Pisen-
del auf der Violine; In Darmstadt Mr. Bhm auf der Hautbois, Flte Traverse und Flte bec;
Mr. Bendler und Petzhold in Wolenbttel und Hamburg / als ungemeine Baisten und
Acteurs; von denen / so noch gegenwrtig darbey sind / ist dessen Director Mr. Vogler ein
munterer Componiste und starcker Violiniste; Mr. Riemschneider / den auch schon Hamburg
auf dem Theatro admiriret / ein angenehmer Baiste; und Mr. Schneider einer der besten
Altisten.
23. Mattheson, Grundlage einer Ehren-Pforte, 118.
24. Glckner, Zur Vorgeschichte, 294. Homann appears to have led the collegium
from 1705 to 1713, when his health began to deteriorate; Pisendel substituted for him
during his visit to England in 170910.
25. Quoted in Spitta, Johann Sebastian Bach, 2:859: man nicht sehen kan, wo zu der
brigen Geigen Music, welche die angenehmste ist, wie sie izo in ganz Europa und auch bey
uns starck bestellet wird, da bey denen beyden Violinen immer zum wenigsten 8 Personen
stehen, und folgentlich zu denen gedoppelt besetzten Braccien, zu Violonen, Violoncellen,
Colocionen, Pauken und andern Instrumenten mehr, die Lete herzunehmen seyn, da sie alle
in die nee Kirche gezogen werden. Translated in Spitzer and Zaslaw, The Birth of the Or-
chestra, 248. The colascione, or mandora, is a six-stringed bass lute (see chapter 3).
26. Fasch, Lebenslauf, 125: Endlich hatte ich gar die Verwegenheit, da die Tele-
mannischen Ouverturen bekannt wurden, auch eine auf solchen Schlag zu versuchen. Ich
setzte sie aus, und da die Primaner ein Collegium Musicum hielten, gab ich sie unter
dessen Nahmen zur Probe hin, und sie glaubten, zu meiner Freude, da solche von Ihm
wre. Bey dieser Gelegenheit kann ich nicht umhin, es entlich zu bekennen, da ich
aus meines geehrtest- und geliebtesten Freundes, des Herrn Cappellmeister Telemanns
schnen Arbeit damahlen meist alles erlernete, indem ich solche mir, besonders bey den
Ouverturen, bestndig zum Muster nahm. Da ich mit dem Abmarsche der Schweden, auf
die Universitt gienge, so legte ich Sonntags nach Endigung der Gottesdienste, in meinem
Quartiere ein Collegium Musicum an, welches sich von Studiosis nach und nach bis auf
20 Personen verstrkete.
27. Telemann, Lebens-lau, 174: In der That / hier eng ich erst recht an eiig
zu seyn / und das / was zu Leipzig in Singe-Sachen gethan / allhier auch in der Instru-
mental-Music, besonders in Ouverturen / zu versuchen / weil Se. Excellence der Herr Graf
kurtz zuvor aus Frankreich kommen waren / und also dieselben liebeten. Ich wurde des
Lulli, Campra, und anderer guten Autoren Arbeit habhat / und ob ich gleich in Hannover
einen ziemlichen Vorschmack von dieser Art bekommen / so sahe [ich] ihr doch jetzo
noch tieer ein / und legte mich eigentlich gantz und gar / nicht ohne guten Succes, da-
rauf / es ist mir auch der Trieb hierzu bey folgenden Zeiten immer geblieben / so da ich
bi 200. Ouverturen von meiner Feder wohl zusammen bringen knnte. Zu solchem
meinem Fleisse und Zunehmen mochte damahls auch wohl dieses viel mit beygetragen
haben / da ich eine eheliche Liebe auf meine seel. Frau war. Denn man hlt dafr /
da die Liebe die Geister aufmuntere.
28. Mattheson, Grundlage einer Ehren-Pforte, 360.
29. This improbable gure derives from a misreading of a passage in Telemanns 1740
autobiography, where he mentions that in his rst eighteen years in Hamburg he com-
520 Notes to Pages 2026

posed about 600 Ouvertren, trios, concertos, keyboard pieces, elaborated chorales, fugues,
cantatas, etc. for local and out-of-town music lovers (Mattheson, Grundlage einer Ehren-
Pforte, 368). The number of works is surely inclusive of all these genres.
30. A pre-1705 origin for the cantata is indicated by the absence of madrigalistic
text of the type popularized by Erdmann Neumeister during the rst decade of the eigh-
teenth century, and by the musics stylistic proximity to the German sacred concerto of
the late seventeenth century. Steude (Zum kirchenmusikalischen Frhschaen, 38) places
the cantatas composition at Leipzig, whereas Wollny (liner notes to Telemann: Trauer-Actus)
argues for Hildesheim.
31. On the contrasting chaconne traditions in France and Germany, see Silbiger,
Bach and the Chaconne, especially 36970 and 373.
32. In addition, the lost 55:D2 and F1 (both published in the Six ouvertures 4 ou 6)
concluded with a passacaille and chaconne, respectively.
33. D-Dl, Mus. 2392-E-528. See the description of the manuscript in Landmann, Die
Telemann-Quellen, 73.
34. The title page to D-Dl, Mus. 2392-E-532 notes that the violin line is unisono 6.
Bis 8. Fach zu bestellen. The set include three parts for violin.
35. See Spitzer and Zaslaw, The Birth of the Orchestra, 22128 (especially Table 7.1).
36. BDok 1, no. 22; NBR, no. 151.
37. In the case of manuscripts with doublet string parts, it is often unclear whether all
of the parts, usually in the hands of multiple copyists, were produced at the same time
for a given performance. A particularly large set for Der Gottlose ist wie ein Wetter, TVWV
1:251 (D-Dl, 2392-E-576a) includes three parts each for violins 1 and 2.
38. See Steude, Zum kirchenmusikalischen Frhschaen, 39, and Glckner,
Neuerkenntnisse zu Johann Sebastian Bachs Auhrungskalender.
39. Among the earliest sources for Telemanns overture-suites are Darmstadt sets of
parts to 55:D16, d1, e3, F4 (= 44:7), and G5, all copied 171216; Dresden parts to
55:B9 and h1, datable to the 1710s; and a keyboard arrangement of 55:Es4 (Anh. 32:1:
Ouverture. Compose par Mr. Melante) copied by Johann Christoph Bach in the so-
called Andreas Bach Book, compiled between ca. 1708 and 171318 (see Hill, Keyboard
Music, xxiixxiii). Johann Gottfried Walthers organ arrangement of 55:E2/iv may date
from around the same time. Finally, the menuet pair 35:6, a version for organ of 55:
E1/ix, is preserved in a manuscript copied at least partly in 1699. It is therefore possible
that these menuets are the earliest extant instrumental compositions by Telemann.
40. On the use of trio passages in German overture-suites from the closing years of
the seventeenth century, see Trinkle, Telemanns Concertouverturen, chap. 3.
41. Fuhrmann, Musicalischer-Trichter, 86. Mattheson (in Niedt, Handleitung zur Variation,
100) puzzled over Fuhrmanns mention of the ciacona.
42. Mattheson, Das neu-ernete Orchestre, 171: Der andere Theil bestehet in einem /
nach der freyen Invention des Componisten eingerichteten / brillirenden Themate, welches en-
tweder eine reguliere oder irreguliere Fuge, biweilen und mehrentheils auch nur eine blosse
aber lebhate Imitation seyn kan. Die meisten Frantzsischen Ouverturen schliessen nach
dem Allegro, oder anderen Theile der Ouverture, wiederum mit einem kurtzen Lentement, oder
ernsthaten Satze; allein es scheinet / da diese Faon nicht viel Adhaerenten nden will.
 Notes to Pages 2631 521

43. Niedt, Handleitung zur Variation, 100. In 1708 Johann Gottfried Walther (Praecepta
der Musicalischen Composition, 51) observed that overtures proceed from the opening duple-
meter section to a triple-meter fugue that may be short or long, according to ones dis-
cretion, and conclude with a return to duple meter and a slower tempo.
44. The same clefs are used in the two 1689 scores of Hanover overture-suites referred
to above. At the Darmstadt court, C1 and C3 clefs were used for the middle parts to over-
ture-suites by Landgrave Ernst Ludwig (16671739) dated 1713 and 1718 (D-DS,
Mus. ms. 267 and 270).
45. Petites reprises are found in only a few other dances. In the loure of 55:D15, most
likely a late Frankfurt or Hamburg work, the reprises seem motivated by a desire to ex-
ploit the contrast between wind and string sonorities.
46. Harris-Warrick and Marsh, Musical Theatre at the Court of Louis XIV, 80 and 211. The
authors observe that this rhythm also appears in several works of Henry Purcell, such as
the menuet-like chorus Fear no danger from Dido and Aeneas, and in later menuets by
Jean-Philippe Rameau.
47. 55:C4, D4, D7, D1012, D14, Es1, e23, F4 [= 44:7], g6, h3. Such menuets are
also found in the trios 42:D8 (Sonates corellisantes), d11, and g5 (Essercizii musici), the rst of
these movements perhaps inspired by the menuet in Corellis op. 6, no. 7; and in the con-
certos 43:Es1 and 52:d1. They are encountered occasionally in Telemanns published col-
lections of menuets, the Sept fois sept et un menuet and Zweytes sieben mal sieben und ein Menuet,
and in the manuscript collection Neue auserlesene Arien, Menueten und Mrche,
36:1168, alleged to contain works composed at Eisenach. This last collection also con-
tains keyboard versions of dance movements in 55:D10, Es4, E1, G3, G5, A6, and a7.
48. Graupners courantes are discussed in Gropietsch, Graupners Ouverturen und Tafel-
musiken, 174.
49. Mattheson, Der vollkommene Capellmeister, 208: Hre ich den ersten Theil einer
guten Ouvertr, so empnde ich eine sonderbare Erhebung des Gemths; bey dem
zweiten hergegen breiten sich die Geister mit aller Lust aus; und wenn darauf ein ernst-
hafter Schlu erfolget, sammeln und ziehen sie sich wieder in ihren gewhnlichen ruhigen
Sitz. Mich deucht, da ist eine angenehm abwechselnde Bewegung, die ein Redner schwer-
lich besser verursachen knnte. Wer Achtung darauf gibt, kan es einem aufmercksamen
Zuhrer in den Gesichts-Zgen ansehen, was er dabey im Hertzen empndet. Translated
by Ernest C. Harriss in Strunk, Source Readings in Music History, 699.
50. Scheibe, Critischer Musikus, 667 and 66970: Was man diesem Satze vorwerfen
knnte, ist dieses, da er verursachet, da sich alle Ouverturen auf einerley Art anfangen.
Es fllt also eine gewisse Vernderung hinweg, die sonst in der Tonkunst durchgehends
nthig ist, wenn nicht alle Stcke wie ein Stck klingen sollen. Wenn man dahero lange
Zeit keine Ouverture gehret hat, und es wird uns endlich einmal auch eine ganz neue
gespielet: so kmmt es unserm Gehre dennoch vor, als ob man sie lange zuvor gehret
htte. Und dieses entsteht blo aus einer allzugenau eingeschrnkten Gleichheit, die doch
ein wesentliches Stck in der Schreibart der Ouverturen ist. Vielleicht da auch diese sehr
groe Aehnlichkeit, die alle Ouverturen im Angange mit einander haben, ein groes dazu
beygetragen hat, da sie nicht mehr so beliebt sind, als sie sonst waren.
51. Similar deections occur in the overtures to the opera Miriways, TVWV 21:24
522 Notes to Pages 3143

(Hamburg, 1729) and the keyboard suite 32:10 (VI Ouverturen nebst zween Folgestzen no. 6),
and in the overture-style Introduzione of the trio 42:D7 (Scherzi melodichi no. 7).
52. Scheibe, Critischer Musikus, 671: Es ist auch sehr angenehm, wenn man durch eine
gewisse Figur, die man das Ausiehen der Cadenz nennet, und die ich bereits an einem
andern Orte beschrieben habe, den zweyten und fugenmigen Satz sogleich in den
Nachsatz einfallen lt, und wenn man dadurch die Zuhrer gleichsam berraschet, und
in Verwunderung setzet. Man erwhlet auch, diesen Endzweck desto gewisser zu er-
reichen, zu demjenigen Tone, in welchen man aus der Cadenz geohen ist, einen ganz ent-
fernten, und oft sehr fremden dissonirenden Accord, den man hernach auf geschickte Art
in der Tonfolge der Haupttonart, oder deren Quinte aufzulsen bemhet ist.
53. In a very few instances (most notably 55:C7 and D4), a true countersubject is
heard against the subject.
54. See also the use of inversion and stretto in the Fugue. Vivement of 55:c2 and
the fugal Prelude of 55:D15, as well as the canonic beginning of the menuet of 55:F5
= 44:8.
55. See the facsimile of the scores rst page in Homann, Die Orchestersuiten, 71, and
in Hobohm, . . . eine Schreibart, 64.
56. Walther, Musicalisches Lexicon, 542.
57. See the discussion of the Passe-pied from Couperins second ordre of the Pices
de clavecin . . . premier livre (1713) in Little and Jenne, Dance and the Music of J. S. Bach, 87.
58. See the Air of 55:d3, sicilienne of 55:E2, menuet I of 55:G1, menuet of 55:G9,
Air. Lentement of 55:B9, and Aectuoso et molto adagio (alternatively titled
Cantabile e aettuoso) of 55:B13.
59. On unison and octave writing as an emblem of crudeness or barbarity, see Parkin-
son, The Barbaric Unison.
60. At least the G-minor suite appears to date from before the Hamburg period, for
it was brought by Johann Samuel Endler from Leipzig to Darmstadt in 1723.
61. Niedt, Handleitung zur Variation, 107 note x; The Musical Guide, 147.
62. Scheibe, Compendium Musices, 84: Sind concertirende Stimmen dabey als Hautbois
oder Flauten, so knnen solche sich dann und wann alleine hren laen, die Violinen oder
ein Basson machen den Bass dazu. Ist ein Concert Violino dabey, so men keine Italinis-
che Concert Passagen darinnen vorkommen, sondern man mu genau auf den Franzsischen
Styl s[t]ehen.
63. Scheibe, Der critische Musikus, Drei und siebenzigstes Stck. Dienstags, den 19 Jen-
ner, 1740, 37273; revised in Critischer Musikus, 6723: In Ansehung der concertirenden
Instrumente hat man mit wenigem zu merken, da man in denen Stellen, welche diesen
eigentlich zu kommen, allein auf einen freyen, spielenden und scherzenden Gesang zu
sehen hat. Es ist nicht die Strke derselben, welche hervorragen mu; sondern vielmehr
der vernderte Eintritt, die lebhaften und natrlichen Zergliederungen der Hauptaccorde
der Harmonie, und die muntern, und als von ungefehr eingeossenen Modulationen der
concertirenden Stimmen sind es, welche den Concertouverturen eine wahre Schnheit,
und ein gehriges Feuer geben. Freylich mu man zugleich auch auf die Natur der Instru-
mente sehen; es mu aber auch nicht allzuconcertmig, und allzuweitluftig und so
stark, wie es sich in den ordentlichen Concerten gehret, verfahren werden; sondern es ist
 Notes to Pages 4344 523

dabey eine gewisse Mae zu halten, damit man nicht die eigentliche Beschaenheit und
Natur der Ouverture berschreite, und aus einer franzsischen Schreibart eine solchen
Satzes verworren und unordentlich mache.
Eine Concertouverture mit einer Concertgeige mu also in ihrer Ausarbeitung von
einem gewhnlichen Geigenconcerte unterschieden seyn; und so auch Ouverturen mit an-
dern concertirenden Instrumenten. Insbesondere aber sind solche Ouverturen am an-
genehmsten, wenn ein paar Hoboen und ein Baon mit einem harmonirenden Trio in der
Mitten dann und wann abwechseln. Sie mssen aber nicht viel arbeiten, sondernc in einer
reinen Harmonie mit einander fortgehen, oder einander nur in etwas nachahmen; die
brigen Instrumente wechseln dann mit ihnen ab. . . .
Unter den Deutschen haben sich wohl Telemann und Fasch in dieser Art von Ouver-
turen am meisten gewiesen. Der erste insonderheit hat diese Musikstcke berhaupt in
Deutschland am meisten bekannt gemacht, auch sich darinnen so hervorgethan, da man,
ohne der Schmeicheley beschuldiget zu werden, mit Recht von ihm sagen kann: er habe
als ein Nachahmer der Franzosen, endlich diese Auslnder selbst in ihrer eigenen Nation-
almusik bertroen. Wer weis auch nicht, da ihm Frankreich selbst diesen Ruhm zuge-
steht, und da ihn folglich kein wahrer Kenner der Tonkunst die grte Strke in der Ver-
fertigung franzsischer Musikstcke absprechen wird; zumal keine Art derselben ist, die
er nicht einsieht, und auszuben weis, und in der er nicht schon lngst ihre ersten Urhe-
ber weit hinter sich gelassen hat.
Mizler (Musikalische Bibliothek, 4:105) also claimed that Telemann had beaten the French
at their own game: The French have seen in Herr Telemann that Germans can surpass
them in the French style, and they admire him for this. See also Marpurgs dedication to
Telemann of the rst volume of the Abhandlung von der Fuga, quoted in chap. 8.
64. Eisel, Musicus Autodidaktos, 37: Man braucht sie in harmonieulen Concerten nicht nur
als eine blosse Mittel-Stimme, Alt- oder Tenor zum Ausfllen, sondern auch zur Concert-
Stimme, davon des berhmten Herrn Capell-Meister Telemanns seine Concerten und
Concert-Ouverturen ein sattsames Zeugnis geben. Precisely which of Telemanns suites Eisel
was referring to is unclear (though see n. 69 below).
65. The rubric Concert en Ouverture, obviously a reference to the violins soloistic
role in the works overture and in each of the following dance movements, appears at the
top of the Violino Concertato part copied at the Dresden court (D-Dl, Mus. 2392-
O-7). Bttner (Das Konzert in den Orchestersuiten Georg Philipp Telemanns, 17) divided Tele-
manns overture-suites into Streichersuiten and Konzertsuiten, the latter category in-
cluding works with one or more concertante instruments. In his editions of 55:D6, Es2,
and A4, Adolf Homann entitled each work Konzertsuite (Telemann, Konzertsuite fr
Violoncello oder Viola da Gamba; Konzertsuite fr F-Altblockte; Konzertsuite A-dur fr Violine). And
Willi Maertens refers to 55:A8 as a Konzertsuite in the preface to his edition of the
work (Telemann, Konzertsuite A-dur fr Violine).
66. The same title is found on the source for MWV VI/Anh. 2. In MWV VI/Anh.
1, a long suite of dances begins with a ritornello-form movement called Suite Concerto
in the Violino Concerto part. According to Hfner (Der badische Hofkapellmeister Johann
Melchior Molter, 25051), this work was composed during Molters rst Karlsruhe period
(171733), and MWV VI/Anh. 2 sometime after 1743.
524 Notes to Pages 4547

67. Doemming, who is represented by a number of instrumental and vocal works in

the library of the Prince of Bentheim-Tecklenburg at Rheda, appears to have been active
as a composer and cellist at the Hohenlimburg court of Duke Moritz Casimir I between
the 1730s and 1770s (to judge from the dates on many of the manuscripts). I am grate-
ful to Joshua Rifkin for calling my attention to Doemmings F-major concert en ouverture.
68. Although 55:A4 has been cataloged, published, and recorded under Telemanns
name, its weak invention, unimaginative solo writing, and unusual movement titles (e.g.,
Minuetta) argue strongly against this attribution. The sole manuscript source, a score
in the hand of Darmstadt Copyist B (Johann Gottfried Vogler?), bears no composers
name. Nevertheless, Homann (Die Orchestersuiten, 35) considers the suite a masterpiece.
TWV 55:A8, ascribed to Tehleman at Schwerin and unattributed at Rheda, is no more
likely to have come from Telemanns pen: its unusually brief movements are melodically
impoverished and marked by simplistic solo writing.
69. The nature of the solo violin writing in these suites, which perished in the allied
bombing of Darmstadt in 1944, is unclear. See Gropietsch, Graupners Ouverturen und
Tafelmusiken, 52 and 8586. Mention should also be made here of a few lost works by
Telemann: 55:D26 for ute, violin, three trumpets, timpani, and strings, advertised in the
1763 Breitkopf thematic catalog; and 55:G13 for violin and strings. The latter, however,
may have been identical to 55:G6, which not only has the same scoring and key, but al-
most the identical succession of movements. Among the Ouverturen di Telemann listed
in the 1743 inventory of the Zerbst Hofkapelle under Fasch are ve works including a
part for Violino Concertat[o] (nos. 4, 6, 12, 14, 29); no. 21 in the list is described as
Viola Concert[ato] 2 Violini Viola Rip[ieno] et Cembalo. Under the category Ou-
verturen von verschiedenen Meistern are two works with 2 Violini Concertat[o] by
Monseig. le Comte de Lippe and one work with a Violino Conc[ertato] part by
Frey (nos. 1, 2, 34). See Concert-Stube des Zerbster Schlosses.
70. For descriptions of the Dresden manuscripts transmitting the Fasch and
Heinichen works, see Fechner, Studien zur Dresdner berlieferung, 24648 and 32324.
71. On the title page of the sole manuscript source for the work (D-KA, Ms Hs 54),
the solo part is described as Flauto Traverso Violino Principale, with Violino Prin-
cipale having been added as a second thought. Bodinus worked at the Karlsruhe court
o and on between 1718 and 1752, and his suite could have been composed at any time
during this period.
72. A similar instance of melodic linking between two movements occurs in 55:D18,
where the Air. Lentement commences with an embellished version of the 5135 rising
arpeggio that begins the refrain of the preceding passacaille.
73. For details of these arrangements, see Huth, Ein weiteres Suitenkonzert in F-
Dur and Fechner, Studien zur Dresdner berlieferung, 24042. Fechner (248) suggests that
Pisendel may also have added two dance movements to Heinichens concerto en suite from
other works by the composer.
74. Schering, Instrumentalkonzerte deutscher Meister, xiv; Fleischhauer, Analytische Be-
merkungen, 81; Telemann, Konzert F-Dur, 8 (Hobohm). The bass gure, mentioned in the
Avertissement to the Nouveaux quatuors (1738), consists of a half circle placed over a 5 to
indicate that a diminished triad is to be played instead of a six-ve chord. Carl Philipp
 Notes to Pages 4754 525

Emanuel Bach uses the term Telemannischer Bogen in his Versuch ber die wahre Art das
Clavier zu spielen (pt. 2; see especially p. 61), where he also employs the gure to distinguish
between three- and four-part realizations of various chords. Swack (Telemann, Douze solos,
xii) suggests that Telemann may have adopted the gure as early as 1734.
75. Fechner, Studien zur Dresdner berlieferung, 212; Weiss, Zu Papieren und Wasser-
zeichen, 23. See also Zohn, Music Paper, 13637.
76. See TB, 34763.
77. TB, 349: Ich werde eine herzliche Freude haben wenn ich erleben sollte, da das
bereits zur Hand gelegte Papier zu der Music allgemeinen Besten von dem vor allen andern
hierzu geschicktesten unvergleichlichen Herrn CapellM.r Telemann ergrien u[nd] employrt
worden.
78. Spitzer and Zaslaw (The Birth of the Orchestra, 47783) refer to this eect as alter-
nating concertante, and point out that it seems to have been regarded as a German spe-
cialty during the eighteenth century.
79. The surprising eect of the opening harmonic progression is also noted by
Fleischhauer, Analytische Bemerkungen, 83, and Stewart, Georg Philipp Telemann in
Hamburg, 168.
80. Carl Philipp Emanuel Bachs and Johann Friedrich Agricolas recollection that Jo-
hann Bernhard Bach wrote many ne ouvertures in the manner of Telemann (NBR, no.
306) may in part reect Johann Bernhards interest in the concert en ouverture. Telemann and
Johann Bernhard were colleagues at Eisenach, and the latter had already written overture-
suites by 1723 (see Oefner, Telemann in Eisenach, 51). As mentioned in n. 69, Fasch at
Zerbst probably performed several examples of the genre by Telemann.
81. This work is not, as reported in TWV 3, fragmentarily preserved. The Dresden
manuscript score (dated 1741), along with those of 55:D19 and F12, is considered an
autograph by Landmann (Die Telemann-Quellen, 130, 132, 135, 144). However, both
Homann (Die Orchestersuiten, 101, 130, 159) and Fechner (Studien zur Dresdner berliefer-
ung, 406 n. 15) regard the scores as copies, perhaps with autograph portions. See also
Zohn, Music Paper, 14647.
82. The fast sections of several opening movements in Telemanns concerts en ouverture are
compared to Vivaldis concerto allegros by Trinkle, Telemanns Concertouverturen, 26986.
83. Riemann (Die franzsische Ouverture, 67) appears to have been the rst to con-
nect Scheibes discussion of the Concertouverture with Telemanns Musique de table suites.
84. See the suites by Johann Bernhard Bach, Doemming, and Telemann (55:D14, Es2,
G6, g7, g8, and A7). Exceptional is 55:D6, where the rondeau is the only movement not
to include a solo line for the viola da gamba.
85. Werner Breig (Zur Vorgeschichte, 4852) has independently reached a similar
conclusion, going so far as to suggest that the entire suite was originally scored for four-
part strings without a solo instrument.
86. Besseler and Gr, Kritischer Bericht to NBA 7/1, 5961 and 65. See also Rifkin,
BesetzungEntstehungberlieferung, 17576.
87. Most of the brief solos in the Amener and Les Trompettes movements could
have been drawn by an arranger from the putative original part for violin 1, which usually
falls silent during these passages.
526 Notes to Pages 5461

88. Although the precise identity of the te pastorelle is uncertain, it was most
likely some type of recorder. The same goes for the auto pastorale indicated in 41:E3
(Der getreue Music-Meister), and the auto pastorale vel aquativo accompanying Neptunes
aria Dein Wohlergehn, o Schnste from the serenata Unschtzbarer Vorwurf erkenntlicher Sin-
nen, TVWV 24:1. Erich Benedikt (La Flte pastorelle), however, proposes that the in-
strument was a panpipe.
89. In the E-at bourre I, the recorder echoes violin 1 above a strangely rudimentary
violin 2 part, suggesting that the echo eects were originally between violins 1 and 2. In
the gavotte, the violin 2 and viola parts are in unison throughout. The E-minor Air is
also in four real parts: when the soloist has independent material, violins 1 and 2 double
each other.
90. In this respect, it may be signicant that the solo parts (Violin 1mo and Vio-
lino 2do) are not described as concertato or concertino, whereas the (added) string
parts are all in Ripieno.
91. Rampe and Sackmann, Bachs Orchestermusik, 258. On the A-minor version of BWV
1067 see also Breig, Zur Vorgeschichte; Rifkin, The B-Minor Flute Suite Decon-
structed; and Zohn, Bach and the Concert en ouverture.
92. The untitled 50:21 is labeled Divertimento by Georg Michael. Ruhnke (TWV
2, 223) identies the D-major Fanfare, 50:44, as a tenth piece in the parcel. That it is
in fact the concluding movement of 55:D23, despite calling for two horns not present in
the preceding movements, is indicated by Telemanns continuous numbering of the bifolia
on which both the Fanfare and suite are written. For a description of the parcel (D-Bds,
Mus. ms. autogr. G.P. Telemann 6) and an inventory of its contents, see Hobohm, Be-
merkungen zum Konvolut T6, and Jaenecke, Autographe und Abschriften, 2830.
93. For the full text of the announcement, run in the July 1769 issue of the Hamburger
Unterhaltungen and in August and September issues of the Hamburger Relations-Courier, see
Klein, Dokumente zur Telemann-Rezeption, 2122. A facsimile of the July announcement is
given in Maertens, Hamburgische Kapitainsmusiken, 390. No copy of the auction catalog has
been traced, and aside from the roughly 300 manuscript works (nearly half in autograph
scores) that passed down to Georg Michael, it is not known which of Telemanns heirs
may have inherited what, either before or after the auction.
94. Weiss, Zu Papieren und Wasserzeichen, 28.
95. TB, 19293: Ich war Willens, meine Feder eine zeitlang ruhen zu lassen, weil ich,
bey Verfertigung der letztens berschickten Music, deren ersten Theil ich einem hiesigen
draussen wohlbekandten Kaufmann, Herrn Schmidt, mitgegeben hatte, eine gar merk-
liche Abnahme meines Gesichts versprete; es el mir aber ein Zeitungsblatt in die Hnde,
wo ich las: Der der [sic] Durchlauchtigste Landgraf von Darmstadt, Ludwig der VIII,
wrden am 25. August Ihr Namensfest feyerlichst begehen. Ich gerieht fast sofort in eine
Begeisterung, u[nd] machte den Entwurf zu hierbey kommenden Stcken.
96. See TVWV 2:16, and Jaenecke, Autographe und Abschriften, 40.
97. Biermann, Endlers Orchestersuiten, 34950.
98. Sarras, like Sarrois elsewhere among Telemanns works, is a version of serra, a
Polish dance from the Baltic coastal area. See Koch, Die polnische und hanakische Musik, 2:13.
99. Like the Berlin parcel of suites, this score (D-Bds, Mus. ms. autogr. G.P. Telemann
 Notes to Pages 6166 527

3) may once have belonged to Georg Michael Telemann. Jaenecke (Autographe und Abschriften,
2526) notes that it was owned by Georg Poelchau (17731836), the Berlin collector
who obtained many of his Telemann manuscripts from Georg Michaels estate.
100. Unterhaltungen 1/1 (January 1766), 72. Quoted in Fleischhauer, Ramlers musik-
alische Idylle, 82.

Chapter 2

1. Calypso, oder Sieg der Weisheit ueber die Liebe: Nachfolgendes Stck ist einigermassen ein
Versuch zur Verbesserung der Theatralischen Musick in Teutscher Sprache, nach dem
Model der Italiner. . . . Das grste Vergngen, so man bey der Vocal-Music hat, entste-
het aus der Vereinigung der Iden, welche zu gleicher Zeit von den Worten und dem
Klange herrhren. Wo diese Iden zertheilet werden, ist der halbe Nachdruck verlohren,
und wo sie ungereimt zusammengefgt werden, ist das gantze Wesen unvollkommen. Es
ist auch mehr als wahrscheinlich, da das Vergngen, so wir von den allerbeweglichsten
Thnen der Instrumental-Music empnden, zum Theil durch gewisse Iden, die wir
denselben beyfgen, von Gemths-Bewegungen, so unserer Einbildung nach durch diese
Thonen exprimirt werden, verursachet wird. Und wenn man behaupten wollte, da die
Arien in Opern, um eben dieser Ursachen willen, und wenn wir gleich die Worte gleich
nicht verstehen, mit Vergngen gehret werden knnte, so ist es doch unmglich da das
Recitativ, welches solche Iden zu erwecken gntzlich unfhig, ein solches Plaisir zuwege
bringen knne, weil selbiges, strict zu reden, eher ein Sprechen in Musicalischen Thnen
als ein Singen zu nennen ist. Telemanns commentary, like that of his librettist, Johann
Philipp Praetorius, is unsigned.
2. For discussions of this aesthetic, see Hosler, Changing Aesthetic Views, 4249; and
Lippman, Western Musical Aesthetics, 8498.
3. Translated in Lippman, Western Musical Aesthetics, 85 and 110.
4. Consider, in this respect, Telemanns insistence on the importance of singing
(Lebenslauf, 170): Singen ist das Fundament zur Music in allen Dingen. / Wer die
Composition ergreit / mu in seinen Stzen singen. / Wer auf Instrumenten spielt /
mu des Singens kndig seyn. / Also prge man das Singen jungen Leuten eiig ein
(Singing is the foundation of music in every respect. Whoever grasps a piece must sing
his phrases. Whoever plays instruments must be knowledgeable about singing. One must
therefore diligently impress upon young people the importance of singing).
5. Mattheson, Der volkommene Capellmeister, pt. I, chap. 10, 63: Weil nun die Instru-
mental-Music nichts anders ist, als eine Ton-Sprache oder Klang-Rede, so muss sie ihre
eigentliche Absicht allemahl auf eine gewisse Gemths-Bewegung richten. Translated in
Hosler, Changing Aesthetic Views, 78.
6. Anonymous, Ein paar derbe musikalisch-patriotische Ohrfeigen. Quoted in Huth and
Hirschmann, Georg Philipp Telemann, 433.
7. In his 1718 autobiography (Lebens-lau, 74) Telemann noted of his time in
Leipzig: Hierbey ist nicht zu vergessen / da ich mit der Person und Arbeit Herr Kuhn-
aus bekandt wurde; und wie vita instituenda est illustribus exemplis, so weckte die Gelehrsam-
528 Notes to Pages 6668

keit / welche dieser sonderbare Mann / nebst der Music, in der Jurisprudentz und vielen
Sprachen / so gar auch in der Hebrischen / besa / die Begierde in mir auf / da ich
einen Theil von dessen rhmlichen Qualitaeten mit der Zeit erlangen mchte (In this re-
spect, one should not forget that I became acquainted with Herr Kuhnau and his music;
and as vita instituenda est illustribus exemplis, the erudition this extraordinary man possessed in
music, jurisprudence, and many languages (even Hebrew) awakened in me the desire to
attain some of these praiseworthy qualities in time). In 1740 (Mattheson, Grundlage einer
Ehren-Pforte, 359) Telemann observed more simply that die Feder des vortreichen Hn.
Johann Kuhnau diente mir hier zur Nachfolge in Fugen und Contrapuncten (Here
[Leipzig] the excellent pen of Herr Johann Kuhnau served me as a model in fugue and
counterpoint).
8. Kuhnau, Musicalische Vorstellung, preface. Translated in Kuhnau,The Collected Works, 2:195
and 197.
9. Kuhnau, Musicalische Vorstellung, preface: Und stellet man meines Erachtens erstlich
gewisse Aectus vor / oder man suchet den Zuhrer selbst zu dem intendirten Aect zu be-
wegen. Hernachmahls wird was anders aus der Natur oder Kunst prsentiret. Und dieses
letzte geschiehet entweder also da der Zuhrer die gehabte Intention des Componisten bald
mercken kan / wenn sie auch schon mit Worten nicht angedeutet worden. Wen man Z.E.
den Gesang der Vogel / als des Kuckucks / und der Nachtigal das Glocken-Gelute / den
Canonen-Knall / ingleichen au einem Instrumente das andere / als au dem Claviere
die Trompeten und Paucken imitiret: Oder aber das man au eine Analogiam zielet / und
die Musicalischen Stze also einrichtet / da sie in aliquo tertio mit der vorgestellten
Sache sich vergleichen lassen. Und da sind die Worte allerdings nthig / wenn es der
klingenden Harmonie nicht so bel oder schlimmer gehen soll als denen Stummen / deren
Sprache von den wenigsten verstanden wird. Translation adapted from Kuhnau, The Col-
lected Works, 2:201.
10. Kuhnau, Musicalische Vorstellung, preface: Und gehrt in solchen Fllen eine gtige
Interpretation darzu. Denn brauchen die Worte / die doch am geschicktesten sind / die
Gedancken des Redenden dem andern zu verstehen zu geben / zuweilen eine gute Ausle-
gung / so wird auch der Musicus zu entschuldigen seyn / wenn er die dem andern vorge-
stellte dunckeln Conceptus mit Worten erklhret. Translation adapted from Kuhnau, The
Collected Works, 2:201.
11. Kuhnau, Der musicalische Quack-Salber, chap. 11. Later in the novel (chap. 26), Ca-
raa describes the rhetorical power of his music: If I wanted to have [people] doting, I
needed only to play a few keys or chords on my instrument and then they behaved as
though they were about to die on the spot from yearning for their lover. If they were to
be like the mad and insane, I let my skill nd such repulsive tones that the people stood
as contorted as those one usually throws into chains. A similar story is told by Marpurg
(Legende einiger Musikheiligen, 15861) about Ernst Gottlieb Baron, who, in an eort to dem-
onstrate that modern music can duplicate the emotional eect of ancient Greek music,
incites listeners to violence with his lute playing. But the joke is on Baron, for the alter-
cation has been staged for his benet!
12. David Fuller (Of Portraits, Sapho and Couperin, 169) points out that Marin
Marais seems to have been the rst to coin a term for descriptive instrumental works not
tied to dance rhythms and forms: pices caractrizes or pices de caractres.
 Notes to Pages 6871 529

13. Christoph Graupners overture-suites, which contain a substantial number of char-

acteristic movements, appear to have been modeled largely on Telemanns.
14. On Kusser see Owens, The Stuttgart Adonis, 7175.
15. Although its title is not characteristic, the Ouverture avec des airs 55:B9 may also be
mentioned here. Only two movements following the overture are in fact called Air.
16. To judge from the uniformity of paper stock in the manuscripts, it appears that
Copyist E wrote out the seven overture-suites as a set. At present, the only clue as to his
identity is the initial S on some of the title pages.
17. That the Zurich and Rostock sources have similar titles for the suite (Les Di-
vinits de la Mer and Ouverture 7, qui represente Leau avec ses Divinits et Le Com-
merce de la Mere) is due to the former having been copied from the latter.
18. Along with 55:G4, the two suites are transmitted together in a Berlin manuscript
copied around the end of Telemanns life (the papers watermark bears the date 1767) and
entitled Waer u[nd] anderer Carackterisierten Ouverturen. They were also owned by
the Zerbst Hofkapelle under Fasch in 1743, along with la Bizarre (55:G2?), 55:F11
(probably the suite a 4 Corni 2 Hautb. 2 Violini Viola, et Cembalo), and three Bour-
lesque suites that may have included 55:F10, G12, and B8. See Concert-Stube des Zerbster
Schlosses, 13637 [1213]. At his death in 1759 Nicolas Selhof in The Hague owned
55:G10 (lot 2370 in King, Catalogue of the Music Library). The Ulm Collegium musicum extra-
ordinarium directed by Johannes Kleinknecht obtained no fewer than six of Telemanns
Ouvertures Bourlesques from Nuremberg between May 1726 and April 1727. See
Homann, Telemannische Musik in Ulm, 15.
19. Also including numbered Airs (seven in this case) is La Galante, 55:D5, though
here the dances are somewhat longer than in the burlesque suites.
20. Translated in Wilson, Georg Muat on Performance Practice, 16. Michel Philipp (Lpp-
ische Schildereyen?, 263) accuses Telemann of having invented headings or titling composed
movements, citing as evidence several work titles discredited above and a few movement
titles reminiscent of French keyboard pices.
21. Baron, Historisch-theoretisch und practische Untersuchung, 75 and 86.
22. Scheibe, Critischer Musikus, 674: Wenn also ein Componist seine Sviten zur vor-
hergegangenen Ouverture entwirft: so mu er auch allemal den darber gesetzten Namen
ausdrcken, damit sie nicht eine andere Gestalt oder Einrichtung erhalten, als ihnen nach
ihrem Charakter allemal gebhret. Nichts ist abgeschmackter, als wenn nchterne Com-
ponisten ihren Stzen erst eine Benennung geben, wenn sie bereits damit fertig sind, ohne
sich um die Natur und Beschaenheit derselben genau zu bekmmern. Ein solcher
Stmper weis also nicht, was er machen will. Und wie oft geschieht es alsdann auch nicht,
da ein Satz einen Namen erhlt, den er gar nicht ausdrcket? Ein Componist mu ber-
eits schon wissen, was er verfertigen will, bevor er seine Feder ansetzet. Wer nach der Vol-
lendung seiner Stze erst nachdenken will, was sie wohl seyn knnten, der wird eine solche
Thorheit begehen, die allerdings verdienet, verspottet zu werden.
Ich habe mehr als einen solcher Helden gesehen, die wohl gar ihre Notisten gefraget
haben: wie sie die so gennanten Sviten in ihren elenden Ouverturen benennen sollten?
Welche eine treiche Einsicht in die Natur musikalischer Stcke mssen diese Einflti-
gen nicht besitzen?
23. Fuller, Of Portraits, Sapho and Couperin, 173.
530 Notes to Pages 7274

24. Everett, Vivaldi: The Four Seasons, 5253.

25. Philipp, Lppische Schildereyen?, 263; Homann, Die Orchestersuiten, 23. Noting the
greater variety of dance types in overture-suites as compared to keyboard and chamber
suites, Harris-Warrick (Dance, 899) observes that although orchestral suites were
probably not composed as functional dance music, they nonetheless stay closer to the ac-
tual practice of dancing, particularly the theatrical, than do the chamber and solo suites.
26. A set of manuscript parts transmitting this suite bears witness to an aborted per-
formance at the Darmstadt court. The copyist, Christoph Graupner, wrote out only what
was necessary for a court scribe to complete the set by lling in all the doublings. Yet the
manuscript was never completed, rendering the work unperformable. The eight move-
ments following an unusually brief overture have numbers rather than titles, and the fth
(Allegro) and seventh (Vivace) are given Italian tempo indications as well. None of the
movements is dance-like in terms of style or structure; all but the sixth are in da capo
form, and several feature concertante writing for one or two instruments with an accom-
paniment of unison violins and continuo. The third movement adds a ute to the com-
plement of oboes (doubling on recorders for no. 6), strings, and continuo; the fourth a
concertante violin; and the fth a concertante bassoon. The works tonal plan (B B A
DCgFFB ) is unorthodox to say the least, with only three movements in the tonic
key. In aggregate these features, most of which are without parallel in Telemanns other
overture-suites, can mean only that the suite is an arrangement of arias and other move-
ments from an as-yet-unidentied vocal work. However, for Bttner (Das Konzert in den Or-
chestersuiten, 5355) the work represented an emancipation from the overture-suites orig-
inal point of departure, ballet dances.
27. Among dance movements in moderate or fast tempos, only the paired gavottes in
55:c2 (twelve and eight measures long respectively) and the fourth movement of 55:c3
(twelve measures; arranged from 41:c1) are of comparable length. A handful of slow-
tempo movements, mostly called Air or Aria, are also between eight and twelve mea-
sures long.
28. Huth, Telemanns Hamburger Opern, 13032.
29. Kurt Petermann, afterwords to Pasch, Beschreibung wahrer Tanz-Kunst, viiiix and xvii;
and to Taubert, Rechtschaener Tantzmeister, xviixviii.
30. For a description of the balls, see Taubert, Rechtschaener Tantzmeister, 938.
31. Bonin, Tantz-Kunst, 79.
32. Kenckel also executed the Six trio in 1718. Concerning the prints chronology,
and for a partial facsimile, see Menke, Das Musicalisch-Chorgraphische Hochzeit-
Divertissement and Bilddokumenten, 14951. See also TWV 2:240.
33. Such occasional pamphlets had been common in Germany for well over a century.
On their printing and uses in seventeenth-century Leipzig, see Rose, Music Printing in
Leipzig, especially 32829.
34. Taubert, Rechtschaener Tantzmeister, 376. On the meaning of grotesque in eigh-
teenth-century France and Germany, see Kayser, The Grotesque in Art and Literature, 2628.
35. Adolf Homann (Telemann, Ouverture burlesque) claimed that this overture-suite
was composed by Telemann in his capacity as opera director . . . at the Hamburg theater.
However, the manuscript source on which Homann based his edition appears to have
 Notes to Pages 7481 531

been copied in Saxony by the early 1720s, making a Hamburg origin for the work un-
likely.
36. Bonins 1712 list of popular costume dances in comedies and operas includes
Harlequin, Scarmouz, Pollicinello, peasants and other dances (Tantz-Kunst, 60). Concerning
the inuence of the commedia dellarte on the harlequinades and melodramas presented
by traveling theater companies in Germany, see Aiken-Sneath, Comedy in Germany, chap. 4.
37. Lambranzi, School of Theatrical Dancing, [16].
38. Lambranzi, School of Theatrical Dancing, 53; Behr, LArt de bien danser, 54, 7.
39. However, the dance pair Les Boiteux in La Bouonne, 55:C5, is free of this limp-
ing topic. Les Cyclopes may also have a theatrical origin: Behr (LArt de bien danser, 81
82) describes an Entre des Cyclopes or servants of the forge. The third suite of Kussers
Apollon enjo also includes a movement entitled Les Cyclopes, though the music itself is
nondescriptive.
40. Muats index is translated in Wilson, Georg Muat on Performance Practice, 6263. On
Schmelzers ballet, see Jung, Die Pastorale, 17475. The Venetian balli are discussed in Alm,
Dances from the Four Corners of the Earth, 252.
41. Lambranzi, School of Theatrical Dancing, 4142, 4950, 8994, 9697, 10809,
12425, 135; Behr, LArt de bien danser, 10708; Bonin, Tantz-Kunst, 197: Es gibt Entres
von allerley Nationen / zum Exempel / von vier Theilen der Welt / oder von andern
diversen Vlkern / welches ein Actus, Scena, oder die ganze Opera mit sich bringen mu /
man kan sie in einem Zimmer / auch anderwrts auftretten lassen / nachdeme es die Um-
stnde an die Hand geben. The engraved illustrations in Lambranzis treatise were ap-
parently executed by Johann Georg Puschner in Nuremberg. For the illustrations as they
appear in the authors manuscript, see Lambranzi, School of Theatrical Dancing: A Facsimile.
42. Bowles, Turkish Military Bands, 54748.
43. Homann (Die Orchestersuiten, 29) hypothesizes that Telemann wrote 55:B5 for a
jubilee celebration of the Hamburg Handlungs-Deputation or another event in the
cosmopolitan city, where foreigners were not an uncommon sight.
44. The representation of bells through ostinato gures appears to have been a com-
mon device in Russian music of the time. See Dolskaya-Ackerly, Vasilii Titov and the
Moscow Baroque, 21314.
45. Lambranzi, School of Theatrical Dancing, 43: Hier komen zwe alte Weiber herau,
und tanzen halb gehend, halb zitterend a[l]s euserste des Theatri, wan sie gantz vornen
sind kratzen sie sich an Bauch und hintern, und drehen sich herumb, darin kehren sie sich
rckwrts bi zum Anfang des Theatri, und machen eben diese Gestus, wenn sie dort
angekomen[.] Dieses hinter und vor sich gehen, dauret bi zu Ende der ersten Aria.
[W]hrender dieser Zeit komt ein Jngling aus der Scena, und da er di[e]se alte Weiber
siehet, lachet Er sie aus, und wan die Aria der Weiber ein Ende hat, nimbt er eine nach der
andern be der Hand, und zerret sie beden armen bi seine des Jnglings Aria, 2 oder 3
Mahl getantz worden. Es ist aber zu mercke[n] da dieer Tantz in 2 Arien bestehet deren
die Erste langsam d[ie] andere aber lustig oder geschwind gehet.
46. The sommeil as a genre is discussed in Wood, Orchestra and Spectacle.
47. On battle and tempest scenes in French baroque opera, see Wood, Music and Drama,
286 and 33440; La Gorce, Temptes et tremblements; and Bouissou, Mchanismes
532 Notes to Pages 8187

dramatiques. Telemann himself composed at least one operatic battle, the opening scene
of Sieg der Schnheit, TVWV 21:10, where the siege of Rome by the Vandals is accompa-
nied by warlike music. The following scene concludes with a ballet for soldiers, in
which various battle exercises are represented. The libretto from a 1732 Brunswick pro-
duction of the opera (renamed Gensericus) has been pubished in facsimile as Telemann, Sieg
der Schnheit. Stylistically similar to Telemanns combatants movements are the Tour-
bilon of 55:D12, Les Querelleurs of 55:Es1, and La Querelle of 55:e4.
48. Behr, LArt de bien danser, 6769.
49. Lambranzi, School of Theatrical Dancing, 127.
50. There is even a nod toward da capo form when, two-thirds of the way through the
movement, a cadence in F major is subverted by a quick move back to the tonic (mm.
5052), whereupon the oboes repeat their double motto and much material from the rst
solo episode.
51. The suites origin is noted on the title page to its Rostock source: Compose / A
Loccasion de la Feste / de lAdmiraute / et / present / par / Le Sieur Telemann.
52. Steltzner, Beschlu des Versuchs, 631: Auf dem Nieder-Baum-Hause war der grose Saal
schn ausgezieret, eine Tael wohl angerichtet, fr die Vocal- und Instrumental-Musicos
eine mit Tappeten behangene Bhne aufgebauet, und vor das Haus ein Lieutenant, nebst
Unter-Ocirern, und 40. Grenadirern zur Wache gesetzet. Die Admiralitts-Jagt lag vor
dem Baume, und wurden von solcher die Stcken bey den Gesundheits-Trincken abge-
feuert. Alle anwesende Schie waren mit Wimpeln und Flaggen aufs beste ausgezieret,
und liessen diejenigen Schie, so Stcken fhrten, sich damit tapfer hren. . . . Bey der
Tael wurde von Hr. Telemann eine sehr angenehme Musike, und absonderlich eine vor-
treiche Serenate, die der beliebte Herr Professor Richey in ausbndig schnen Versen
abgefasset hatte, aufgefhret. Die Lustbahrkeit whrete bi an den Morgen. Quoted in
Maertens, Telemanns Hamburger Admiralittsmusik, 107. The Niederbaumhaus, also
called the Baumhaus, had a rst-oor hall that seated about 200 persons. See Sittard,
Geschichte des Musik- und Concertwesens in Hamburg, 71 n.
53. Staats- und Belehrte Zeitung des hollsteinischen Correspondenten, 13 April 1723: Zugleich
werden dem curieusen Leser die Characteres von den Musikalischen Instrumental-
Stcken communiciret, so bey diesem Festin noch auer der Serenade von Herrn Tele-
mann aufgefhret und eigentlich dazu componiret worden. Die schnen Erndungen
davon sind nicht allein anmuthig und sinnreich, sondern haben auch ungemein Eect
gethan und zu diesem Feste sich aus der massen wohl geschicket. Zuerst wurde vorgestel-
let die Stille, das Wallen, und die Unruhe des Meeres in der Ouverture zur Serenade.
Nachgehends 1. die schlafende Thetis in einer Sarabande. 2. Die erwachende Thetis in
einer Bourree. 3. Der verliebte Neptunus in einer Loure. 4. Die spielenden Najaden in
einer Gavotte. 5. Die scherzenden Tritons in einer Harlequinade. 6. Der strmende Aeo-
lus in einer Tempete. 7. Der angenehme Zephyr in einer Menuett altern. 8. Die Ebbe und
Flut in einer Gigue. 9. Die lustigen Boots-Leute in einer Cannarie. Quoted in Menke,
Das Vokalwerk, Anhang A, 4. The suite is referred to as Ouverture / vor der Serenade in
a 1723 reprinting of Richeys text. See Maertens, Telemanns Hamburger Admiral-
ittsmusik 1723, 111.
54. D-Bds, SA 3247 and 3248.
 Notes to Pages 8791 533

55. Here the characteristic titles are found throughout only the rst violin and viola
parts. In both manuscripts, the Air lentement is in a copying hand not found elsewhere
in the parts (except for the viola of D-Bds, SA 3247).
56. See TWV 3:169.
57. See the partial facsimile reproduction of the serenatas libretto (originally pub-
lished in Christian Friedrich Weichmanns Poesie der Niedersachsen) in Clostermann, Georg
Philipp Telemann in Hamburg, 61.
58. Steltzner, Beschlu des Versuchs einer zuverlssigen Nachricht, 662: Bey der Ankunt zu
Uhlen-Horst wurden die hohen Herrschaten unter Paucken- und Trompeten-Schall,
auch Lobrennung der alda gepanzten Stcke empfangen, und an die auf dem grossen
Saal aufgezierte Tael begleitet. Unter whrender Tael fhrete der Herr Telemann eine
schne Serenata von 40. Musicis auf, und bey dem Gesundheit-Trincken liessen sich die
Stcken, Paucken und Trompeten tapfer hren. Quoted in Clostermann, Georg Philipp Tele-
mann in Hamburg, 37. In Hamburg cannon salutes were apparently de rigueur during state
visits and gala performances; in 1723 nine cannons were red before, during, and after a
serenata by Richey and the composer Matthias Christoph Wiedeburg. See Petzoldt, Georg
Philipp Telemann, 56. Uhlenhorst seems to have been a popular destination for visiting dig-
nitaries: during a 1732 trip there by Crown Prince Anton Ulrich of Brunswick, the Ad-
miralty serenata was performed by musicians deployed in boats on the Alster. See Maert-
ens, Telemanns Hamburger Admiralittsmusik 1723, 114.
59. Quoted in Maertens, Hamburgische Kapitainsmusiken, 20910, and Menke, Das
Vokalwerk, Anhang A, 910. A suite comprised of various characters and composed
for a certain festivity preceded a performance of the Admiralty serenata on 17 April
1728 (notice quoted in Menke, 1415). This may have been either 55:C3 or F11.
60. The movements beginning is strongly reminiscent of the opening measures of
55:F3, a work in which two horns are treated as equal concertante partners to two oboes.
61. The tirades may be intentional recollections of the one gracing the overtures sec-
ond section. Maertens (Telemanns Orchester-Suite mit Hornquartett, 7374) notes
this and other similarities between the overture and following movements. The indication
parforte in the horn parts seems to be a reference to the Parforcejagd, the German term
for the chasse courre or mounted hunt, and likely also to the hooped cor de chasse and its
characteristic calls. On the Parforcejagd, see Fitzpatrick, The Horn and Horn-Playing, 1620.
62. See Hamilton, Mythology, 29; and Morford and Lenardon, Classical Mythology,
10613.
63. See the echo eects in 55:C4/x (canaries), Es2/iv (Boure I en Echo), e5/vi
(forlane), s1/v (loure), g8/v (Echo. Vistement), and B4/iv (loure).
64. Transmitted by a manuscript copy of indeterminate provenance, the concerto is in
many respects atypical of Telemann. The accompanying string body of three violins,
viola, and continuo is found nowhere else in his output, and equally unusual is the con-
cluding pair of alternating menuets featuring contrasting meters and lacking an inde-
pendent part for the violin soloist (with the exception of movements in 55:D7 and G10,
Telemanns alternating dance pairs are in a single meter). The rst movement is especially
uncharacteristic in its pedestrian thematic material, solo episodes devoid of harmonic di-
rection and packed with seemingly endless sequences of empty guration, and overuse of
534 Notes to Pages 91100

the croaking bariolage eect. The attractive second movement is a strange hybrid: it be-
gins as an Italian adagio for solo violin and strings but suddenly turns to the pastoral
mode, eectively silencing the soloist for the remainder of the concerto.
65. A point made by Maertens, Telemanns Orchester-Suite mit Hornquartett, 71.
66. See Hobohm, Bemerkungen zum Konvolut T 6, 89; Ruhnke, TWV 2:228; and
Jaenecke, Georg Philipp Telemann: Autographe und Abschriften, 2728.
67. D-DS, Mus. ms. 268. Also at Darmstadt is a 1713 overture-suite by Ernst Lud-
wig (Mus. ms. 267) and a set of twelve dated 1718 (Mus. ms. 270).
68. Gropietsch, Graupners Ouverturen und Tafelmusiken, 7576.
69. Der alte 70jhrige Landgraf ist bestndig auf seinem Lust- und Jagdschlo
Kranichstein, und es kommt bei ihm kein Fremder noch Einheimischer vor, wenn er es
nicht expre verlangt. Da er ein groer Liebhaber von der Jagd ist, so ist das denn sein
einziger Ausgang. Indessen geht seine Tafel in Darmstadt bestndig fort. . . . Mittags sind
20 und Abends 12 bis 14 delikate Gerichte und auerdem noch immer ein schnes ab-
wechselndes Dessert. Die Aufwartung besteht aus vier Pagen und das Uebrige sind
Livreebediente blau und rot mit silber. Gemeiniglich sitzen wenigstens 12 Personen
daran. Quoted in Gropietsch, Graupners Ouverturen und Tafelmusiken, 74, citing the research
of Friedrich Noack.
70. See Giord, Pastoral, 4951.
71. Although the source for 44:7 pairs violins with horns, and the source for 44:8
gives the options Hautbois ou Violons and Violino e Hautbois, the treble parts in
both works were clearly intended for oboes. Among Telemanns other contributions to the
early history of Harmoniemusik are the overture-suites 44:3 and 1216 (some probably in-
authentic); the 1716 ceremonial Marche for three oboes, two horns, and bassoon,
50:43; a possible wind-band version of the Alster ouverture, mentioned earlier; and the
1728 Helden-Music, oder 12 neue musicalische Marches (discussed in chapter 8). See Hobohm,
Telemanns Musik fr Hautboisten-Ensembles, and Hofer, Geburtsmomente der Har-
moniemusik, 4047.
72. On traditional signals, see Ringer, The Chasse, 89.
73. Heartz with Rader, Branle, 245.
74. See Rawson, Fingers Christmas Pastorellas, 59496; and Will, The Characteristic
Symphony, 8586.
75. Rawson, Fingers Christmas Pastorellas, 59497.
76. On the perception of time in musical idylls, see Will, The Characteristic Symphony,
17577.
77. Eschenburg, Nachricht des Herausgebers, xvii. Quoted in Klein, Dokumente zur
Telemann-Rezeption, 33 (no. 40). For eighteenth- and nineteenth-century anecdotes attest-
ing to Telemanns sense of humor, see Zohn, Images of Telemann.
78. A good summary of eighteenth-century notions of wit and humor is provided in
Wheelock, Haydns Ingenious Jesting with Art, chap. 2, on which this paragraph draws.
79. Morris, An Essay, 2325.
80. Ibid., 12.
81. Ibid., 50.
 Notes to Pages 10114 535

82. As a resident of Hamburg, Telemann would doubtless have encountered Hinrich

Borkensteins Der Bookesbeutel (1742) and other theatrical comedies satirizing everyday life
in the city; these belonged to a substantial repertory of satirical plays written in Germany
at midcentury. See Aikin-Sneath, Comedy in Germany, 7175 and chap. 6.
83. Telemann mentioned Contis opera to his friend Johann Friedrich Armand von
Uenbach in a letter of 30 October 1724, during the works Hamburg revival. See TB,
218. The suite must have been written by 172630, when it was copied at the Darmstadt
court. On Telemanns contact with Contis music more generally, see Williams, Francesco
Bartolomeo Conti, 7273.
84. The similar conceptions of the duet and suite are echoed in contemporaneous En-
glish views that Gullivers Travels and Don Quixote shared the same type of mock-gravity. See
Paulson, Don Quixote in England, 42.
85. Cervantes, Don Quixote, 31 (pt. 1, bk. 1, chap. 2).
86. Philipp (Lppische Schildereyen, 288) notes that Contis aria Le mie pene a Dulcinea
also makes liberal use of sigh gures. Le Reveil de Quichotte may also have a parodis-
tic element. Hobohm (Telemanns Musik fr Hautboisten-Ensembles, 7475) notes
that the movements melody appears in the last of six kurzen Pfeienstcke preserved
in a manuscript at the Landesarchiv Schleswig-Holstein. This particular piece is entitled
Holsteinische Mousquetier Reveillie. Did Telemann therefore appropriate a preexisting
military tune, or was his original melody used to rouse soldiers from their sleep?
87. The following discussion of Law and the French economy is indebted to Murphy,
John Law, chaps. 1219.
88. Sadler, A Philosophy Lesson with Franois Couperin?, 54142; Murphy, John
Law, 2.
89. Homann, Die Orchestersuiten, 17. Philipp (Lppische Schildereyen, 280) likewise con-
nects the suite with various developments in the nancial crisis, but leaves the overture out
of the story.
90. Frost, The Northern Wars, 296 and 334.
91. For a fuller description of the composing score see Hobohm, foreward and criti-
cal report to Telemann, Ouvertre D-Dur verbunden mit einer tragikomischen Suite, and Die
Furie in Telemanns Ouvertrensuiten, 71. Hobohm shows that petites-maisons indi-
cated the small rooms in which the mentally ill, tormented by Furies, were kept at the fa-
mous hospital in the Parisian suburb of Charenton. However, in the singular (petite-
maison) the term could also mean brothel.
92. Anthony, French Baroque Music, 37576.
93. In the manuscript transmitting the Imitation (D-Dl, Mus. 2-Q-23), apparently
copied around 1730, Johann Georg Pisendels name is given on the rst violin part and
his copying hand appears alongside that of a court scribe. The rubric 3. Ballet on the
second violin part suggests that the work was not just a concert piece, but actually danced
to at the court. As to the works composer, if it was not Pisendel, then the two most likely
candidates at Dresden are Jean-Baptiste Volumier and Pantaleon Hebenstreit, both cele-
brated dancing masters, composers, and instrumentalists.
94. Blackmore, A Treatise of the Spleen and Vapours, 2324 and 2627.
536 Notes to Pages 11417

95. Hobohm, Bemerkungen, 1011.

96. Reiber, Anatomie eines Bestsellers, 22122.
97. Lindemann, Health and Healing, 67, 172, and 26263.
98. Reiber, Anatomie eines Bestsellers, 149. There are at least two other eighteenth-century
representations of hypochondria in instrumental ensemble music. Jan Dismas Zelenkas
Hipocondrie 7 conc[ertanti], ZWV 189, is a French overture for two oboes, bassoon, and
strings written in Prague in 1723. The relationship of the title to the music is unclear, but
four blank leaves following the overture in the autograph manuscript suggest that the
work may be incomplete. See Stockigt, Jan Dismas Zelenka, 120. Additionally, Will (The
Characteristic Symphony, 285) cites an undated Sinfonia hypochondrica of Joseph Aloys Schmitt-
bauer (17181809).
99. Der Arzt, vol. 1 (1759; 2/1760), 426: Hypochondrie ist itzt ein Modewort,
dessen man sich bedient, um viele Unarten des Herzens damit zu entschuldigen, indem
man die Schuld derselben auf eine Krankheit schiebt, die uns vor andrer Augen un-
schuldig machen soll. Die Aerzte lassen sich diese Mode gefallen, und nennen alles Hy-
pochondrie, was nur einigermaen mit dieser Krankheit eine Aehnlichkeit hat. Quoted
in Reiber, Anatomie eines Bestsellers, 150.
100. Reiber, Anatomie eines Bestsellers, 161. The comedy appeared in Der Arzt, vol. 3
(1760), Vier und sechzigstes Stck, 17792.
101. Aikin-Sneath, Comedy in Germany, 79.
102. Der Arzt, vol. 1 (1759; 2/1760), 395: Ein Gelehrter ward aus Faulheit so
hypochondrisch, da er sich zu Bette legen mute, und sich selbst den Tod prophezeihete.
Daher befahl er, da man auf dem benachbarten Glockenspiele sein Sterbelied spielen
sollte. Er hatte dieses in seiner Jugend selbst oft zur Leibesbung gethan, und verstund es
so gut, da er es recht nach der Kunst zu machen wute. Als nun die Glocken gespielet
wurden, so hrete er mit Verdru, wie schlecht der Kerl sein Amt verwaltete; und da es
doch ein fr allemal seine letzte Ehre seyn sollte, so wollte er es auch recht haben, sprang
zornig aus dem Bette, und zeigte dem Kerl, wie er spielen mte. Er gerieth darber in
einen auerordentlichen Schwei, und korch wieder in sein Bette, um sein Ende abzu-
warten. Allein, dieser Schwei gab ihm die Gesundheit wieder.
103. Gerstenberg and Schmidt published under the pseudonym Zacharias Jernstrup,
whose name appears on the title page to the journals 1771 second edition.
104. Gerstenberg and Schmidt, Der Hypochondrist, Neuntes Stck, Sonnabends, den
27 Februar, 1762, 137: Wunderliche Hypochondrie! was bist du fr eine zweydeutige
Lehrerinn? Durch deine Eingebungen sieht man Dinge, die man niemals gesehen hat. Ein
hypochondrisches Auge ist wie ein Auge in der Nacht: alles kmmt ihm schwarz vor; oder,
da ich mich witziger ausdrcke, es ist wie eine gewisse Art Fernglser, die alle Gegen-
stnde verkehrt reprsentiren. So bald nur der Hypochondrist irgend eine Sache fr ein
Laster ansieht,und dazu ist ihm seine Krankheit sehr leicht behlich,so bald sieht
er alles andere auch fr Laster an.
105. That Telemann may have known Myliuss comedy is suggested by a meeting of
the two on 28 May 1753, when the composer set the poets Abschied aus Europa. See
Reipsch, Telemann und Christlob Mylius.
106. Lindemann, Health and Healing, 295.
 Notes to Pages 12123 537

Chapter 3

1. Telemann, Lebenslauf, 176: Alldieweil aber die Vernderung belustiget / so

machte mich auch ber Concerte her. Hiervon mu bekennen / da sie mir niemals recht
von Herzen gegangen sind / ob ich deren schon eine ziemliche Menge gemacht habe /
worber man aber schreiben mchte. . . . Zum wenigsten ist dieses wahr / da sie mehren-
theils nach Frankreich riechen. Ob es nun gleich wahrscheinlich / da mir die Natur hier-
inne etwas versagen wollen / weil wir doch nicht alle alles knnen / so drte dennoch
das eine Uhrsache mit seyn / da ich in denen meisten Concerten / so mir zu Gesichte
kamen / zwar viele Schwrigkeiten und krumme Sprnge / aber wenig Harmonie und
noch schlechtere Melodie antra / wovon ich die ersten hassete / weil sie meiner Hand
und Bogen unbequehm waren / und / wegen Ermangelung derer letztern Eigenschaen /
als worzu mein Ohr durch die Franzsischen Musiquen gewhnet war / sie nicht lieben
konnte / nach [recte: noch] imitiren mochte. Translation of the Latin (Juvenal, Satura 1)
from Juvenal, Juvenal and Persius, 9.
2. TB, 34; Walther, Musicalisches Lexicon, 59697: Was ich in den Stylis der Music
gethan, ist bekandt. Erst war es der Polnische, dem folgete der Franzs[ische], Kirchen-
Cammer- und Opern-Styl u[nd] was sich nach dem Italinischen nennet, mit welchem ich
denn itzo das mehreste zu thun habe.
3. Compare Mozarts famous remark, upon hearing the violinist Ignaz Frnzl perform
the solo part to a technically demanding concerto, that I am not a great lover of di-
culties (letter to Leopold Mozart of 22 November 1777; Mozart, Letters, 99).
4. Mattheson, Das neu-ernete Orchestre, 226: Das wil so viel sagen / da generalement
die Instrumental-Music der Frantzosen recht was sonderlichs voraus habe. Ob sich auch
gleich die Italiner die grste Mhe von der Welt mit ihren Symphonien und Concerten
geben / welche auch gewi beraus schn sind / so ist doch wol eine frische Frantzsis-
che Ouverture ihnen allen zu prferiren. Denn / nechst der Composition einer solchen Piee mit
ihrer Suite la Francoise, ist die Execution in ihrem Genere, welche die Frantzosen derselbigen
geben / so admirable, so unie und so ferme, da nichts darber seyn kan.
5. Mattheson, Grundlage einer Ehren-Pforte, 65: wenn solche Sachen nicht accurat und
ungezwungen, wie es die Gemths-Bewegung erfordert, zum Gehr gebracht wrden,
wolle er lieber an deren Stelle, eine leichte und lustige Ouvertre, zu deren Bewerckstellig-
ung nicht so viel Geschicklichkeit erfordert wrde, anhhren. Das war auch eine Haup-
tursache, warum er weder Sonaten noch Concerten setzte.
6. Limberg, Das im Jahr 1708 lebende und schwebende Eisenach, 150: ber solche smtliche
Music als dann Herr Telemann, ein Mann von groer Wissenschaft und sonderbarer In-
vention im componiren das Directorium fhret. Die Special Hoch-Frstl. Cammer Music
aber wird dirigirt von Monsieur Panthaleon, einem wohl renommirten Virtuosen, der sich
nicht allgemein mit seiner Music sondern auch mit seiner Fertigkeit im Tantzen, sowohl
in Franckreich, als auch in Teutschland berhmt gemacht. Ihm assistirt obgenannter Herr
Telemann, unter welchem die brigen Musicanten stehen, deren schon theils hier sind,
theils aber noch kommen werden. Quoted in Oefner, Telemann in Eisenach, 1011.
7. Mattheson, Grundlage einer Ehren-Pforte, 361: Ich mu dieser Capelle, die am meisten
nach frantzsischer Art eingerichtet war, zum Ruhm nachsagen, da sie das parisische, so
538 Notes to Pages 12324

sehr berhmte Opern-Orchester, welches ich nur erst vor kurtzen gehret, bertroen
habe. Telemann had heard the Paris Opra orchestra in 173738. In his 1718 autobiog-
raphy (Lebenslauf, 176) he noted that das anhaltende Exercitium in [Frantzsischen]
Sachen brachte bey hiesigem Orchestre eine feste und einhellig-bereinstimmende Execution
zu wege / welche mich zu bestndiger Arbeit anlockte (the constant practice in [French]
things brought this orchestra a rm and unanimous execution, which spurred me on to
work continuously).
8. Fischer, Frankfurter Telemann-Dokumente, 17879: da hauptschlich die Violine, so-
dann das Clavir, Flaute, Chalumeaux, Voloncello und Calchedon, wohl zu tractiren wei,
weniger nicht mit meiner Stimme, welche zwischen Tenor und Ba stehet, und Baritono
genennet zu werden pegt, mich hren laen darf.
9. Mattheson, Grundlage einer Ehren-Pforte, 36162: Hiebey entsinne ich mich der
Strcke besagten Hrn. Hebenstreits auf der Violine, die ihn gewi des ersten Ranges unter
allen andern Meistern wrdig machte. Da, wenn wir ein Concert mit einander zu spie-
len hatten, ich mich etliche Tage vorher, mit der Geige in der Hand, mit aufgestreitem
Hemde am lincken Arm, und mit strckenden Beschmierungen der Nerven einsperrte,
und bey mir selbst in die Lehre ging, damit ich gegen seine Gewalt mich in etwas empren
knnte. Und siehe da! es hal zu meiner mercklichen Besserung. Gleichwie ich ausser
etlichen wenigen, doch beraus schnen Beitrgen, so jener aufsetzte, zu allen Auhr-
ungen alles verfertigte, so stehet leicht zu erachten, was ich zusammen geschrieben haben
msse. Hebenstreits works may have been overture-suites, which Telemann praised in a
poem published in 1725. See TD, 129.
10. Schulze, Telemann-Pisendel-Bach. The concerto, or at least its rst movement,
was still being performed at Dresden during the 1730s, when the opening Grave was
placed before Albinonis sinfonia op. 7, no. 4 in a set of performing parts. See Zohn,
New Sources, 6970.
11. Schulze, J. S. Bachs Concerto-Arrangements; idem, Studien zur Bach-berlieferung,
14673. Bach may have arranged another Telemann concerto for keyboard, for an Erfurt
auction catalog from 1810 includes the following entry: Telemann, Concerto appropri-
ato allorgano di J. S. Bach, f-dur, geschr (quoted in Beiwenger, Johann Sebastian Bachs
Notenbibliothek, 69, 37879). It is possible, however, that the transcription was Johann
Gottfried Walthers, for the wording appropriato allorgano is precisely that used by
Walther in the thirteen concerto transcriptions contained in D-Bds, Mus. ms. 22541/4,
minus the following attribution da J. G. W.
12. Fechner, Bemerkungen, 8081; idem, Studien, 23638.
13. Hirschmann, Studien zum Konzertschaen, 1:16374, 17879; idem, Telemanns
Frankfurter Konzertschaen, 223.
14. On the ascription of the B-at concerto arrangement to Walther, see Stinson, Key-
board Transcriptions, x.
15. Hirschmann, Telemanns Frankfurter Konzertschaen, 223.
16. Hirschmann, Studien, 13543; idem, Telemanns Frankfurter Konzertschaen,
223. Another Telemann source of Weimar origin is a set of parts to the concerto for two
violins and two horns, 52:D4. However, as Ian Payne has argued (Doubtfully Bred), the
works inferior quality casts considerable doubt on its authenticity. Might the concerto
have been composed by Bachs teenaged Weimar employer, Prince Johann Ernst?
 Notes to Pages 12440 539

17. Hirschmann, Telemanns Frankfurter Konzertschaen, 21416.

18. Hirschmann (Eklektischer Imitationsbegri, 3069) analyzes this movement as
a rondeau form.
19. Hirschmann (Telemanns Frankfurter Konzertschaen, 212) has proposed that
this concerto was intended for solo oboe rather than violin, based in part on the solo
parts range and lack of idiomatic string guration. His arguments have considerable
merit, but neither do they rule out the violin.
20. Mattheson, Das neu-ernete Orchestre, 267: Die lieblich-pompeusen Waldhrner . . .
sind bey itziger Zeit sehr en vogue kommen / so wol was Kirchen- als Theatral- und Cam-
mer-Music anlanget / weil sie theils nicht so rude von Natur sind / als die Trompeten /
theils auch / weil sie mit mehr Facilit knnen tractirt werden.
21. I defer a discussion of the oboe concerto 51:G2 until the following chapter. Ex-
cluded from consideration here on the basis of their doubtful style are the oboe concer-
tos 51:Es1 and f2, and the double oboe damore concerto 52:A1. The E-at concerto is
attributed to both Telemann and Christoph Frster. Of some relevance to the following
discussion is the middle movement of the F-minor work, a twelve-measure Recitativ[o]
accomp[agnato].
22. Mattheson, Das neu-ernete Orchestre, 268: Der gleichsam redende Hautbois . . .
[kommt] / nach der Flute Allemande, der Menschen-Stimme wol am nhesten / wenn [er]
mannierlich und nach der Sing-Art tractirt [wird]. A number of Telemanns instrumental
recitatives are discussed in Fleischhauer, Zum redenden Prinzip.
23. Engel, ber die musikalische Malerey, 28: Setzen Sie, da das schnste accompagnirte
Recitativ eines Hasse ohne die Singstimme, oder noch besser vielleicht, da ein Bendaisches
Duodram ohne die Rollen, blo vom Orchester ausgefhrt werde; was wrden Sie in dem
besten, mit dem feinsten Geschmak und der richtigsten Beurtheilung geschriebenen Stcke
zu hren glauben? Ganz gewi die wilden Phantasieen eines Fieberkranken. Warum das
aber? Oenbar, weil die Folge von Ideen oder Begebenheiten, aus welcher allein die Folge
der Empndungen konnte begrien werden, aus dem Ganzen weggenommen worden.
Translation adapted from Wye J. Allanbrook in Strunk, Source Readings in Music History, 960.
24. The source is described in Schlichte, Thematischer Katalog, 2045 and illustration 4.
A facsimile of the sketch leaf is given in Reipsch, . . . fast alle gebruchliche Instrumente, 36.
25. Hirschmann, Telemanns Frankfurter Konzertschaen, 21819. Hirschmann
discusses the stylistic parallels between the concertos in Studien, 14346.
26. For example, the aria Stumme Seufzer, stille Klagen from Bachs Mein Herze
schwimmt im Blut, BWV 199.
27. Burgess and Haynes, The Oboe, 68.
28. Hirschmann and Huth, Telemann, 452.
29. See the examples in 51:G4, 51:A2, 52:C1, 52:e1, 52:F1, 53:D5, 54:D2, and
54:Es1; and in a number of sonatas discussed in chapter 6. Ritornello-frame slow move-
ments also appear in concertos by Vivaldi (e.g., op. 3, nos. 8, 9, and 11; op. 4, nos. 3 and
10; op. 7, no. 5; and op. 8, no. 8) and Bach (BWV 1042 and 1052).
30. Hirschmann (Eklektischer Imitationsbegri, 310; Telemanns Frankfurter
Konzertschaen, 236) assigns the six concertos to 171921.
31. For descriptions of the scores, see Fechner, Studien zur Dresdner berlieferung,
21819, 22123; and Zohn, Music Paper, 15960.
540 Notes to Pages 14045

32. See the facsimile in Telemann, Konzerte fr mehrere Instrumente, xii.

33. Compare Telemanns association of the Italian style with fremde Gnge (strange
passages) in the dedication to the Zweytes sieben mal sieben und ein Menuet, quoted in chapter
8. Hirschmann (Eklektischer Imitationsbegri, 317 n. 25) notes that the Darmstadt
manuscript copy of the concerto alters the bass note to G-sharp, a reading also adopted
by one modern edition. For a facsimile of the passage in Telemanns score, see Telemann,
Konzerte fr mehrere Instrumente, xiii.
34. See, for example, Talbot, Concerto, 24445; Scherliess, Konzert, col. 645; and
Hutchings, The Baroque Concerto, chaps. 7 and 10. Albicastro is often considered German
even though his Bavarian origins are uncertain and he spent most or all of his adult life
in Holland.
35. For an overview of these publications, see the introduction to Wolf, The Symphony,
17201840.
36. Vivaldi published only one ripieno concerto, as op. 12, no. 3, RV 124 (1729). The
most extensive study of his ripieno concertos is Heller, Concerto ripieno und Sinfonia
bei Vivaldi. Condensed versions of Hellers research are found in his Vivaldis Ripi-
enkonzerte and Antonio Vivaldi, 192201. See also Fertonani, La musica strumentale di Anto-
nio Vivaldi, 51239.
37. Most of the other concertos in Handels op. 6 contain one or two movements in
which the concertino and ripieno parts are in unison throughout. The ninth and tenth
concertos include three such movements apiece.
38. Mattheson, Das neu-ernete Orchestre, 17374: Concerte, lat genommen / sind
Zusammenknte und Collegia Musica; strict aber wird di Wort nicht selten von einer so
wol Vocal- als Instrumental-Cammer-Music; (i.e. ein Stck das eigentlich also heisset) strictis-
sim, von Violin Sachen / die also gesetzet sind / da eine jede Partie sich zu gewisser Zeit
hervorthut / und mit den andern Stimmen gleichsam um die Wette spielet / genommen.
Derowegen denn auch in solchen Sachen und anderen / wo nur die erste Partie dominiret /
und wo unter vielen Violinen, eine mit sonderlicher Hurtigkeit hervorraget / dieselbe / Vio-
lino concertino, genennet wird.
39. Scheibe, Critischer Musikus, 59698 and 62223. For a discussion of these passages
see Kunze, Die Sinfonie, 25761.
40. Lindgren, Count Rudolf Franz Erwein von Schnborn, 267. It is possible, how-
ever, that the concerti were vocal rather than instrumental concertos.
41. Each of the six partbooks (D-Dl, Mus. 2164-O-1) begins with a title page and
letter of dedication. The title page in the Cembalo part reads: Concerti a Quatro /
con sacratj / allAltezza / di / Federico Augusto / Prencipe Reale di Polonia / et / Ele-
torale di Sassonia / da / Giorgio Gentili Veneto / Opera Sesta / 1716. Gentilis previ-
ous collection of concertos was the Concerti a quattro e cinque, op. 5 (Venice, 1708).
42. The Dresden exemplar of the Roger edition of Albinonis op. 2 concertos (D-Dl,
Mus. 2199-O-1) bears the label of the London bookseller Francis Vaillant. It is unclear,
however, whether this print belonged to the Hofkapelle during the early eighteenth cen-
tury. But a manuscript set of parts to op. 2, no. 7 (Sonata 4; Mus. 2199-Q-4 [4]) attests
that this work, at least, was performed by the Hofkapelle (with doubled strings) during
the late 1720s. The Torelli concertos, also in manuscript, are Mus. 2035-O-1 through
2035-O-6.
 Notes to Pages 14548 541

43. Torelli retained his title at Ansbach after leaving for Vienna in 1699, as the court
Reductionslibell of 28 July 1703 still lists Torelli Maistro di Concerto. See the fac-
simile in Treuheit, Johann Georg Pisendel, 3540.
44. Ghler, Verzeichnis, 2:87 (no. 1549).
45. Concerning the identity of this concerto see Hill, Johann Sebastian Bachs Toc-
cata in G major, 16364. On Pisendels meetings with Bach and Telemann see BDok
3:189, and Schulze, Telemann-Pisendel-Bach, 7475.
46. Lesure, Bibliographie des ditions musicales, 21.
47. On Johann Ernsts acquisition of music and the dating of Bachs concerto arrange-
ments, see Schulze, Bachs Concerto-Arrangements and Studien zur Bach-berlieferung,
14673. Schulze does not speculate on the source of the music from Halle. Might the
Weimar Vice Kapellmeister J.W. Drese have returned from his eight-month study visit to
Venice in 1702 (Bachs Concerto-Arrangements, 8) with published concertos by
Torelli, Albinoni, and Giulio Taglietti?
48. These arrangements are published in Walther, Smtliche Orgelwerke and Gesammelte
Werke fr Orgel. The chronology of the single manuscript source that transmits them is un-
certain (Smtliche Orgelwerke, 154).
49. Schulze, Bachs Concerto-Arrangements, 7.
50. Op. 1, no. 1: D-ROu, Musica saec. XVII.18.5139a: C. N.ro 43 / a 6 part / Con-
certo / N: a 2 / 2 Violino / 2 Violino Rinforz[ato] / 1 Violon[c]ello e / Continuo
allunisono / d[el] s[ignor] / J[ohann] E[rnst] H[erzog] Z[u] S[achsen] / in B. Op. 1,
no. 2: D-ROu, Musica saec. XVII.18.5142: C. N.ro 45 / P[rinz] J[ohann] E[rnst]
H[erzog] Z[u] S[achsen] / Concerto n. 6 / a 4 part / in A.
51. Schulze, Studien zur Bach-berlieferung, 16667.
52. The rst violin part is identied as Principale in the other parts.
53. A similar scoring is found in the early double violin concerto 52:G1, entitled
Concerto Grosso a 6 by Christoph Graupner (D-DS, Mus. Ms. 1033/33). Joining the
two violin soloists are a Violin unison part doubling the rst soloist, two violas, and
continuo. Hence the second soloist receives no reinforcement.
54. Wolf, introduction to The Symphony, 17201840, xvi.
55. Heller, Antonio Vivaldi, 199.
56. See Wolf, introduction to The Symphony, 17201840, xvixviii; and LaRue and
Wolf, Symphony.
57. String sonatas: D-ROu, Musica saec. XVII.18.204af; sonatas with optional ute:
XVII.18.205ai, 205kl, XVII.18.2010.2, 2010.5 (these last two called Concerto 4), and
XVII.18.645.
58. D-ROu, Musica saec. XVII.18.5115: Concerto / Della S.A.S. il Prencipe /
Hereditario di Wertembergo. The concerto is transmitted in three states: sketch (con-
taining an aborted fugue), composing score, and set of parts in fair copy.
59. D-ROu, Musica saec. XVII.18.4714.
60. D-KA, Ms. Hs. 668. Hfner, Der badische Hofkapellmeister Johann Melchior Molter, 318.
The sinfonia is cataloged by Hfner as MWV VII/15.
61. Fasch sonata: D-DS, Mus. ms. 298/1; Graupner sonatas: Mus. ms. 471/2.1 and
Mus. ms. 472/3, both autograph scores.
62. Telemann apparently composed additional such works, including the lost 43:a6,
542 Notes to Pages 14860

known only from a listing in the 1763 Breitkopf thematic catalog, and a sonata charac-
terized as Polonaise (possibly a companion work to 43:G7 and B3) in a 1743 inven-
tory of the Zerbst Hofkapelles music collection. See The Breitkopf Thematic Catalogue, col.
142, and Concert-Stube des Zerbster Schlosses, 149.
63. TWV 1:132 and 2, passim. The multiple-stops in the fourth movement of 40:200
do not, as maintained in TWV 1, constitute evidence that Telemann intended a perform-
ance without continuo. That 44:1 was originally conceived for four-part strings is clear
from the se piace trumpet part, which only intermittently doubles the rst violin dur-
ing the rst and third movements and is tacet during the middle slow movement. For ear-
lier classications of Telemanns ripieno concertos as quartets, see the Telemann entry in
Eitner, Quellen-Lexikon; Sandberger, Zur Geschichte des Haydnschen Streichquartetts,
24142; Graeser, Telemanns Instrumental Kammermusik, 2:6164; and the Telemann
entries by Martin Ruhnke in MGG and NG. Arnold Scherings erroneous observation
(Geschichte des Instrumentalkonzerts, 120 n. 2) that some of Telemanns concertos preserved at
Darmstadt are pure string quartets without harpsichord or organ accompaniment may
also be a reference to the works listed in Table 3.3.
64. Berardi, Miscellanea musicale, 45. Quoted and translated in Boyden, When Is a Con-
certo not a Concerto?, 230. Heller (Vivaldis Ripienkonzerte, 3) observes that most
non-Italian copies of Vivaldis ripieno concertos, especially those at Dresden, are labeled
Sinfonia.
65. Helmann was employed as a copyist at the Darmstadt court but worked together
with Knig and other Frankfurt scribes on several manuscripts of Telemanns music. The
nearly identical formats of Helmanns and Knigs title pages suggests that the former
prepared his manuscripts from exemplars in the latters hand.
66. For example, Endlers copy of 40:200, prepared ca. 171315 (most likely in
Leipzig), and Pisendels parts to 43:e5 (D-Dl, Mus. 2392-Q-19) and A6 (2392-N-6a),
probably dating ca. 171220. Also attributed to Melante are the Darmstadt source for
43:e5, the Dresden source for 43:Es1, and the Berlin sources for 43:Es1, E2, and a5.
67. These features are mostly lacking in the six sonatas for four-part strings
arrangedpresumably without Telemanns authorizationas the Quatrime livre de quatuors
(175260). Yet the ritornello form of 43:d2/ii and the reprise structure of 43:C1/iv
(similar to those of the ripieno concertos 43:G9/i and a4/i, discussed below) illustrate
the diculty of making sharp distinctions between the sonata and concerto. Ute Poetzsch
(Telemann, Konzerte und Sonaten, viivii) distinguishes in this set between concertos (43:
D4, d2, G5, and A4) and sonatas (43:F1 and C1) a quattro. Believing the manuscript
sources to provide correct genre labels, she also considers three ripieno concertos (43:
F3, G9, and A5) to be Sonaten auf Concertenart, another (43:F4) to be a sonata, and two
more (43:a4 and B1) to be concertos. Graeser (Telemanns Instrumental Kammermusik,
1:216) sidestepped the issue of genre by arguing that the works published as the Quatrime
livre are quartets simply because they were regarded as such in Paris and Darmstadt, where
each is transmitted in single parts. Yet most orchestral works appear to have been per-
formed at the Darmstadt court with single strings.
68. This terminology originated with Fischer, Zur Entwicklungsgeschichte.
69. TWV 40:201 and 202 are Concertos attributed to Melante and copied at
Frankfurt ca. 171516, whereas 40:203 is a Sonata by Telemann in the ca. 171315
 Notes to Pages 16068 543

(Leipzig?) hand of Johann Samuel Endler. A fourth concerto, 40:204, appears to be a

twentieth-century forgery. No source other than the 1951 edition by Wilhelm Friedrich
(Telemann, Concerto a 4 violini senza basso) is known for this work, although the editors pref-
ace refers to a manuscript in Darmstadt. In 1952 and 1953 the Hessische Landes- und
Hochschulbibliothek attempted in vain to nd out from Friedrich and his publisher,
Schott, which source had been used for the edition, as there was no trace of such a work
in the librarys collection. When no answer was forthcoming from the editor, Schott wrote
to him on the librarys behalf. Apparently Friedrich died shortly after his edition was pub-
lished, for a letter of 1953 from Schott to the library laments that he must have taken the
shelfmark of the piece to his grave. Although this story and the curious musical style of
the piece strongly suggest Friedrich as the composer of the concerto, Schering (Geschichte
des Instrumentalkonzerts, 120 n. 2) claimed that four concertos for four violins survive in the
Darmstadt collection. I am grateful to Dr. Oswald Bill, former director of the music di-
vision at the Universitts- und Landesbibliothek Darmstadt, for allowing me access to the
librarys correspondence. Gnter Hausswald excluded 40:204 from Telemann, Kammer-
musik ohne Generalbass on the basis of its style.
70. Hutchings, The Baroque Concerto, 240.
71. A similar dynamic echo occurs in mm. 6971 of the third movement of the ri-
pieno concerto 43:e5.
72. For summaries of recent scholarship on the two concertos, see Schleuning, Die
Brandenburgische Konzerte, 915, 7693, 15064; and Rampe and Sackmann, Bachs Orch-
estermusik, 9496, 100102.
73. Geck, Gattungstradition und Altersschichten, 14344, 14748. For reaction to
Gecks view of the sixth concertos origins, see especially Marissen, The Social and Religious
Designs, 12933; and Rolf, Das sechste Brandenburgische Konzert, 8485.
74. Talbot, Concerto, 244.
75. Marissen, The Social and Religious Designs, 3552 (quotation from 52). A similar ob-
servation is made by Boyd, The Brandenburg Concertos, 9293. Rolf (Das sechste Brandenburgis-
che Konzert, chap. 7) provides a summary of various views on the concertos chronology.
76. Talbot, Purpose and Peculiarities, 277, 288 n. 45. Talbot gives as examples
Torellis op. 5, no. 4 (1692) and Albinonis op. 7, no. 1 (1715). Such codas (or intro-
ductions to a concertos third movement) also occur in Telemanns works: those in his ri-
pieno concertos have already been mentioned, and among his solo concertos the briefest
are found in 51:D10 (three measures) and 52:D3 (ve measures).
77. Schleuning, Die Brandenburgischen Konzerte, 86.
78. Kolneder, Orchestral Music, 281.
79. Wolf, The Symphony, 17201840, xviii.
80. Heller, Antonio Vivaldi, 196.
81. Talbot, Purpose and Peculiarities, 267.
82. Rolf, Das sechste Brandenburgische Konzert, chap. 3.
83. Marissen, The Social and Religious Designs, 5562.
84. A similar point is made by Talbot, review of Marissen, The Social and Religious De-
signs, 467. For Schleuning (Bachs sechstes Brandenburgisches Konzert, 211, 216), the violas
function as a symbol of social lowness within a pastoral sequence of scenes.
85. Hobohm (Zum lombardischen Rhythmus, 16) places the concerto during the
544 Notes to Pages 16881

1730s. But this is too late, as the Rostock source of the concerto was copied by 1731 (see
Zohn, New Sources, 5961).
86. On this question, see Payne, Telemanns Musical Style, 5157.
87. The source (D-Dl, Mus. 2392-O-58) is described in Fechner, Studien zur Dresdner
berlieferung, 240; and Landmann, Die Telemann-Quellen, 120. For a discussion of the im-
proved movement and a transcription of the fty-ve measures see Hirschmann, Studien,
10711 and appendix. Telemanns score (D-Dl, Mus. 2392-O-38) has been published in
facsimile as Telemann, Concerto grosso.
88. See Michael Walters preface to Heinichen, La gara degli Dei, xviii n. 10. This event,
or a similar one held on 10 September, is commemorated by an engraving depicting a
banquet accompanied by musicians. See the reproduction in Bowles, Turkish Military
Bands, 551, and the discussion in chapter 8.
89. See the Concert-Stube des Zerbster Schlosses, 139.
90. For a description of the manuscript (D-Dl, Mus. 2392-O-61) see Fechner, Studien
zur Dredner berlieferung, 24344; and Zohn, Music Paper, 159, 161.
91. Hirschmann, Studien, 5860.
92. The ute concertos 51:D3 (Concerto Polonaise) and G1 (Concerto Polo-
nosse) are, as their titles suggest, imbued with the Polish style in many of their move-
ments; 51:D4 also invokes the rustic style.
93. Christoph Graupners parts to the concerto (D-DS, Mus. ms. 1033/34b) contain
one for Violoncello obl[igato], which functions as a principal continuo instrument. In
the rst two movements, the cello provides the only bass accompaniment during solo epi-
sodes. Thus chordal continuo is heard only during tutti passages.
94. Burgess and Haynes, The Oboe, 68.
95. On Graupners works, see Gropietsch, Graupners Ouverturen und Tafelmusiken, 86
87, 108.
96. Biermann (Johann Samuel Endlers Orchestersuiten, 34142) reports that
Endler matriculated at Leipzig University during the summer of 1716.
97. Noack, Musikgeschichte Darmstadts, 211. The source for 53:D4 is the only score listed
in Table 3.4. Its mixture of paper from Saxony and Hessen appears to strengthen the case
for Vogler as copyist.
98. Oefner, Telemann in Eisenach, 12.
99. Ibid., 48.
100. As Fischer points out (Brgerliches und patrizisches Musikleben, 2122), the
Frauenstein Society actually had little to do with the collegium beyond making perform-
ing space available, for which it collected rent. For documents relating to the church en-
semble, see Fischer, Frankfurter Telemann-Dokumente, 185, 195. In October 1717, Telemann
complained to the Frankfurt town council that the church Instrumental-Chor had pre-
viously included many more subjecta, including players of the lute, cornetto, and viola
da gamba. See TB, 26.
101. Telemann, Lebenslauf, 178; Mattheson, Grundlage einer Ehren-Pforte, 365.
102. Spitzer and Zaslaw, The Birth of the Orchestra, 23940; Sanders, Carl Philipp
Emanuel Bachs Ensemble, 36878. Parrott (The Essential Bach Choir, 123) counts four
singers and twenty-seven other performers, perhaps all instrumentalists, in an engraving
of the 1719 event (see n. 104 below).
 Notes to Pages 18184 545

103. On Telemanns Hamburg residences, see Clostermann, Das Hamburger Musikleben,

5863.
104. Early concert announcements for the collegium are reprinted in Menke, Das
Vokalwerk, Anhang A, 26. See also Clostermann, Das Hamburger Musikleben, 6771. For re-
productions of the 1719 engraving, see Klemann, Telemann in Hamburg, 4647; Maert-
ens, Kapitainsmusiken, 39698; Menke, Bilddokumenten, 88; and Spitzer and Zaslaw, The Birth
of the Orchestra, 241.
105. Mattheson, Grundlage einer Ehren-Pforte, 39798: Man brachte 50. Personen
zusammen, die alle dazu beitrugen. Es wurden die besten Sachen aus Venedig, Rom, Wien,
Mnchen, Dresden usw. verschrieben.
106. Menke, Das Vokalwerk, Anhang A, 5. It is possible, however, that this Symphonie
was instead the overture to a vocal work.
107. Menke, Das Vokalwerk, Anhang A, 35 and 40.
108. Menke, Das Vokalwerk, Anhang A, 33. The church was the Heilige Dreieinigkeit-
skirche in the town of St. Georg, near Hamburg. Telemanns consecration music is
Heilig, heilig, heilig ist Gott, TVWV 2:6.
109. Jaenecke (Autographe und Abschriften, 280) dates the score to ca. 1725, but Peckham
(Operas, 12324) suggests that Brown may have prepared it from the 1728 edition of
Pimpinone for the intermezzos 1730 revival. For a transcription of Browns list of concer-
tos, see Telemann, Pimpinone, 1012.
110. Kleefeld, Das Orchester der Hamburger Oper, 286.
111. The poem is reprinted in TD, 12930.
112. Cantata titles and parts: wrappers to D-Bds, Mus. ms. 21741/370, 21746/50,
21746/80, 21747/30, 21747/60, 21748/5, 21748/10, 21749/5, 21749/30; Italian
vocal work: various parts in 21737/260; Lieder-Buch index page: wrapper to 21755/25;
autograph gured bass exercises: part 10v in 21737/251; autograph bass part with
Homann: part 10v in 21736/400. For descriptions of the manuscripts listed here and
in the following note, see the relevant entries in Jaenecke, Autographe und Abschriften.
113. Pepusch sonata and concerto: wrapper to D-Bds, Mus. ms. 21746/80 and parts
18 and 19 in 21733/160; oboe part: part 11v in 21736/400; viola da gamba part: wrap-
per to 21737/260.
114. Clostermann, Das Hamburger Musikleben, 16973.
115. TB, 3536.
116. See Wolfgang Hirschmanns preface to Telemann, Musiken zu Kircheneinweihungen,
xviii.
117. Neubacher, Zur Musikgeschichte Altonas, 29192.
118. Sittard, Geschichte des Musik- und Concertwesens, 7071; Menke, Das Vokalwerk, Anhang
A, 35.
119. In this respect, the loss of the extensive Telemann collection belonging to the
Zerbst Hofkapelle under Fasch is particularly unfortunate. In 1757 Marpurg (Historisch-
kritische Beytrge, 3:13031) listed the personnel of the Kapelle as including six violinists,
one violist, one cellist (doubling on organ), two oboists, one bassoonist, and a harpsi-
chordist; the position of contraviolonist was then vacant.
120. Spitzer and Zaslaw, The Birth of the Orchestra, 22227, 25253. On the size and
disposition of the Darmstadt Hofkapelle, see Biermann, Die Darmstdter Hofkapelle
546 Notes to Pages 18487

and Die Sinfonien, 1141. For the Dresden Hofkapelle, see Landmann, The Dresden
Hofkapelle; Oleskiewicz, Quantz and the Flute at Dresden, 42; Ongley, Recon-
struction; and Stockigt, Jan Dismas Zelenka, 23646.
121. Trinkle (Telemanns Concertouverturen, 162, 169, 17475) points to several ad-
ditional instances of Darmstadt continuo players sharing parts.
122. See ibid., 21316, for more evidence of part-sharing at Dresden.
123. Omitted is D-Dl, Mus. 2392-O-13 (51:a2), which contains two apparently in-
dependent sets of single parts (both copyists produced solo violin parts).
124. Maunder, The Scoring of Baroque Concertos, 9193, 1057. Maunder (92) also
claims that the doublet ripieno violin parts to 52:G2 were later additions to Bachs set of
single parts, but it is unclear when or where these doublets were copied.
125. For details see Zohn, Music Paper, passim, and (for the concertos only) the
relevant entries in Fechner, Studien zur Dresdner berlieferung.
126. Englnder, Die Instrumentalmusik am schsischen Hofe and Johann Gottlieb
Naumann als Opernkomponist, 52, 1056. The works mentioned by Englnder include, in ad-
dition to music by resident composers, concertos by Corelli, Handel, Geminiani, Carlo
Besozzi, and Georg Neruda, and symphonies by Haydn, Vanhal, Pleyel, and Johann
Stamitz.
127. Among these are the Pastorale per la Notte di Natale, Seibel 242, a one-movement
Sonata da Chiesa in G major, and two movements from the D-major trio Seibel 253.
See Horn, Die Dresdner Hofkirchenmusik, 85, and Fechner, Studien zur Dresdner berlieferung,
256. Other works that appear to have been employed as Graduale instrumentaliter include
two concerto movements by Fasch (FWV L:Es1 and L:G12), Handels trio HWV 392
(D-Dl, Mus. 2410-Q-25), and a two-movement concerto pasticcio by Johann Gottlieb
Graun. For descriptions of the Fasch and Graun sources, see Fechner, Studien zur Dresdner
berlieferung, 303, 32425, 35455.
128. Hiller, Fortsetzung des Lebenslaufs Herrn Johann George Pisendels, in
Wchentliche Nachrichten und Anmerkungen, 288. Hiller also speaks of an especially beautiful
concerto grosso composed by Pisendel for the dedication of the new Catholic court
church in Dresden.
129. For example, the one-movement concertos in D major (Jung II, 4), E-at major
(Jung II, 1), and G major (Jung II, 2); the two-movement concertos in D major (Jung I,
5) and G major (Jung I, 6); the Concerto 5 da Chiesa in G minor (Jung I, 1); and the
Sonata in C minor (with a second-movement fugue). For details of the sources, see
Fechner, Studien zur Dresdner berlieferung, 26087. Jung numbers refer to Jung, Johann
Georg Pisendel.
130. [Johann Abraham Peter Schulz], Trio, in Sulzer, Allgemeine Theorie, vol. 2.
131. Mattheson, Das beschtzte Orchestre, 129. By prohibiting the orchestral performance
of solo sonatas, Mattheson elsewhere implies (Critica musica, 1:200) that sonatas in three
or more parts were commonly performed with doublings.
132. Ongley, Reconstruction, 27078. See also Spitzer, Players and Parts, 73. In
his Missa of 1733, presented to the Dresden court, Bach expected two bassoonists to read
from a single part.
133. Landmann, Die Telemann-Quellen, 67, and Die Telemann-Quellen, 14. A mid-
nineteenth-century note in the Catalogo della Musica di Chiesa informs us that many
 Notes to Pages 18793 547

short orchestral works (without score) by various composers were played during a part
of the holy Mass, that is, as Graduale instrumentaliter.
134. Scheibe, Der critische Musicus, Das 65 Stck. Dienstages, den 24 November,
1739, 30910; Critischer Musikus, 601: Von der Einrichtung und Folge der Stze mu
ich noch dieses beyfgen. Man machet nicht gern drey besondere Stze, als man wohl an-
dern Synphonien zu geben pegt, sondern man bedienet sich insgemein nicht mehr als
eines Satzes, oder auf das hchste zweener Stze. Die Beschaenheit derselben aber ist en-
tweder im Anfange ein langsamer und pathetischer, und dann ein geschwinder Satz; oder
auch anfangs ein geschwinder und feuriger, hernach aber ein langsamer und rhrender
Satz. Der Anfang des Stckes aber giebt am besten zu erkennen, womit die Synphonie
eigentlich anzufangen ist. . . . So viel aber hat man noch zu merken, da, wenn zweene
Stze gemacht werden, dieselben nicht so gnzlich von einander getrennet seyn sollen, da
man nthig htte, zwischen beyden Stzen aufzuhalten; sondern der Schlu des vorherge-
henden Satzes mu in dem Anfange des folgenden sehr geschickt eintreten, da also die
Vernderung keinesweges gezwungen oder geknstelt, sondern nothwendig zu seyn
scheint. Translated in Zaslaw, Mozarts Symphonies, 73.
As Kirkendale (Fugue and Fugato, 49) observes, the abbreviation of sonatas to two move-
ments in Vienna was intended to eliminate inappropriate movement types, such as the
lively nale. It was also motivated, he argues, by Pope Benedict XIVs encyclical Annus
qui of 1749, which censured the excessive length of instrumental pieces performed
during Mass.
135. Mattheson, Das neu-ernete Orchestre, 17172; idem, Kern melodischer Wissenschaft, 19;
Scheibe, Der critische Musicus, 30810; idem, Critischer Musikus, 600602; [Schulz], Sym-
phonie, in Sulzer, Allgemeine Theorie, vol. 2.
136. This may also have been the case with 2392-Q-3, though adding the set of parts
copied by Johann Jacob Lindner ca. 171020 would have yielded an unusually high total
of eight violin and three viola parts.

Chapter 4

1. Kuhnau, Der musicalische Quack-Salber, chaps. 9 and 1518. The psalm verses chosen
for Caraa to set (Full of honor and majesty is his work. . . . He has gained renown by
his wonderful deeds) only underscore his incompetence.
2. Marshall, Toward a Twenty-First-Century Bach Biography, 517.
3. Siegele, Kompositionsweise und Bearbeitungstechnik, 12930; Fischer, Kritischer Bericht,
8486, 92; Rifkin, Ein langsamer Konzertsatz; Breig, Zur Werkgeschichte. See also
Rifkins liner notes to J. S. Bach: Oboe Concertos and Leisinger, Kritischer Bericht, 88.
The advisability of reconstructing the rst and fth movements of BWV 35 as fast con-
certo movements for solo oboe is questioned in Haynes, Oboenkonzerte, 3839.
4. The concerto is erroneously described as lacking a bass part in TWV 3:28; Kross,
Das Instrumentalkonzert, 127 (Fl.G[1]); and Gronefeld, Die Fltenkonzerte bis 1850, 3:226
(item 152). For a critical edition and reconstruction of the concerto by Ian Payne, see
Telemann, Concerto in G major.
5. While Vivaldis inuence on Bachs ritornello forms has been treated extensively in
548 Notes to Pages 19398

the Bach literature, only recently has the inuence of Torelli and Albinoni been recog-
nized. See in particular Zehnder, Giuseppe Torelli; Butler, J. S. Bachs Reception; and
Hill, Toccata in G major.
6. On Handels borrowings see Max Seiert, Musique de table als Quelle fr Hn-
del; Baselt, Schpferische Beziehungen; Derr, Handels Procedures; Roberts, Han-
dels Borrowings from Telemann; and Willner, Handels Borrowings from Telemann.
7. BDok 4, no. 803: In seinen jungen Jahren war er oft mit Telemannen zusammen,
welcher auch mich aus der Tauf gehoben hat. Er schtzte ihn, besonders in seinen Instru-
mental Sachen sehr hoch. Translated in NBR, no. 395. See also Bach, The Letters of C. P. E.
Bach, 74, and the facsimile of the letter in Schneider, Bach-Urkunden, 2831. Although
Emanuels reason for deleting the second sentence remains obscure, one might speculate
that on second thought he found this information irrelevant for Forkels purposes, rather
than an inaccurate characterization of his fathers musical tastes.
8. Though, as Hans-Joachim Schulze cautions (Flieende Leichtigkeit, 34), there
is insucient documentary evidence to conrm Telemanns visit. For the text of Tele-
manns listing in the Weimar Town Church records, see BDok 2, no. 67; NBR, no. 55.
9. Bachs original, if it was indeed the second movement of a D-minor concerto, would
presumably have included the ending of BWV 1056/ii, which closes with a half cadence
on the dominant of the relative minor. Both BWV 156/i and Telemanns movement close
on the home dominant in anticipation of the following movement in the tonic.
10. Closest in length to BWV 1056/ii (156/i) are the Andante movements of the
Second and Fourth Brandenburg Concertos BWV 1047 and 1049. I exclude from con-
sideration the middle movement of BWV 1065, arranged from Vivaldis op. 3, no. 10. It
would be unwise to make much of a practical distinction between Bachs and Telemanns
diering tempo indications, for they could have been understood during the early eigh-
teenth century as conveying the same general tempo and aect. For Johann Joachim
Quantz (Versuch, 262; On Playing the Flute, 284), this tempo and aect was expressed as
Adagio cantabile (as opposed to Adagio assai), a broad category that included Poco
Andante, Cantabile, Arioso, Soave, Dolce, Aettuoso, and the like. As Robert
Marshall has shown (Tempo and Dynamics, 266), Bach seems to have regarded a Largo
(the tempo indication for BWV 1056/ii) as somewhat faster than an Adagio and some-
what slower than an Andante.
11. However, Leisinger (Kritischer Bericht, 95), following Christoph Wol, suggests the
possibility that the lost performing materials to BWV 156 indicated a pizzicato string
accompaniment in the sinfonia, perhaps as a musical depiction of funeral bells (cf. BWV
198/4).
12. I owe this point to Gregory Butler.
13. Good examples of this procedure occur in the following movement pairs: 42:d1/ii
and 43:d1/iii; 33:5/i and 43:G2/ii; and 33:8/i and 43:a3/i. Though much work re-
mains to be done on the topic of Telemann as self-borrower, Martin Ruhnke (TWV
2:245) has with some success attempted to trace thematic correspondences in the instru-
mental ensemble music. Many of those he cites, however, can be interpreted as simple rep-
etitions of stock melodic and rhythmic motives. He does not note the similarity between
41:G9 and 51:G2. See also Ruhnkes Anmerkungen zum Telemann-Werkverzeichnis;
 Notes to Pages 198201 549

commentaries to individual entries in TWV 3; and Payne, Telemanns Musical Style,

6063.
14. Rifkin, liner notes to J. S. Bach: Oboe Concertos.
15. Whaples (Bachs Recapitulation Forms) proposes the term recapitulation aria
for the majority of Bachs arias usually described, following Drr (Studien ber die frhen
Kantaten), as being in free da capo form. Freeman (J. S. Bachs Concerto Arias, 137),
on the other hand, sees such structures as embodying a series of formal procedures used
repeatedly by Bach in imitation of Vivaldian concerto forms.
16. Crist, Aria Forms, 54.
17. BWV 1015/iii might also be included here, by virtue of its modest dimensions,
near-literal repeat of the opening phrase at the end of the movement, and quasi-ostinato
accompaniment. But it features strict canonic writing in the upper voices and treats the
opening phrase almost like a ritornello, with a statement in the dominant occurring at
measure 11.
18. See Wol, Bachs Leipzig Chamber Music, passim.
19. For example, 41:h1/i, 42:D4/i, 42:e1/iii, and 42:G1/i. Oleskiewicz (Quantz
and the Flute at Dresden, 18086) discusses several sonata movements of this type by
Johann Joachim Quantz from 171927.
20. D-ROu, Mus. Saec. XVII.18.4516. This manuscript belongs to the music collec-
tion apparently assembled by Crown Prince Friedrich Ludwig (16981731) in the years
following his return to Stuttgart in 1716 from travels to Italy, Holland, and France. On
the collection as a whole, see Owens, The Wrttemberg Hofkapelle, chap. 7.
21. That these are supplements to the set, and not remnants of a second manuscript, is
conrmed by the common practice at the court of recopying ute parts into French vio-
lin clef, apparently to accommodate the ute-playing Crown Prince Friedrich Ludwig. On
the dating of the copyists activities, see Koch, Die Rostocker Telemann-Quellen, 46.
22. The same copyist added the words Telemann genant above the attribution Sig.r
Melante on manuscripts of 43:G11, 52:D4, and Anh. 51:G1 (Mus. Saec. XVII.18.
45810).
23. Koch, Die Rostocker Telemann-Quellen, 7. Following Koch, TWV 3 assigns the
concerto to 1721/22 oder frher.
24. D-ROu, Mus. Saec. XVII.18.197. The parts themselves are in a dierent hand. The
copyist of the title page is also responsible for titles on several manuscripts containing
trios by Reinhard Keiser, Johann Jakob Kre, and Telemann (Mus. Saec. XVII.18.192a,
XVII.18.192b, XVII.18.2012, and XVII.18.2013). In each case, he supplied titles on ad-
ditional ute or viola damore parts copied out by a court scribe who often signed title
pages with the initials C. H. H, and who owned or copied manuscripts bearing the dates
1717, 1718, 1720, and 1722. See Poppe, Eine bisher unbekannte Quelle, 23032; and
Koch, Die Rostocker Telemann-Quellen, 4. Owens (The Wrttemberg Hofkapelle,
272) argues convincingly that C.H.H. is Caspar Heinrich Hetsch, leader of the oboe
band of the Garde Fusilier Regiment and from 1722 until 1751 also a member of the Wrt-
temberg Hofkapelle. A court document from 1722 (quoted by Owens, 34849) men-
tions that Hetsch had already taken part in Hofkapelle performances prior to his ocial
court appointment, which could explain his earlier activities as a copyist.
550 Notes to Pages 2017

25. Koch, Die Rostocker Telemann-Quellen, 7.

26. D-ROu, Mus. Saec. XVII.18.192a, XVII.18.192b, and XVII.18.196. The three
manuscripts, each dated 1720, were led as items 3234 in the courts music collection.
Admittedly, this explanation does not account for the initial omission of Keisers name
on the title page. At least one other work in the collection, the Trio . . . de Manheimb
(Mus. Saec. XVIII.4712), appears to bear the name of a city rather than a composer.
27. As Owens points out (The Wrttemberg Hofkapelle, 275), the courts catalogu-
ing systems were not organized according to genre, so the numbers may reect the order
in which the manuscripts were copied or acquired. Indeed, it is not dicult to imagine
the trio and concerto having been placed next to each other in a pile of recent acquisi-
tions requiring title pages.
28. D-ROu, Mus. Saec. XVII.18.2013.
29. Kross (Das Instrumentalkonzert, 127) describes the instrumentation as ute and
strings, with the option of performance with oboe.
30. D-ROu, Mus. Saec. XVII.18.5134, an unattributed set of parts to 51:d1 that ap-
pears to be a companion manuscript to XVII.18.4516. For a description, see Zohn, New
Sources, 5859.
31. To be sure, 51:G2 and 51:d1 were not the only oboe or ute concertos per-
formed at the court. The Rostock source for Handels G-minor oboe concerto HWV
287 (see Poppe, Eine bisher unbekannte Quelle) also has a solo part for oboe or ute
(Hautb. Flute Travers:), an instrumentation reversed on the title page. According to
Owens (The Wrttemberg Hofkapelle, 25657), other concerto sources of Wrttem-
berg-Stuttgart provenance with solo parts for oboe or ute include works by Giosna
(D-ROu, Mus. Saec. XVIII.331; oboe or ute), Johann David Heinichen (XVII.1420;
oboe or ute), Giuseppe Valentini (XVIII.612; ute or oboe), and Zellerino (XVII
.6211; ute or oboe). It might be objected that the slurred sixteenth-note leaps in the rst
movement of 51:G2 are more idiomatic to the baroque ute than the baroque oboe. Yet
very similar gures are also found in the rst movement (Andante e spiccato) of Mar-
cellos D-minor concerto.
32. Haynes, Johann Sebastian Bachs Oboenkonzerte, 37, 4142.
33. As noted in chapter 3, 51:a1 is transmitted as a violin concerto but may have been
written with oboe in mind.
34. The stark contrast between these initial ideas is also noted by Kross, Das Instru-
mentalkonzert, 71.
35. As Kross observes (Das Instrumentalkonzert, 8687), the structure of this nale is
perhaps the simplest among Telemanns binary-form concerto movements, a fact that ar-
gues for the works early origin. Contrary to Krosss diagram of the movement, however,
the second half of the form is indeed repeated.
36. For a critical survey of the various explanations of Handels borrowing, see Wine-
miller, Handels Borrowing and Swifts Bee, 5574. Responses to Bachs borrowings are
surveyed in White, Good Invention Repaid with Interest, chap. 1.
37. However, with regard to the fugues on subjects of Albinoni, Talbot (A Further
Borrowing, 156) has proposed that Bachs appropriations were made in the spirit of an
 Notes to Pages 2079 551

objet trouv, without any intention of mastering a particular style or surpassing a specic
model.
38. Wol, Das Trio A-Dur.
39. Schulze, Studien zur Bach-berlieferung, 68.
40. Swack, Quantz and the Sonata in E-at major; Rampe, Bach, Quantz und das
Musicalische Opfer; Sackmann and Rampe, Bach, Berlin, Quantz. Swack (On the Ori-
gins, 399401) has also suggested that the fourth movement of BWV 1033, another
sonata of doubtful authenticity, is modeled in part on a sonata movement by Christoph
Frster.
41. Wol, Johann Sebastian Bach.
42. The term transformative imitation is itself borrowed from Pigman, Versions
of Imitation, 49.
43. On Handel, see Winemiller, Handels Borrowing and Swifts Bee, chaps. 46;
idem, Recontextualizing Handels Borrowing; Buelow, The Case for Handels Bor-
rowings; and Roberts, Why Did Handel Borrow?
44. Wol, Bach and Johann Adam Reinken, 71.
45. Dreyfus, Bach and the Patterns of Invention, 58.
46. Winemiller, Handels Borrowing and Swifts Bee, 75107; Recontextualizing
Handels Borrowing, 44749.
47. Erasmus, Il Ciceroniano, 302. Quoted and translated in Pigman, Versions of Imi-
tation, 25.
48. Pigman, Versions of Imitation, 26.
49. Ibid., 32.
50. Mattheson, Critica musica 1:72 note m: Es kann wohl bisweilen kommen / da
einer / von ungefehr / auf gewisse Einflle stsset / die er ehmals gehrt haben mag /
ohne eben zu wissen / wo? und ohne dieselbe mit Vorsatz zu appliciren. Doch haben
einige darinn eine fast verdchtige und weit glcklichere reminiscentiam, als andere
wnschen mchten; welches ihnen sehr bequem fallen mu. Ausser diesem sind noch 2.
Vortheile dabey: 1) Da dergleichen Sachen / bevorab bey guter elaboration, (die sich
gemeiniglich zu leeren Erndungen gesellet) unausbleiblich allen / so gar / deren ersten
Erndern und rechten Eignern / gefallen mssen: weil niemand sein eignes Machwerk zu
tadeln pegt. 2) Da diesen letzten daraus kein sonderlicher Nachtheil / wohl aber eine
ungemeine Ehre zuwchst / wenn ein berhmter Mann ihm dann und wann auf die
Spuhr gerth / und gleichsam seiner Gedanken wahren Grund von ihm borget. Soltens
auch nur drey wissen / so ist es schon Ehre genug! . . . Diejenigen Leute aber / so ein pla-
gium daraus machen / und es / qua tale, mit der glcklichen Ausarbeitung entschuldigen
wollen / sind auf dem unrechten Wege / und raisonniren falsch. . . . Alle elaboratio, sie
sey so schn wie sie wolle / ist nur mit Zinsen; die inventio aber mit dem Capital selbst
zu vergleichen. Translation adapted from Winemiller, Handels Borrowing and Swifts
Bee, 26667.
51. Mattheson, Der volkommene Capellmeister, 331. Translated in Harriss, Johann Matthesons
Der vollkommene Capellmeister, 637.
52. Mattheson, Der volkommene Capellmeister, 13132: Der locus exemplorum knnte wol
552 Notes to Pages 20911

in diesem Fall auf eine Nachahmung andrer Componisten gedeutet werden, wenn nur
seine Muster dazu erwehlet, und die Erndungen blo imitiret, nicht aber nachge-
schrieben und entwendet wrden. Wenn endlich alles um und um kmmt, wird aus dieser
Exempel-Quelle, so wie wir sie hier nehmen, wol das meiste hergeholet: es ist auch solches
nicht zu tadeln, wenn nur mit Bescheidenheit dabey verfahren wird. Entlehnen ist eine er-
laubte Sache; man mu aber das Entlehnte mit Zinsen erstatten, d.i. man mu die Nach-
ahmungen so einrichten und ausarbeiten, da sie ein schneres und besseres Ansehen
gewinnen, als die Stze, aus welchen sie entlehnet sind.
Wer est nicht nthig hat und von selbst Reichthum gnug besitzet, dem stehet solches
sehr wol zu gnnen; doch glaube ich, das deren sehr wenig sind: maassen auch die grss-
esten Capitalisten wol Gelder aufzunehmen pegen, wenn sie ihre besondere Vortheile
oder Bequemlichkeit dabey ersehen. Translated in Harriss, Johann Matthesons Der vollkommene
Capellmeister, 298.
53. In his treatise on melody (Kern melodischer Wissenschaft, 128), Mattheson mentions
those that happily snap up a foreign invention from the mass of things that fall under
their hands, of which often not two notes are their own. But they know how to arrange,
elaborate, and embellish this theft so skilfully that it is a pleasure.
54. Werckmeister, Cribrum musicum, 24. Quoted in Pohlmann, Die Frhgeschichte, 50.
55. Heinichen, Der Generalbass in der Composition, 29: Ja man hat sich noch heut zu Tage
vor dem Unglck zu hten / da man in so viel und grossen Theatralischen Werken nicht
eine einzige Aria, oder nur eine Clausul von wenig Noten noch einmahl vorbringe / welche
etwan einer ehemahligen Invention auch nur in den geringsten pnctgen hnlich scheinet.
Dann wann solches gleich nur ohngefehr und wieder die Intention des Componisten also
gerathen / oder die Inventiones kaum in tertio, quarto, wie alle Weibsbilder einander in sexu
fminino gleichen: so wollen doch unverstandige / und passionirte gleich daher Gelegenheit
nehmen / den Componisten vor einen plagiarium zu schelten (da es hoch ein schlechter Com-
poniste seyn mste / welcher statt eines solchen formulgen nicht ex tempore 20. Andere
hinzuschreiben wste). Translated in Buelow, Thorough-Bass Accompaniment, 330.
56. Her, Primitiae Chelicae, oder Musicalische Erstlinge, preface: Ich protestire auch hier-
mit entlich, da ich niemals gesucht habe mit frembder Stichel zu grasen, oder eines
andern Arbeit abzustehlen. Es ist einem Prediger nicht verbotten, eines andern seinen Text
anders auszulegen, und wre es, da wider Verhoen ein schon bekantes Thema ergroen,
so wird doch ohne allem Zweifel das Kleid anders ausstaret seyn, ob schon der Zeug
von einerley Stcke ist. . . . Es irren auch hierinnen ihrer nicht wenig, welche mit allzuse-
ichtem Verstande urtheilen, imitiren wre so viel als ausschreiben. Quoted in Pohlmann,
Die Frhgeschichte, 79.
57. Heinichen, Der Generalbass in der Composition, 3234 note m.
58. Quantz, Versuch, 1314. Translated in Reilly, On Playing the Flute, 2021.
59. Veracini, manuscript treatise Il Trionfo della pratica Musicale (ca. 175860).
Quoted and translated in Hill, The Anti-Galant Attitude, 170.
60. Quantz, Versuch, 13 and 98: Er hte sich vornehmlich fr den Stcken der selbst
gewachsenen Componisten, welche die Setzkunst weder durch mndliche, noch durch
schriftliche Anweisung erlernet haben. . . . Die meisten laufen auf einen Mischmasch von
 Notes to Pages 21113 553

entlehnten und zusammen geickten Gedanken hinaus. Translated in Reilly, On Playing the
Flute, 117.
61. Quantz, Lebenslauf, 210: Indessen studirte ich, in Erwartung einer bequemern
Gelegenheit, die Partituren grndlicher Meister eiig durch, und suchte ihrer Setzart, in
Trios und Concerten nachzuahmen, doch ohne auszuschreiben. Translated in Nettl, For-
gotten Musicians, 290.
62. Mattheson, Der volkommene Capellmeister, 12223. Translated in Buelow, Matthe-
sons Concept of Moduli, 27476.
63. Marpurg, Historisch-Kritische Beytrge, 2:7172: Zu meinem groen Vergngen hre
ich, da das Ausschreiben in der Musik nicht fr ein so groes Verbrechen gehalten werde,
als in der Gelehrsamkeit. Man sagte mir zu meinem Troste, ein paar Takte von jemand zu
stehlen, wre eine Kleinigkeit. Wer recht Herz im Leibe htte, der sthle ganze Arien,
ganze Symphonien, ja gantze Opern. Ich bin hierber erstaunt, und ich mu ihnen sagen,
da es in der Gelehrsamkeit weder von einem Poeten noch Kunstrichter so weit getrieben
worden. Die Poeten insonderheit suchen doch noch eine Ehrlichkeit zu behaupten, in dem
sie die Stellen die sie ausgeschrieben, im Original unter ihre Verse setzen. So heit es denn
nicht ausgeschrieben, sondern nachgeahmt, und solche Poesien machen keine geringe Pa-
rade, wenn der Poet dadurch zeigt, da er in allen Sprachen plndern kann, und da er
in Griechenland ebenso zu Hause gehrt als in England. Da ich vielleicht der erste Poet
bin, der seine Authorwut in der Poesie nicht allein hat stillen knnen, sondern auch noch
die Musik zu Hlfe nimmt, so will ich mich doch wenigstens mit einer neuen Erndung
berhmt machen, die meine Mitbrger die musikalischen Herrn Ausschreiber, sehr bey
Ehren erhalten kann. Wir wollen nehmlich, wie ich schon den Anfang gemacht habe,
aufrichtig seyn und die Stellen, die wir aus andern ausgeschrieben, mit kleineren Noten
unter unsre Stcke setzen lassen, und den Namen des Componisten, von dem sie ge-
stohlen, darunter.
64. Scheibe, Ueber die musikalische Composition, liii: Sie verstunden aber die Kunst, sich
diese Erndungen so zuzueignen, da sie unter ihren Hnden in neue und Original-
gedanken verwandelt wurden. Mattheson und Telemann haben mir dieses mehr als einmal
bekrftiget, und ich kann auch nach andern zuverligen Nachrichten gar nicht daran
zweifeln. Translated in Roberts, Handels Borrowings from Keiser, 51. The passage is
also translated in Buelow, The Case for Handels Borrowings, 64.
65. Roberts (Handels Borrowings from Telemann, 148) points out that the Har-
monischer Gottes-Dienst apparently furnished more ideas for Handel than any other single ex-
ternal source.
66. Telemanns borrowing, discovered by Reinhard Goebel, was rst reported in TWV 2.
67. One might consider this borrowing as something of an hommage Rameau, whose
acquaintance Telemann likely made during his Paris visit of 173738. Rameaus move-
ment may itself be borrowed in part from Handel, for Kenneth Gilbert (Rameau, Pices
de clavecin, x) has noted the strong resemblance of the rst three variations to those of the
Air con Variazioni movement in the Suite in D minor, HWV 428 (Suites de pices pour le
clavecin; London, 1720).
68. BDok 2, no. 499: Sie wissen, der berhmte Mann, welcher in unserer Stadt das
554 Notes to Pages 21319

grte Lob der Musik, und die Bewunderung der Kenner hat, kmmt, wie man saget,
nicht eher in den Stand, durch die Vermischung seiner Tne andere in Entzckung zu
setzen, als bis er etwas vom Blatte gespielt, und seine Einbildungskraft in Bewegung ge-
setzt hat. . . . Der geschickte Mann, dessen ich Erwhnung gethan habe, hat ordentlich
etwas schlechteres vom Blatte zu spielen, als seine eigenen Einflle sind. Un dennoch sind
diese seine besseren Einflle Folgen jener schlechteren. Translated in NBR, no. 336.
69. BDok 3, no. 666. Translated in NBR, no. 306.
70. BDok 3, no. 801; NBR, no. 394; Schneider, Bach-Urkunden, [2427].
71. More wind concerto transcriptions by Walther may have once existed: in his 1740
autobiography, he claimed to have made seventy-eight keyboard transcriptions (aufs
clavier applicirte Stcke) of works by other composers. See Mattheson, Grundlage einer
Ehren-Pforte, 389.
72. Butler (J. S. Bachs Reception, 31) suggests that Bachs contact with Albinonis
op. 7 (1715) is unlikely to have occurred before the fall of 1717, and perhaps not until
several years later.
73. Adorno, Bach Defended against His Devotees, 145.

Chapter 5

1. The entry in the Gro fair catalog for the forthcoming edition, available from Wolf-
gang Moritz Endter in Nuremberg, reads: Sonate Violino solo & Violone Cimbalo
del Signor A.C. da Fusignano. 4. In Norib. alle spese di Guolfgango Morizzo Endter.
Quoted in Ghler, Verzeichnis, 3:3. Publications advertised as forthcoming in the fair cat-
alogs were usually advertised again once they became available, and the absence of the
Corelli print in subsequent catalogs, not to mention the lack of a surviving edition with
Endters imprint, may indicate that it was never published. Of course, alla spese may
mean that Endter was simply acting as a publishing agent for one of the editions pub-
lished in 1700 by Gaspara Pietra Santa in Rome, Marino Silvano in Bologna, John Walsh
in London, and Estienne Roger in Amsterdam. This much is suggested by his use of
wording similar to that appearing on the title pages to these editions (see Marx, Die ber-
lieferung, 17275).
2. See especially the opening movements of Corellis op. 1, nos. 2, 3, 6, 9, and 11; and
op. 3, nos. 1, 35, and 8. It may be Ach Herr, strafe mich nicht that inspired the mayor of
Leipzig to commission Telemann to write a church composition for the Thomaskirche
every two weeks. See Telemann, Lebens-lau, 173, and Mattheson, Grundlage einer Ehren-
Pforte, 35859.
3. The appendix number of this trio reects its cross-listing in the TWV as a quar-
tet with added ute, 43:A7. Yet the ute part is clearly a later and spurious addition to
the trio: in the rst movement it alternates between playing accompanimental gures and
material drawn from both violin parts, and in the fourth movement it merely doubles the
violins; the ute is silent during the second and third movements. For further details of
the works sources, see Telemann, Twelve Trios.
4. In 1717 Mattheson (Das beschtzte Orchestre, 11718) could still describe the sonata
 Notes to Pages 21926 555

as an appropriate vehicle for the Stilo Fantastico. But in his more extensive, 1739 dis-
cussion of the style (Der volkommene Capellmeister, 8788), he no longer mentions the genre.
5. Endlers Darmstadt copies of 42:c7 and F7 are thought to date from 171314,
when he may already have been resident in Leipzig. Regarding two additional sources for
the F-major trio (not listed in TWV 2), see Zohn, New Sources, 6264.
6. Telemann, Lebens-lau, 176: Hingegen fand eine bessere Neigung zu Sonaten /
deren ich von 2. 3. bi 8. 9. Partien eine grosse Anzahl verfertiget. Besonders hat man
mich berreden wollen / die Trio wiesen meine beste Strcke / weil ich sie so einrichtete /
da eine Stimme so viel zu arbeiten htte / als die andre.
7. Mattheson, Grundlage einer Ehren-Pforte, 362: Und wie wre es mglich, mich alles
dessen zu erinnern, was ich zum Geigen und Blasen erfunden? Aufs Triomachen legte ich
mich hier insonderheit, und richtete es so ein, da die zwote Partie die erste zu seyn
schien, und der Ba in natrlicher Melodie, und in einer zu jenen nahe tretenden Har-
monie, deren jeder Ton also, und nicht anders seyn konnte, einhergieng. Man wollte mir
auch schmeicheln, da ich hierin meine beste Krat gezeiget htte.
8. Quantz, Lebenslauf, 200201.
9. For example, Albinoni, Suonate a tre, op. 1 (Venice, 1694); idem, Balletti a tre, op. 3
(Venice, 1701); idem, Trattenimenti armonici per camera a violino, violone e cembalo, op. 6 (Amster-
dam, ca. 1711); Vivaldi, Suonate da camera a tre, op. 1 (Venice, 1705); idem, Sonate a violino, e
basso per il cembalo, op. 2 (Venice, 1709; Amsterdam, 171213).
10. This work is considered of doubtful authenticity in TWV 1:224 and Swack, The
Solo Sonatas, 237. But see Ian Paynes commentary to Telemann, Sonata in B-at Major.
11. For example, the rst movements of op. 1, no. 9; op. 3, no. 12; and op. 5, no. 1;
the second movement of op. 5, no. 3; and the fth movement of op. 5, no. 12.
12. Scheibe, Critischer Musikus, 677.
13. Concerning Corelli and overdotting in the French style, see Heing, Rhythmic Alter-
ation, 13031.
14. Mattheson, Der volkommene Capellmeister, 345: Was die chten frantzsischen Trio,
sowol zum Singen, als zum Spielen anlanget, ist noch Lully immer obenan zu setzen. Denn
es gibt unter den jngern Frantzmnnern, die der Music obliegen, sehr viele, dermaassen
verwelschte Kruseler, da sie zu lauter gezwungenen Sonderlingen werden, und keiner
Nachahmung werth sind. Der Herr Capellmeister Telemann verdienet solches vielmehr,
weil seine Trio, wenn gleich etwas welches mit eingemischet wird, doch sehr natrlich und
altfrantzsisch iessen. Man siehet von ihm Sachen dieser Gattung, deren sich wahrlich
Lully selbst, zumahl da er auch seine Landes-Art nicht verbarg, keines weges zu schmen
htte. Ob jener seine Pariser-Reise zum lernen oder lehren angestellet gehabt, stehet im
Zweifel. Ich glaube mehr zum letzten, als ersten Zweck. Translation adapted from Har-
riss, Johann Matthesons Der vollkommene Capellmeister, 65758.
15. Quantz, Versuch, 9495: [Der Anfnger] nehme also . . . wohl ausgearbeitete, und
also von grndlichen Meistern verfertigte Duetten und Trio, worinne Fugen vorkommen,
zur Uebung vor, und halte sich eine geraume Zeit dabey auf. Es wird ihm zum Notenle-
sen, zu Haltung des Tactes, und zum Pausiren sehr dienlich seyn. Vorzglich will ich Tele-
manns, im franzsischen Geschmacke gesetzte Trio, deren er viele schon vor dreysig und
mehrern Jahren verfertiget hat, wofern man ihrer, weil sie nicht in Kupfer gestochen sind,
556 Notes to Pages 22632

habhaft werden kann, zu dieser Uebung vorschlagen. Translation adapted from Reilly, On
Playing the Flute, 11314.
16. TB, 36465: Ich werfe mich keines weges zum Richter ber Ihre Trio und Quatuor
auf. Ich will nicht hoen, da ich zu dieen Gedancken vorsetzlich Anla gegeben haben
sollte. An dem Orte wo ich der Trio gedencke, welchen Sie, wenn Sie sich noch einmal
nachzuschlagen, bemhen wollen, auf der 94 Seite nden werden, rede ich nur von
solchen, die im eigentlichen frantzsischen Style abgefasset sind; dergleichen hatte ich
dort zu meinen Zwecke anzufhren nthig. Andere, die nicht gntzlich in dieser Schreib-
art abgefasset sind, kommen an dieer Stelle gar nicht mit auf die Rechnung. Translated
in Reilly, Quantz and His Versuch, 61.
17. Quantz, Thematisches Verzeichnis, vvi. For a modern edition, see Quantz, Solfeggi.
18. This table is a revised version of that in Zohn, Quantzs Advocacy of Telemanns
Music, 444, with additions from Ruhnke, Telemanns Beitrge, 1116.
19. Reilly (On Playing the Flute, 363) rst suggested that these works may be the ones
referred to in the Versuch. A facsimile of the page containing the trio excerpts is given in
Fontijn, Quantzs unegal, 54.
20. Zobeley (Die Musikalien, 2:ix, 18485) listed the trios among the collections
anonyma, describing them as French works written about 1695 and obtained by
Rudolf-Franz during a 1699 visit to Paris.
21. See Breitkopf, The Breitkopf Thematic Catalogue, col. 90. The trios are absent from
Breitkopf s non-thematic catalogue of 1764, but appear on p. 42 of the 1770 catalog as
Teleman, VII. Sonate, a 2 Flauti e Basso[.] 3 thl. 12 gl. It is possible that they were
among the ten Telemann trios f. 2 Fl. u. Klav. oered for sale in lots 1096 and 1097 of
Breitkopf & Hrtels Grosse Musikalien-Auction, held in Leipzig beginning on 1 June
1836.
22. A supplementary keyboard part for the D-major trio, apparently copied some time
after the full set and combining the second treble and continuo lines, reveals an attempt
to modernize the work by transforming it into an obbligato keyboard trio. Such arrange-
ments were common from the 1730s onward.
23. Concerning Pisendels visit to Darmstadt, see Bill, Dokumente zum Leben und
Wirken, 11718. The date for the Dresden manuscript is established in Zohn, Music
Paper, 15556.
24. Quantz, Versuch, 3078: Da aber seit Lullys Tode, der Geschmack in der Musik,
wie jedermann bekannt ist, bey den Italinern sich immer so merklich gendert hat; bey
den Franzosen hingegen immer eben derselbe geblieben ist: so hat sich auch der Unter-
schied zwischen beyden, seit dieser Zeit, erst recht immer mehr und mehr gezeiget. Trans-
lated in Reilly, On Playing the Flute, 321.
25. Schneider, Die franzsische Kammersuite.
26. For example, the Echo in the eighth suite of Marin Maraiss Second livre de pices
de viole (1701), the Ecos Pour la Flte traversiere seule concluding Jacques-Martin Hot-
teterres Premier livre de pices pour la Flte traversire (1715), and the Echo from J.S. Bachs
Ouvertre nach franzsischer Art, BWV 831.
27. On the relationship of Corellis movement to those of Lully, Bononcini, Muat,
and Scarlatti, see Pavanello, Corelli tra Scarlatti e Lully, 6467. The Erlebach corre-
spondence is discussed in Payne, A Tale of Two French Suites.
 Notes to Page 233 557

28. Scheibe, Der critische Musikus, Vier und siebenzigstes Stck. Dienstags, den 26 Jen-
ner, 1740, 37879. Revised in Critischer Musikus, 67980: Man nimmt aber insgemein
am besten viererley Instrumente dazu; vornehmlich klingen eine Querte, eine Geige,
eine Kniegeige, (Viola da Gamba) und ein Ba am besten zusammen. Wiewohl man auch
Quadros ndet, in welchen eine andere Vernderung der Instrumenten vorkmmt. Zwo
Hoboen und zweene Bassons sind auch sehr angenehm zu hren. Nach der ersten Art,
wenn viererley Instrumente gebrauchet werden, lt sich mehr Vernderung und ange-
nehmere Arbeit anbringen. Der Unterschied der Instrumente selbst kmmt auch darin-
nen dem Componisten zu statten. Und dieser Unterschied machet sie auch dem Gehre
deutlicher und angenehmer. Ueberhaupt aber gehret viel grndliche Arbeit, eine groe
Erfahrung und Behutsamkeit zu diesen Stcken. Man hat drey Oberstimmen. Alle diese
Stimmen sollen gleichwohl ihre eigene Melodie erhalten. Sie mssen alle genau mit einan-
der bereinstimmen. Kein Zwang und keine ausfllende Mittelnoten knnen statt nden.
Alles mu singbar und ieend seyn. Und gewi, wir werden wenige Componisten
antreen, die in dergleichen Arbeiten glcklich sind. Der berhmte Telemann hat auch
wirklich durch seine vortreichen Quadros fast alle andere Componisten bertroen.
Und wer das wahre Wesen dieser sonderbaren Musikstcke grndlich einsehen und ken-
nen will, der darf sich nur die schnen Werke, itztgedachter groen Componisten zur
Vorschrift dienen lassen. Wir sehen zugleich daraus, da eine gewisse Schreibart, die sehr
vieles mit der franzsischen gemein hat, dazu am besten geschickt ist, und da berall die
Natur und die wahren Eigenschaften der Instrumente, deren man sich bedienet, in Acht
genommen, und auf das genaueste bemerket werden mu. Scheibe further praises Tele-
manns quartets in Critischer Musikus, 763: So singbar, so neu und so lebhaft und ber-
haupt so natrlich auch die Arbeiten eines Telemanns sind, so harmonisch, und oftmals
so knstlich sind sie auch; vornehmlich wenn man seine Kirchensachen, und einige seiner
Instrumentalsachen, zumal seine Quadros, betrachtet (The works of a Telemann are so
singable, so new and so lively, and generally so natural as well; they are also so harmonious
and often so artful, especially when one considers his church music and some of his in-
strumental works, particularly his quartets).
29. Quantz, Versuch, 302: Ein Quatuor, oder eine Sonate mit drey concertirenden In-
strumenten, und einer Grundstimme, ist eigentlich der Probierstein eines echten Contra-
punctisten; aber auch eine Gelegenheit, wobey mancher, der in seiner Wissenschaft nicht
recht gegrndet ist, zu Falle kommen kann. Der Gebrauch davon ist noch niemals sehr
gemein geworden; folglich kann er auch nicht allen so gar bekannt seyn. Es ist zu be-
frchten, da endlich diese Art von Musik das Schicksal der verlohrenen Knste werde
erfahren mssen. Zu einem guten Quatuor gehret: 1) ein reiner vierstimmiger Satz;
2) ein harmonischer guter Gesang; 3) richtige und kurze Imitationen; 4) eine mit vieler
Beurtheilung angestellete Vermischung der concertirenden Instrumente; 5) eine recht
bamige Grundstimme; 6) solche Gedanken die man mit einander umkehren kann,
nmlich, da man sowohl darber als darunter bauen knne; wobey die Mittelstimmen
zum wenigsten einen leidlichen, und nicht misflligen Gesang behalten mssen. 7) Man
mu nicht bemerken knnen, ob diese oder jene Stimme den Vorzug habe. 8) Eine jede
Stimme mu, wenn sie pausiret hat, nicht als eine Mittelstimme, sondern als eine Haupt-
stimme, mit einem geflligen Gesange wieder eintreten: doch ist dieses nicht von der Grund-
stimme, sondern nur von den dreyen concertirenden Oberstimmen zu verstehen. 9) Wenn
558 Notes to Pages 23340

eine Fuge vorkmmt; so mu dieselbe, mit allen vier Stimmen, nach allen Regeln, meister-
haft, doch aber dabey schmackhaft ausgefhret seyn.
Sechs gewisse Quatuor fr unterschiedene Instrumente, meistentheils Flte, Hoboe, und
Violine, welche Herr Telemann schon vor ziemlich langer Zeit gesetzet hat, die aber nicht
in Kupfer gestochen worden sind, knnen, in dieser Art von Musik, vorzglich schne
Muster abgeben. Translation adapted from Reilly, On Playing the Flute, 31617.
30. Fritz Zobeley (Werke Hndels), who was the rst to call attention to 43:d3 and
D6, believed them to have been written by Handel during the period 170616. He later
published the two quartets as Handel, Concerti a 4. Handels authorship was accepted by
some as late as the 1960s (Meylan, Documents douteux), but more recently the quar-
tets have been rejected as spurious by Anthony Hicks (Handel, George Frideric in NG
and NG II) and omitted from volume 3 of the Hndel-Handbuch by Bernd Baselt.
31. For an account of the concertos sources and critical reception, see Terence Bests
preface to Handel, Konzert in g-Moll.
32. The Darmstadt source for the latter work, copied by Endler, includes two alter-
native parts for violins replacing violas da gamba. Further options are provided by the in-
strumental headings on the gamba parts: Viola di Gamba 1 Violino and Viola di
Gamba 2 Viola.
33. TB, 365: Ich bin mehr als zu berzeugt da Sie Hochgeehrtester Herr wohl noch
eine groe Menge von [Quatuor], wo nicht mehrerer Gte theils schon verfertiget haben,
theils noch alle Tage zu verfertigen Feuer, Erndung, und Beurtheilungs Kraft im ber-
usse besitzen. Da ich aber oben die gedachten Quatuor angeprieen habe, ist die Ur-
sache, weil sie mir mehr als die andern bekannt sind; da ich nun alle Vollkommenheiten
guter Quatuor darinne vereiniget nde; so glaubte ich, da ich weiter nachzusuchen nicht
einmal nthig htte. Eben diee Quatuor sind diejenigen, die mir selbst die Eigenschaften
guter Quatuor, zu erst, und am deutlichsten vor Augen gestellt, und mich angefeuert haben,
mich vor einigen Jahren in eben diees Felt zu wagen. Wollten Sie mirs verdencken, wenn
ich, ohne den brigen zu nahe zu treten, fr diee eine vorzgliche Liebe habe? Trans-
lated in Reilly, Quantz and His Versuch, 6162.
34. In 1774 Johann Abraham Peter Schulz and Johann Philipp Kirnberger were un-
able to identify these works: Quanz empehlet als Muster guter Quatuor, sechs Stke
von Teleman, die uns nicht bekannt sind (Quantz recommended as models for a good
quartet six works by Telemann that are unknown to us.). [Schulz and Kirnberger],
Quatuor, in Sulzer, Allgemeine Theorie, 2:937. Quoted in Klein, Dokumente zur Telemann-
Rezeption, 42.
35. In his autobiography (Lebenslauf, 225) Quantz mentions having composed at
least one quartet in 172425, while studying with Francesco Gasparini in Rome.
36. Based on the appearance of Quantzs handwriting, Landmann (Die Telemann-
Quellen, 112, 14950) has tentatively assigned the score (D-Dl, Mus. 2392-Q-77) to after
the utists return to Dresden in 1727. But Oleskiewicz nds the handwriting youthful
(Quantzs Quatuors, 490), and the paper in the manuscript does not preclude a copying
date of 171824 (Zohn, Music Paper, 15354).
37. In the following discussion I use the term obbligato bass to refer to bass parts
(usually played by bassoon, cello, or viola da gamba) that range from only marginally in-
dependent of the continuo line to fully concertante and thematic, and the term obbli-
 Notes to Pages 24046 559

gato bass quartet to refer to a four-voice sonata with one or two obbligato bass instru-
ments. My adoption of obbligato follows eighteenth-century usage, as seen on many
manuscript title pages and parts. To avoid confusing the somewhat dierent functions of
seventeenth- and eighteenth-century bass parts within their respective repertories, I shall
refer to the former as melodic basses. Some of the points I make below with respect to
scoring in sonatas by Califano, Fasch, Lotti, and Zelenka are echoed by Ursula Kramer
(Blserkammermusik im frhen 18. Jahrhundert), who was apparently unaware of my
earlier work on the subject (When Is a Quartet Not a Quartet?).
38. See Mangsen, The Trio Sonata; Jensen, Solo Sonata, Duo Sonata and Trio
Sonata; and Allsop, The Italian Trio Sonata, 2426. The nomenclature in which S and
B refer to melodic soprano and bass instruments, and bc refers to the continuo is
adopted from Newman, The Sonata in the Baroque Era.
39. Brossard, Suonata, in Dictionaire de musique. Translated in Grassineau, A Musical
Dictionary. Brossard actually allows the more gured Bass to be played by various in-
struments: une Basse plus gure pour la Violle de Gambe, le Fagot, &c.
40. See Lindgren, Count Rudolf Franz Erwein von Schnborn, 283.
41. On French violin solos with obbligato bass parts (or divisi writing in the continuo
parts), see Walls, More on Saying Sonata with a French Accent.
42. Concertino 4 Stromenti: D-ROu, Mus. saec. XVIII.5913; Sinphonia: D-
ROu, Mus. saec. XVIII.5914 and XVIII.5924, both dated 1723. Little is known about
Stulyck, whose name appears as Stulyck, M. N. Stulyck, Mathia Nicola Stulyk,
Stoulicke, and Stulick on manuscripts at D-ROu. He may be the Nikolaus Stulick
who served as Konzertmeister at the Mainz court from 1723 until his death in 1732. See
Owens, The Wrttemberg Hofkapelle, 223, 23765.
43. Regarding Zelenkas copies of Fuxs sonatas, see Horn et al., Zelenka-Dokumentation,
1:7576. It should be noted that both sonatas evoke the late seventeenth century in their
style and scoring, and indeed they may have been decades old when Zelenka copied them.
44. Fasch: FWV N:D1 and d2; Heinichen: Seibel 236/257; Stlzel: quartet for vio-
lin, two cellos, and continuo (D-Bds, Mus. ms. 5377), and quartet for two violins, cello,
and continuo (D-Bds, Mus. ms. 5378 and 5379); Zelenka: ZWV 181/5.
45. In the 1730s Califano was a cellist in the Dresden Cammer-Musique. See the
Knigl. Poln. und Churfrstl. Schsischer Hof- und Staats-Calender and Stockigt, Jan Dismas Zelenka,
23738. Heinichen was Kapellmeister from 1717, and Lotti was employed at the court
between 1717 and 1719.
46. Mangsen, The Trio Sonata, 156.
47. The two principal manuscript sources for these works are the badly deteriorated
D-Dl, Mus. 2358-Q-1, a composing score of all six sonatas; and 2358-Q-3, of parts to
sonatas two, four, and ve, copied by Zelenka and Philipp Troyer. At the beginning of his
score, Zelenka supplies the only rubric relating to the works genre: Sonata 3 di Gio-
vanni Zelenka. In the rst three sonatas, Zelenka labels the lowest part Basson. But at
the beginning of the fourth sonata, he writes Num: 4. a 2 Hautbois e dui Bassi obligati.
The set of six sonatas has been dated to ca. 172122 based on Zelenkas handwriting in
the score. See Horn et al., Zelenka-Dokumentation, 1:1078, 2:307; and Reich, Thematisch-sys-
tematisches Verzeichnis, 5152.
48. D-DS, Mus. ms. 408. The autograph title page reads: Canon / allunisono / a /
560 Notes to Pages 24651

2 Flaut / Violoncello / o vero / Viola di gamba / e / Cembalo / di Christoph Graup-

ner. See the facsimile in Graupner, Oeuvres pour tes bec. Graupners revisions here and in
the trios discussed below give the lie to a claim he made to Mattheson (Der volkommene
Capellmeister, 481): Ich habe mir schon lange angewehnet, auch theils gemust, meine Parti-
turen so deutlich, als mglich ist, zu schreiben, und ndre nicht gerne etwas, um dem No-
tisten, wenn er zumahl nicht musikalisch ist, hierin behlich, und des gar zu verdrie-
lichen tglichen Corrigirens berhoben zu seyn. Es kostet zwar etwas mehr Mhe;
schreibe aber selten eher, bis in Gedancken fertig bin (I have long accustomed myself,
partly out of necessity, to write my scores as clearly as possible, and in order to assist the
copyist, especially if he is unmusical, I do not willingly make emendations, so as to spare
irritable daily changes. It certainly demands more exertion, but I seldom write anything
before it is fully conceptualized). Translation adapted from McCredie, Christoph
Graupner, 9394.
49. D-DS, Mus. ms. 472/1. The presence of the obbligato cello parts was rst re-
ported in McCredie, Christoph Graupner, 104. One wonders, in light of Graupners
additions, if the empty staves separating notated lines in the cello part to Stulycks Sin-
phonia (D-ROu, Mus. saec. XVIII.5914) were intended to accomodate an obbligato line
composed by the cellist.
50. Gilbert and Moroney, preface to Couperin, Oeuvres compltes, 911.
51. Six / QUATUORS ou TRIOS / / 2. Fltes traversires ou 2. Violons / et
2. Violoncells ou 2. Bassons, / dont le second peut tre entierement retranch, / ou se
joer sur / le Clavessin.
52. However, the trio option should be regarded as less than optimal, as the second
cello provides essential harmonic support in several movements where the rst cello plays
more of a thematic role (as, for example, in Sonatas 3/i and ii, and 4/iii). Moreover,
when functioning as the lowest voice, the rst cello occasionally produces rst-inversion
triads at cadences or undesirable second-inversion triads. Yet in the majority of move-
ments the rst cello provides enough harmonic support to allow the second cello to be
omitted. See Telemann, Sechs Quartette oder Trios, ix.
53. See in particular mm. 16573 and 293310 of movement 1, and mm. 15966
of movement 3.
54. For surveys of eighteenth-century writings on variation as a form and technique,
see Sisman, Haydn and the Classical Variation, chap. 3; Schulenberg, Composition as Varia-
tion; and Bartel, Musica Poetica, 43238.
55. Brossard, Variatio, in Dictionaire de musique; Grassineau, Variation, in A Musical
Dictionary.
56. Walther, Musicalisches Lexicon, 628: wenn eine schlechte Sing- oder Spiel-Melodie
durch Anbringung kleinerer Noten verndert und ausgeschmcket wird, doch so, da
man dennoch die Grund-Melodie mercket und verstehet.
57. See Watkin, Corellis Op. 5 Sonatas, especially 65861. Watkins ideas about re-
alizing Corellis gured basses on cello (often involving divisions of the bass line) are
demonstrated convincingly on his recording with Trio Veracini of the composers op. 5
(Novalis 1501282, 1996).
58. Niedt, Musicalischer Handleitung, chap. 7 (unpaginated); The Musical Guide, 36.
 Notes to Pages 25153 561

59. Niedt, Handleitung zur Variation, chaps. 25 (unpaginated); Musicalischer Handleitung

Ander Theil, 346; The Musical Guide, 74101.
60. Simpson, The Division-Violist, 2146.
61. Niedt, Musicalischer Handleitung Ander Theil, 34 n.: gewisse langsame Ba-Noten,
mit Beybehaltung ihres Ganges und Progressus, auf verschiedene Weise in kleinere Noten
also zu verndern, da zwar im Grunde der Satz sein Esse behalte; doch aber dahin
diminuirt, zertheilt, und zergliedert werde, da er mehr Leben / Strke / Anmuth, und
Zierrath bekomme. Was bey den Franzosen double (doppelt oder Verdopplung) heisset /
solches nennt man bey uns / wiewohl nicht zum besten / eine Variation. Der Nahme ist
gar zu general, und drcket die Sache / welche hier darunter verstanden wird / nicht spe-
cialiter aus. Indessen ist er doch einmahl eingefhret / und wird auch wohl in Possessione
bleiben. Es hat sonst mit diesem doubliren oder variiren / auf gewisse Weise / fast eben die
Beschaenheit / als mit den Figuren in der Rhetorica, oder mit den so genannten Compli-
menten in der Conversation.Translation adapted from The Musical Guide, 74.
62. Saint Lambert, Nouveau trait de laccompagnement, 58: Au contraire de ce que nous
venons de dire; Quand les Basses sont peu charges de notes, & quelles tranent trop au
gr de lAccompagnateur, il peut y ajoter dautres notes pour gurer davantage, pourv
quil connoisse que cela ne fera point de tout lAir, & sur tout la voix qui chant. . . . Il
y a des Accompagnateurs qui ont si bonne opinion deux-mmes que croyant valoir seuls
plus que le reste du Concert, ils seorcent de briller par dessus tous les Concertans. Ils
gurent les Accompagnements, & sont cent autres choses qui sont peut-tre fort belles en
elles-mmes; mais qui pour lors nuisent extrmement au Concert, & ne servent qu mon-
ter lhabile vanit du Musicien qui les produit. Translated adapted from Powell, A New
Treatise on Accompaniment, 1023.
63. Bourdelot et al, Histoire de la musique, 43436: Lon nentend en general dans la
Musique quune basse continue toujours double, qui souvent est une espece des bat-
terie, daccords, & un harpegnement, qui jette de la poudre aux yeux de ceux qui ne sy
connoissent pas, & qui rduites au simple, reviendroient aux ntres. Ces B.C. ne sont
bons qu faire briller la vitesse de la main de ceux qui accompagnent ou du clavessin, ou
de la viole; encore pour rencherir sur ces basses dja trop doubles delles mmes, ils les
doublent, & cest qui doublera le plus; de sorte quon nentend plus le sujet, qui parot
trop nud auprs de ce grand brillant, & demeure enseveli sous un cahos de sons tricot-
tez & ptillans, qui passant trop legerement, ne peuvent faire dharmonie contre le sujet;
il faudroit donc que des deux Instrumens, il y en et un qui jout le simple de la basse,
& lautre le double; ces B.C. passeroient plutt pour des Pices de viole, que pour un ac-
compagnement qui doit tre soumis au sujet, & ne point prvaloir. Il faut que la voix
domine & attire la principale attention, tout le contraire arrive ici, lon nentend que la
B.C. qui ptille si fort que la voix en est toue: il se trouve un inconvenient dans les
basses en batteries & doubles sur le champ; cest quil est dicile quun clavessin, une
viole & un theorbe, se puissent rencontrer juste dans la mme maniere de doubler, non
plus que bien dautres Instrumens chordes, ou vent; lun prend un tour, & lautre un
autre, ce qui cause une cacaphonie extraordinaire, de sorte quun Compositeur ne re-
connot plus son ouvrage qui parot tout de gur; il faut au milieu de tout cela quil se
contente dadmirer la vitesse de la main de ceux qui lexecutent. Voil cependant aujour-
562 Notes to Pages 25356

dhui le got de lexecution de la Musique Italienne tant varite. Translation adapted

from MacClintock, Readings, 24344.
64. Gasparini, Larmonico pratico, 10410.
65. Gasparini, Larmonico pratico, 1045, 1089. Translated in The Practical Harmonist, 90,
93.
66. Gasparini, Cantate da camera. For discussions of the embellished accompaniments,
see Rose, A Fresh Clue, 2829, and Cavalli, Le cantate opera prima, 6465.
67. See Borgir, The Performance of the Basso Continuo, 15051.
68. Quoted and translated in Spitzer and Zaslaw, Improvised Ornamentation, 564.
69. Heinichen, Der Generalbass in der Composition, 56573; Buelow, Thorough-Bass Accom-
paniment, 198202. Heinichen did not discuss bass-line variation in his earlier Neu erfun-
dene und grndliche Anweisung.
70. Mattheson, Grosse General-Ba-Schule, 33435.
71. Heinichen, Der Generalbass in der Composition, 565 note k: Dahero nicht alle Com-
ponisten mit dergleichen Bass-Variationibus zufrieden seynd. Allein wenn solche Dinge z.E.
in einem Solo, in einer Cantata a voce sola, und leeren Rittornello der Arien ohne Instrumente, a
propos und mit einem Judicio angebracht werden, so zieren sie das Accompagnement, und seynd
gar wohl zugelassen. Nur mu man den Snger nicht mit dergleichen Dingen irritiren, und
aus dem Accompagnement kein prludium machen. Translated in Buelow, Thorough-Bass Accom-
paniment, 19798.
72. Scheibe, Compendium Musices, 62.
73. Mattheson, Grosse General-Ba-Schule, 331, 33435. Among continuo treatises of a
slightly later period, it is worth noting the illustrations of bass-line variations in the sec-
ond part of Geminianis The Art of Accompaniment, 6, 17, 1921, 2324, 27.
74. Quantz, Versuch, 21314: Ein Violoncellist mu sich hten, da er nicht, wie
ehedem einige groe Violoncellisten die ble Gewohnheit gehabt haben, den Ba mit
Manieren zu verbrmen. . . . Denn wofern ein Violoncellist, wenn er die Setzkunst nicht
versteht, im Basse willkhrliche Manieren anbringen will; so thut er noch mehr Schaden,
als ein Violinist bey der Ripienstimme: besonders wenn er solche Bsse vor sich hat, ber
welchen die Hauptstimme in bestndiger Bewegung ist, um den simpeln Gesang mit
Zustzen auszuzieren. . . . Ueberdem ist es ungereimt, den Ba, welcher die Zierrathen der
andern Stimme untersttzen und harmonis machen soll, selbst zu einer Art von Ober-
stimme zu machen, und ihn seines ernsthaften Ganges zu berauben; dadurch aber die
nothwendigen Zierrathen der Oberstimme zu verhindern, oder zu verdunkeln. . . . Ein
geschikter Zusatz von Zierrathen ndet nirgends als bey einem Solo statt. Doch mssen
zu der Zeit, wenn die Hauptstimme, bey simpeln Noten, nothwendig etwas zusetzen
mu, die Noten des Basses ganz ohne allen willkhrlichen Zierrath vorgetragen wer-
den. . . . Hat die Hauptstimme Pausen, oder haltende Noten; so kann er gleichfalls den
Ba auf eine angenehme Art verndern: wenn nur die Hauptnoten im Basse nicht ver-
dunkelt werden, und die Vernderungen so beschaen sind, da sie keine andere Leiden-
schaft ausdrcken, als das Stck erfodert. . . . Bey einer vollstimmigen Musik aber, ist den
Violoncellisten ganz und gar nicht erlaubt, willkhrlich etwas zuzusetzen: nicht allein,
weil die Grundstimme ernsthaft und deutlich gespielet werden mu; sondern auch, weil
 Notes to Pages 25666 563

solches, wenn es die brigen Bsse eben so machen, eine groe Verwirrung und Undeut-
lichkeit verursachen wrde. Translated in Reilly, On Playing the Flute, 24243.
75. Spitzer and Zaslaw, Improvised Ornamentation, 533.
76. These include Califanos B  quartet (Sonata a 4 Voc: / Hautbois Primo / Haut-
bois Secundo / Basson Primo / Basson Secundo), Faschs FWV N:d2 (SONATA 4 /
2 Hautbois / 2 Basson) and FWV N:F1 (Sonata / a / 2 Hautb. / 2 Bassons), and
Lottis F-major quartet (D-HRD, F 3683a: Echo / SONATA / 4 / Hautbois Primo /
Hautbois secundo / Bassono Primo / Bassono secundo). Each of the bassoon parts in
these manuscripts is ungured. Note, however, that Stlzels G-minor quartet (Sonata /
a 4 / 1 Violino / 1 Hautb: / et / 2 Bassons) includes a gured Cembalo part.
77. Scheibe, Critischer Musikus, 68081: Ich mu noch eine andere Gattung von
Sonaten bemerken. Man machet nmlich fnfstimmige Stcke, die in den meisten Eigen-
schaften mit den vierstimmigen Sonaten bereinkommen. Die besten Instrumente dazu,
sind zwo Querten, zwo Hoboen, und der sie begleitende Ba. Die Einrichtung ist dem
Trio gem, die Ausarbeitung aber erfordert fast noch mehr Flei, als die Quadros; weil
man, wenn sie ordentlich schn seyn sollen, eigentlich fnf Melodien zugleich mit einan-
der verbinden mu. Die vier Oberstimmen mssen nmlich alle eine verschiedene
Melodie beweisen. Der Ba mu auch nicht schlecht und leer gesetzet seyn, sondern zu
gewissen Zeiten auch das Seinige bekommen. Dieses aber kmmt hierbey der Bequem-
lichkeit zu arbeiten zu Hlfe, da man dann und wann mit einer guten Art die zweyte
Flte, und die zweyte Hoboe zur bloen Ausfllung gebrauchen kann, doch mu dieses
nur sehr selten geschehen. Man wird aber in diesen fnfstimmigen Sonaten keinesweges
glcklich seyn, wenn man sich nicht des doppelten und vierfachen Contrapunctes, in-
gleichen der Canonen, bedienet. Diese werden die beste Gelegenheit geben, so viel Melo-
dien, als Instrumente sind, zugleich geschickt und bequem zusammen zu bringen, und
durch Hlfe einer geschickten Auszierung und einiger melodischen Figuren, wie auch der
Metaphora, angenehm und ieend zu machen.
78. Of doubtful authenticity are the concerto 44:4, for two utes, two oboes, and
continuo; and 44:2, for two oboes damore, two horns, and continuo.
79. D-Bds, SA 3559 (7). This composite of scores (XX. / Sonate / di / Melante /
Partizione) also contains 44:5, 32, and 34, as well as the ripieno concertos listed in Table
4.2all copied by the same unidentied scribe on paper from the Saxon town of Zittau.
80. For a discussion and facsimile of the catalog, see Leisinger, Die Bachsche Auc-
tion von 1789. Other Telemann works included in the catalog are four published col-
lections (see chapter 7) and manuscript parts for ten overture-suites (lots 27079) and
four quartets (lots 33942).
81. For further discussion of the use of the title concerto to describe sonatas in four
or more parts, see chapter 6.
82. Mattheson, Grundlage einer Ehren-Pforte, 369.
83. Ruhnke, Die Pariser Telemann-Drucke, 15152.
84. The date of the collection is established by its advertisement in Le Clercs publi-
cation catalog. See Devris and Lesure, Dictionnaire des diteurs, vol. 1, no. 131; and Ruhnke,
Die Pariser Telemann-Drucke, 158, 160.
564 Notes to Pages 26675

85. On the chronology of the Dresden sources, see Zohn, Music Paper, 130, 162.
86. Kenckel also engraved the Musicalisch-Chorgraphisches Hochzeit-Divertissement, discussed
in chapter 2.
87. Mattheson (Exemplarische Organisten-Probe, 203) noted that Telemann had the con-
certos quite cleanly engraved in copper.
88. The Easter fair announcement for the concertos reads: Denen Herrn Liebhabern
der Musik wird hiermit bekant gemacht, dass von dem Herrn Capm. Telemannen des
durchl. Prinzens, Herrn Johann Ernsts, Herzogs zu S.-Weymar, hchstsel. Angedenkens,
mit eigener hohen Hand gesetzte Concerten, auf fteres Begehren von vielen entlegenen
Orten, unter die Presse gegeben worden, davon das 1ste Opus, so aus 6 beraus nett ge-
setzten 5stim. Concerten bestehet, knftige Jubilate Messe gel. Gott zu Leipzig bey Joh.
Herb. Klossen wird zu nden sein. Das 2te Opus soll diesem bald folgen (Musical am-
ateurs are hereby informed that Kapellmeister Telemann has published concertos by His
late lamented Serene Highness Prince Johann Ernst, Duke of Sachsen-Weimarcom-
posed with his own noble handsupon frequent request from many far-o places. This
rst part of the set, containing six extremely well arranged ve-voice concertos, will be
available, God willing, in Leipzig from Joh. Herb. Kloss at the coming Jubilate [Easter]
fair. The second part should soon follow). Although it appears that Telemann intended
to issue a sequel collection, none was published. See Ghler, Verzeichnis, 3:4 (no. 53) and
24 (no. 465).
89. Chartier, Forms and Meanings, 42.
90. On Mascittis Sonate a violino solo col violone cemballo, op. 1 (Paris, 1704), see Walls,
Sonade, que me veux tu?, 2732. Swack (Johann Ernst von Sachsen-Weimar, 57,
6064) sees parallels between some of Telemanns movements and those in Albinonis op.
6 solos and Vivaldis op. 1 trios (see n. 9 above).
91. Swack (John Walshs Publications) has demonstrated that six other solos pub-
lished by Walsh and Hare as a sequel collection around 1725 (containing 41:d5, e7, F5,
g8, B7, a7) are in all likelihood spurious.
92. This point is also made by Swack, The Solo Sonatas, 38.
93. Swack, Johann Ernst von Sachsen-Weimar, 60.
94. For further information on the careers of these oboists, see Burgess and Haynes,
The Oboe, 61, 6667; and Noack, Musikgeschichte Darmstadts, 18081, 19192.
95. Zu dem Ende habe den Ambitum so enge als mglich gewesen / eingeschlossen /
zu weit entfernte Sprnge / wie auch bedeckte und unbequeme Tone vermieden / hin-
gegen die brillirenden / und welche von der Natur an unterschiedenen Orten in dieses
delikate Instrument geleget sind / ot anzubringen gesuchet. Hiernchst habe mich in
den Arien der Krtze beissen / theils um die Krfte des Spielers zu menagiren / theils
auch um die Ohren der Zuhrer durch die Lnge nicht zu ermden. Von der Harmonie
mu zwar gestehen / da sie wenig oder nichts chromatisches / sondern nur natrliche
und ordinre Gnge hat / dieses aber ist denen und also den meisten / zu gefallen
geschehen / welche in der musicalischen Wissenschaft noch nicht gar zu weit gekommen
sind. Enn / ich habe getrachten / allen etwas nach ihrem Geschmack vorzulegen.
96. Swack, The Solo Sonatas, 2733.
 Notes to Pages 27586 565

97. It is worth noting that three other overture-suites (55:D15, G1, G3) resemble
these arrangements in following an overture with an imitative prelude and a series of
dance movements.
98. Mattheson, Grundlage einer Ehren-Pforte, 36364; TB, 26.
99. The poem appeared in the frontmatter to Matthesons Exemplarische Organisten-Probe.
Telemanns recollection is in Mattheson, Grundlage einer Ehren-Pforte, 364. The composer
had dealings with the Gotha court in later years: in 1735 he received a payment for Mu-
sicalien 3 zu Clavier, Flute traverse e Basso cont., which may have been the Six concerts et
six suites. See Jung, Telemanns Wirkung, 36.
100. Telemanns use of the rhythm during the 1720s is charted in Hobohm, Zum
lombardischen Rhythmus.
101. Quantz, Versuch, 30910; Reilly, On Playing the Flute, 323.
102. Schaefer (Die Notendrucker und Musikverleger, 1:370 n. 3) suggests that Angeli may
have been the Frankfurt artist Josef dAngelo (16931719).
103. Ripa, Iconologia, Figure 197. For explanations of other emblems represented in the
frontispiece, see also Figures 36, 39, 46, 52, 101, 277.
104. Ibid., Figure 135.
105. Yearsley, Bach and the Meanings of Counterpoint, 12425. See also Cahn, Zu Tele-
manns Frankfurter Kammermusik, 2056.
106. According to Green (The Treble Viol, 70), the dessus de viole was last men-
tioned on a piece of published French music in 1737; by that date, it had been supplanted
by the newer pardessus de viole.

Chapter 6

1. On the concept of generic contracts as applied to music, see Kallberg, The

Rhetoric of Genre, 411.
2. Marissen, A Trio in C major; idem, A Critical Reappraisal; Dreyfus, J. S. Bach
and the Status of Genre, revised and expanded in Bach and the Patterns of Invention, 10333.
The earliest critical discussions of Scheibes description known to me are those by Adolf
Sandberger (Zur Geschichte des Haydnschen Streichquartetts, 23940) and Ruth
Halle Rowen (Early Chamber Music, 105).
3. Swack, On the Origins. See also her Bachs A-major Flute Sonata Revisited and
Quantz and the Sonata in E-at Major, which renews and intensies long-standing con-
cerns regarding the authenticity of the E-at sonata.
4. Schulenberg, The Sonate auf Concertenart. I gratefully acknowledge the authors gen-
erosity in allowing me to read a draft of his study prior to publication.
5. Hofmann, Zur Fassungsgeschichte.
6. Butler, The Question of Genre.
7. Marissen, The Theological Character, 9698.
8. Scheibe, Der critische Musikus, Neun und sechzichstes Stck. Dienstags, den 22 De-
cember 1739, 342; Critischer Musikus, 637. Scheibes use here of the adjective einstim-
566 Notes to Pages 28687

mig (single-voiced) is idiosyncratic, as concertos for unaccompanied keyboard, violin, or

lute are not monophonic. For an overview of the unaccompanied keyboard concerto
repertory, see Edler, Prolegomena zu einer Geschichte.
9. As Swack points out (On the Origins, 390), Scheibe may well have discussed his
pre-publication thoughts on the sonata with Telemann. The two were originally to have
collaborated on Der critische MusikusTelemann saw the rst fteen issues of the periodi-
cal before his trip to Paris in the fall of 1737and maintained close contact until
Scheibe left Hamburg in 1740. Telemann subsequently dedicated the Vier und zwanzig theils
ernsthafte, theils scherzende Oden to his colleague, and in the preface (dated 19 June 1741) men-
tioned that Scheibe had recently visited his home and engaged him in conversation about
the German Lied, among other topics. One should not assume, however, that Scheibe was
Telemanns mouthpiece in theoretical matters, or that he would have refrained from print-
ing anything contrary to Telemanns opinions. On the relationship between the two, see
Willheim, Johann Adolph Scheibe, 3541; and Buelow, In Defense of J. A. Scheibe,
9798.
10. Critischer Musikus, Vier und siebenzigstes Stck. Dienstags, den 26 Jenner, 1740,
67578 (a revised and expanded version of the discussion in Der critische Musikus,
37577):
Ich will aber zuvrderst von den dreystimmigen und vierstimmigen Sonaten reden,
davon die ersten insgemein Trios, die letztern aber Quadros genennet werden, hernach aber
auch die brigen etwas erlutern. Beyde Arten von Sonaten, von welchen ich zuerst reden
will, werden eigentlich auf zweyerley Art eingerichtet, nmlich als eigentliche Sonaten,
und dann auch auf Concertenart. . . .
Das eigentliche Wesen dieser Stcke aber ist berhaupt dieses, da in allen Stimmen,
vornehmlich aber in den Oberstimmen ein ordentlicher Gesang, und eine fugenmige
Ausarbeitung seyn mu. Wenn sie nicht auf Concertenart eingerichtet werden: so darf
man wenig kruselnde und verndernde Stze anbringen, sondern es mu durchaus eine
bndige, ieende und natrliche Melodie vorhanden seyn. . . .
Die Ordnung aber, die man in diesen Sonaten insgemein zu halten peget, ist fol-
gende. Zuerst erscheint ein langsamer Satz, hierauf ein geschwinder oder lebhafter Satz;
diesem folget ein langsamer, und zuletzt beschliet ein geschwinder und munterer Satz.
Wiewohl man kann dann und wann den ersten langsamen Satz weglassen, und so fort mit
dem lebhaften Satze anfangen. Dieses letztere pegt man insonderheit zu thun, wenn man
die Sonaten auf Concertenart ausarbeitet. . . .
Der nunmehro folgende geschwinde oder lebhafte Satz wird insgemein auf Fugenart
ausgearbeitet, wo er nicht selbst eine ordentliche Fuge ist. . . . Wenn das Trio concerten-
mssig seyn soll: so kann auch ein[e] Stimme strker, als die andere, arbeiten, und also
mancherley kruselnde, laufende und verndernde Stze hren lassen. Die Unterstimme
kann auch in diesem Falle nicht so bndig, als in einer andern ordentlichen Sonate, ge-
setzet werden.
11. The classic study of this type is Dahlhaus, Bachs konzertante Fugen.
12. Swack, On the Origins, 380 n. 19. Freshly composed einstimmige Concerte appear
to have been available in printand presumably known to Bach and Waltheras early as
 Notes to Pages 28789 567

1716, when the Kthen organist Christian Ernst Rolle (16931739) published six un-
accompanied keyboard concertos, now lost. Walther refers to this music as sechs Con-
certen aufs Clavier in Kuper in his Musicalisches Lexicon, 531. On Rolles biography, see
Schulze, Bach und Kthen, 2123.
13. Scheibes concerto is described by Wollny, On Miscellaneous American Bach
Sources, 13839. Regarding his copy of BWV 972, see Leisinger and Wollny, Die Bach-
Quellen, 46364. The Vivaldi transcription is discussed and edited in Stinson, The
Critischer Musikus as Keyboard Transcriber?; and idem, Keyboard Transcriptions.
14. D-WD, 2 (print) and Ms. 404 (arrangement). The date of the arrangement is
given as about 1715 in Zobeley, Die Musikalien der Grafen von Schnborn-Wiesentheid, 2:1. My
attention was drawn to these sources by Lindgren, Count Rudolf Franz Erwein von
Schnborn, 282.
15. Scheibe, Critischer Musikus, 637: Endlich mu ich auch noch mit wenigem ge-
denken, da man auch Concerten fr ein Instrument allein verfertiget, ohne es durch an-
dere begleiten zu lassen. Insonderheit machet man dergleichen Clavierconcerten und Lau-
tenconcerten.
16. Baron, Historisch-theoretisch und practische Untersuchung, 78, 163: [Er] ist ein grosser
Extemporaneus, da er im Augenblick, wenn es ihm beliebig, die schnsten Themata, ja gar
Violin-Concerte von ihren Noten weg spielt. . . . Heute zu Tag aber da es ein gantz anders
Ansehen hat, so mu die Transposition nur in Gedancken, wenn man was Schnes gehrt,
geschehen, worzu schon ein ziemlicher habitus erfordert wird. Denn die Laute ist nun so
thonreich, da man solches nicht mehr braucht, auch hat man so viel schne Concerten, Trios
und andere Melodien, welche weit ungezwungener heraus kommen. Translated in Smith,
Study of the Lute, 7071, 138. Richard Stone (private communication) has called my at-
tention to the concluding movements in some of Weiss post-1725 lute sonatas, where
reference is made to the concerto through an emphasis on soloistic gurations and the
repetition of ritornello-like periods within an overall binary structure.
17. These are the initial fast movements of 40:14 and 40:17 (XII Fantasie per il violino
senza basso, nos. 1 and 4). Parrish (A Treasury of Early Music, 298) was apparently the rst
writer to comment upon the ritornello structure of 40:17/i.
18. The opening phrase of the keyboard fantasy 33:5 (Fantaisies pour le clavessin) appears
a year later in the second movement of 43:G2 (Musique de table), while that of the eighth
fantasy, 33:8, recurs in the fourth movement of 43:a3.
19. Schaefer-Schmuck (Georg Philipp Telemann als Klavierkomponist, 4546) saw progressive
tendencies in the movement without recognizing its references to the concerto. Like the
concluding Allegro of the fourth work in the same collection (32:8), this movement ex-
hibits a ritornello-da capo structure mirroring that of several Telemann trio and quartet
movements auf Concertenart discussed below.
20. The entrance of the soloist with a lyrical theme is of course common in galant-style
concertos written in Italy and Germany during 1730s and 1740s, so the reversal may in
part be explained by the movements reference to up-to-date models. Along similar lines,
Schulenberg (The Keyboard Music of J. S. Bach, 302) argues that Bachs models for the Italian
Concertowhich also includes soloistic guration in the ritornelloseem to have been
568 Notes to Pages 28993

Vivaldis late concertos or German works from the 1730s. There is, of course, no mini-
mum threshold of virtuosity required in concerto episodes; indeed, many of Telemanns
are more melodically and rhythmically varied (Scheibe) than overtly virtuosic.
21. Dreyfus (Bach and the Patterns of Invention, 128) notes a similar eect in the fugal sec-
ond movement of Bachs unaccompanied violin sonata in C major, BWV 1005, where a
concerto soloist seems to emerge in the thinly-textured episodes.
22. Swack, On the Origins, 379, 38285, and 398. Hirschmann (Telemanns
Konzertschaen, 8889) also calls attention to the source for 43:F2/52:F5 and repro-
duces its title. This work, as I will argue later, is more concerto than sonata. As demon-
strated in chapter 3, 43:Es1 is a ripieno concerto.
23. Although not a Sonate auf Concertenart or even a freshly composed einstimmiges Con-
cert, a keyboard transcription of a lost Heinichen violin concerto provides a further in-
stance of a diminutive Sonate added beneath Concerto. The manuscript (D-Dl, Mus.
2398-T-1) bears the copyists name and dateC. S. Birnbaum / Scr: 1731and once
belonged to the Breitkopf rm. Hence the Sonate on the title page may be the work of
a Breitkopf scribe. A description of the manuscript is given in Fechner, Studien zur Dresd-
ner berlieferung, 25758.
24. Swack, On the Origins, 399.
25. D-DS, Mus. ms. 1033/98. A facsimile of the title page is given in Telemann, Twelve
Trios, [xviii], Plate 1.
26. D-DS, Mus. ms. 1042/15 (score and parts). Hirschmann (Telemanns Konzert-
schaen, 87) rst called attention to this example.
27. Stlzel, quartets for oboe, violin, horn, and continuo (D-Dl, Mus. 2450-Q-5 and
Q-6); Heinichen, quartet for ute or violin, bassoon, bass, and continuo (D-ROu, Mus.
saec. XVII.4514); Molter, trios for ute and violin or two utes with continuo MWV
X/1216; Hesse, trio for oboe, viola da gamba, and continuo (D-HRD, F 3605a); and
anonymous, trio for ute, violin, and continuo (D-ROu, Mus. saec. XVIII.4712).
28. Telemann, 44:2 and 44:15 (both probably spurious); 43:C2, D4, D8, d2 (D-DS
source), G11 (D-ROu source), A4 (D-DS and D-Dl sources), and h3; 42:D15 (D-Dl,
Mus. 2392-Q-31), e7 (D-Dl, Mus. 2392-Q-37) and F4; Bchler, quartets for ute,
oboe, violin, and continuo and for ute, two violins, and continuo (D-ROu, Mus. saec.
XVIII.103 and 104); Fasch, quartets FWV L:C1 (D-Dl, Mus. ms. 290/8) and L:C3 (D-
ROu, Mus. saec. XVIII.142); Hasse and Stuylck, quartets for oboe, chalumeau, bassoon,
and continuo (D-Dl, Mus. 2477-O-4 and D-ROu, Mus. saec. XVIII.5913); Heinichen,
quartet for ute, bassoon or cello, cello, and continuo (D-ROu, Mus. saec. XVII.18.1419);
anonymous, quartet for violin, two utes, and continuo (D-ROu, Mus. saec. XVII.18
.5144) and trios for ute, violin, and continuo (D-ROu, Mus. saec. XVII.18.5133a, XVII
.18.5143, and XVIII.665). Additionally, Swack (On the Origins, 406 n. 59) calls at-
tention to a Bodinus Concerto . . . 4 Instr: for violin, two utes, cello, and cembalo
(D-ROu, Mus. saec. XVIII.817).
29. This second conclusion arms and extends Swacks observation (On the Ori-
gins, 379) that most [Sonaten auf Concertenart] in four or more obbligato parts seem to
have been considered concertos. On Vivaldis terminology, see Heller, Italienische Kam-
 Notes to Pages 29394 569

mermusik, 35. Vivaldi appears to have regarded the four-voiced (and auf Concertenart) RV
779 and 801 as sonatas because of their four-movement plan. See Talbot, Vivaldis
Quadro?, 2021. I am grateful to the author for calling my attention to this essay.
30. D-HRD, F 3658a.
31. See, among recent discussions of the repertory, Sardelli, Vivaldis Music for Flute and
Recorder, chapter 8; Ohmura, I concerti senza orchestra; Heller, Italienische Kammer-
musik; idem, Antonio Vivaldi, 18892; Talbot, Vivaldi, 12627, 18384; and Fertonani, La
musica strumentale, 223.
32. Hofmann, Zur Fassungsgeschichte; Heller, Italienische Kammermusik, 43;
Antonio Vivaldi, 92; Talbot, Vivaldi, 127. Eppstein (Konzert und Sonate, 14549) also
considers several of the Brandenburg Concertos to be Kammerkonzerte, but does not
identify the works in question.
33. Swack, On the Origins, 382 and 412.
34. See Reimer, Concerto/Konzert, 12. Scheibe and other writers before Quantz do
not use Concerto da camera or Kammerkonzert.
35. Quantz, Versuch, 295, 300: Der Concerte mit einem concertirenden Instrumente,
oder der sogenannten Kammerconcerte, giebt es gleichfalls zwo Gattungen. Einige verlangen,
so wie das Concerto grosso, ein starkes, die andern aber ein schwaches Accompagnement.
Wird solches nicht beobachtet, so thut weder eins noch das andere seine gehrige
Wirkung. Aus dem ersten Ritornell kann man abnehmen, von was fr einer Gattung das
Concert sey. Alles was ernsthaft, prchtig, und mehr harmonisch als melodisch gesetzet,
auch mit vielem Unison untermischet ist; wobey die Harmonie sich nicht zu Achttheilen
oder Viertheilen, sondern zu halben oder ganzen Tacten verndert; dessen Accompagne-
ment mu stark besetzet werden. Was aber aus einer chtigen, scherzhaften, lustigen
oder singenden Melodie besteht, und geschwinde Vernderungen der Harmonie machet;
thut mit einem schwach besetzeten Accompagnement bessere Wirkung, als mit einem
starken. . . .
Wer nun ein solches Concert zu machen weis [ein ernsthaftes, oder fr das Groe gesetzetes
einfaches Concert], dem wird es nicht schwer fallen, auch ein scherzhaftes und kleines tn-
delndes Kammerconcert zu verfertigen. Es wrde also unnthig seyn, hiervon besonders zu
handeln. Translation adapted from Reilly, On Playing the Flute, 311, 315.
36. Quoted and translated in Spitzer and Zaslaw, The Birth of the Orchestra, 219.
37. It is conceivable that the title Concerto da Camera was intended to indicate the
works unsuitability for performance in the Catholic court church, where concertos and
sonatas by Pisendel and his colleagues were often performed during mass (another
Pisendel concerto is entitled Concerto. a 5. da Chiesa). Descriptions of the manu-
scripts in question (concertos da camera: D-Dl, Mus. 2421O12 and 2421-O-13; con-
certo da chiesa: Mus. 2421-O-11) are given in Fechner, Studien zur Dresdner berlieferung,
28184. Fechner also proposes that da camera refers to the undivided ripieno violins.
38. The Caldara source (D-WD, Ms. 508) is described by Zobeley, Die Musikalien der
Grafen von Schnborn-Wiesentheid, 2:40.
39. Here the title could also refer to the works generic status as a concerto-suite (see
chapter 1). One might cite Molters Concerto di Camera MWV VI/23 for oboe, two
570 Notes to Pages 29498

violins, viola, and continuo as a counterexample, though the title of Concertino in

copies of other Molter works for solo melody instrument, violin, viola, and continuo
would appear to be an equivalent term to Concerto da camera.
40. In an apparent eort to explain the unusual scoring of Quantzs Concerti 4,
Horst Augsbach (Quantz, Thematisch-systematisches Werkverzeichnis, xii) makes the unfounded
suggestion that they are arrangements of lost quartets.
41. See Everett, The Manchester Concerto Partbooks, 1:25155; and Green, Progressive and
Conservative Tendencies, 263.
42. TWV 51:F3 and G6, probably composed during the period 170816, are labeled
Concerto 3 in their Darmstadt sources. TWV 51:G6a is an arrangement, with added
viola, of movements from both works. It appears to have been fashioned by Pisendel at
Dresden during the 1720s or early 1730s.
43. Kross, Das Instrumentalkonzert, 12372.
44. Swack, On the Origins, 38287; Hirschmann, Telemanns Konzertschaen,
8889; idem, Studien zum Konzertschaen, 12024; idem, preface to Telemann, Concerto per
Violino in F, 2.
45. On Schickhardts life and publishing activities see Lasocki, Johann Christian
Schickhardt. I am indebted to Professor Lasocki for sharing with me his unpublished
transcription of Schickhardts concerto op. 13, no. 2.
46. Similar to Schickhardts concertosand to Telemanns 44:4143are Johann
Christoph Pepuschs op. 8 Concerts for two recorders, two utes (or oboes or violins),
and continuo (Amsterdam: Jeanne Roger, 1718). All of these works employ antiphonal
contrast as an organizing principle, though the nal movement of Pepuschs third con-
certo seems inuenced by ritornello form. It is possible, as suggested earlier, that the title
of concerto for these works refers more to their status as large ensemble pieces than to
their kinship with the Italian concerto.
47. According to Andreas Schlegel (introduction to Baron and Weiss, Music for the Lute),
the sole manuscript source served as a house copy for the Breitkopf rm, before which it
belonged to Luise Adelgunde Victorie Gottsched (171962), wife of the Leipzig Uni-
versity professor of literature, Johann Christoph Gottsched. On the sources for Barons
Sonaten auf Concertenart, see also Baron, Collected Works, 2:26067.
48. Sei Concerti Liuto, Traverso Oboe Violino e Violoncello, op. 3 (of which only the lute part
is extant) and Sei Concerti Liuto, Traverso Oboe Violino e Violoncello, op. 4, both published by
Johann Ulrich Haner in Nuremberg. For facsimiles of the surviving sources, informa-
tion relating to Falckenhagens biography and publishing activities, and a list of his works,
see Falckenhagen, Gesamtausgabe, vols. 3 and 4.
49. Swack, On the Origins, passim.
50. Both prints appeared in Nuremberg without publishers name or date. The two
concertos are discussed briey in Wierichs, Die Sonate fr obligates Tasteninstrument und Violine,
17476.
51. Ghler, Verzeichnis, 3:11. The D-major concerto was later advertised by Breitkopf
(The Breitkopf Thematic Catalog, col. 127) along with an apparently lost work in G major for
the same scoring.
52. D-Bds, Mus. ms. 5378.
 Notes to Pages 298302 571

53. Mangsen, Soloists and Accompanists, 298302. The second movement is con-
sidered similar to the concerto in terms of formal design by Sheldon, The Chamber
Music of Johann Friedrich Fasch, 13739. Though the quartet is transmitted in a single
set of parts (probably sent by Fasch to Darmstadt after 1722), it may have circulated
more widely, albeit anonymously, through the Breitkopf thematic catalog (Supplement 1,
1766, p. 46: Quattro, a Flauto trav. 2 Violette ou 2 Flute a bec col Cembalo.) See The
Breitkopf Thematic Catalog, col. 246.
54. For a nonthematic catalog of Molters works (the source for the MWV numbers
given below), see Hfner, Der badische Hofkapellmeister Johann Melchior Molter, 24362.
55. In the nales to MWV IX/2 and IX/20, the soloist and ripieno violin also en-
gage in sonata-like imitation. I hasten to add, however, that the practice of occasionally
drawing a second soloist from the accompanying body of strings is not uncommon in
early solo concertos, and it may be this practice to which Molter conforms in the move-
ments in question. Nevertheless, the presence of such imitation in a concerto-like So-
nata somewhat muddies the generic waters.
56. Such terminological discrepancies are found in the sources for MWV IX/6 (=
MWV IX/10 and IX/14), IX/7 (= MWV X/11 and X/21), IX/9 (= MWV IX/12
and IX/15), and IX/13.
57. On Bodinuss works see Swack, On the Origins, 4067. The two composers
were on friendly terms, for Molter twice stood godfather to Bodinuss children (Hfner,
Der badische Hofkapellmeister Johann Melchior Molter, 38 and 126).
58. D-ROu, Mus. saec. XVII.18.5167. The work may be a pastiche, for the movements
in the treble parts are numbered, and the movement order is unusual: a binary giga (Aria
Allangloise), a lyrical Largo for ute with chordal accompaniment supplied by the vio-
lin (cello tacet), and the concerto movement. Though one of the treble parts is headed
Flaute Traverse, its low tessitura and a number of middle Cs in the outer movements
suggest that it was originally intended for oboe.
59. On the Darmstadt manuscript (D-DS, Mus. ms. 5067), the relationship of which
to BWV 976 is unclear, see Heller, Kritischer Bericht, 80; and idem, Die deutsche berlieferung,
190 (including an incipit of the rst movement).
60. Swack, On the Origins, 37381 and 39099. It is important to recognize, how-
ever, that a great many German composers active during the rst half of the eighteenth
century spent time in this geographical area for their education or as professional musi-
cians employed by a municipality or court. A partial list of composers who resided for a
time in Thuringia or Saxony before 1750 reads almost like a whos who of German music:
C. P. E. Bach, J. S. Bach, W. F. Bach, J. F. Fasch, C. H. and J. G. Graun, Graupner, Hasse,
Heinichen, Molter, Quantz, Stlzel, Telemann, and Zelenkamost of whom worked at
Dresden or had strong connections to the court. Given this lineup, it is not surprising that
Dresden and environs was an important center for the Sonate auf Concertenart, as indeed it
was for virtually every other musical genre.
61. To the Dresden repertory of quartets auf Concertenart may be added Quantzs D-
major quartet for ute, violin, viola, and continuo, a work apparently composed during
the 1720s. See Oleskiewicz, Quantzs Quatuors, 496500.
62. Talbot, A Vivaldi Sonata, addenda and corrigenda, 5.
572 Notes to Pages 3034

63. The paper in the parts (D-Dl, Mus. 2389-Q-9), bearing a crowned double-eagle
watermark, was in use at the Dresden court during the decade 172535. See Zohn,
Music Paper, 13233.
64. Everett, Towards a Vivaldi Chronology, 754. On Vivaldis supplying of the Dres-
den court with concertos during the 1720s and 1730s, see Heller, Antonio Vivaldi, 23032.
The Turin score and Dresden parts are available in facsimile as Vivaldi, Concerto pour te
traversire.
65. The parts (D-Dl, Mus. 2389-Q-8 and Q-10) lack attributions and genre desig-
nations, and are the only known sources for these works (attributions to Vivaldi and the
designation of Trio are found on wrappers to each set of parts made during a reor-
ganization of the courts music collection around 1765). Their use of the same paper as
in Mus. 2389-Q-9 may indicate that RV 84, 96, and 107 were copied as a set. Descrip-
tions of the manuscripts are given in Heller, Die deutsche berlieferung, 16264; and Fech-
ner, Zu einigen Dresdner Vivaldi-Manuskripten, 78284. Both Talbot (Miscellany,
15758) and Sardelli (Vivaldis Music for Flute and Recorder, 1012) argue convincingly that
RV 84, 96, and 107 all belong to the genre of the chamber concerto.
66. Talbot, Vivaldis Quadro?, especially 2730. See also Rebecca Kans preface to
Vivaldi, Sonata in C Major. Sardelli (Vivaldis Music for Flute and Recorder, 9698 and 100103)
dates RV 801 to ca. 1710 and suggests that RV 84, 96, and 107 were composed by Vi-
valdi in 171617 and brought to Dresden by Pisendel in 1717.
67. Heller (Italienische Kammermusik, 43) expresses a similar view with respect to
the Dresden Vivaldi works, which he nds only partially similar in conception to Ger-
man sonatas in concerto style such as BWV 1029 and 43:D1 and G1. It should be
pointed out, however, that the lost Concerto 6. / 2 Travers. / 2 Violin, 2 Bassons Sigr.
Vivaldi, RV 751, also once belonged to the same collection as RV 801, and that copies
of the Concerto for ute, two violins, bassoon, and continuo, RV 104 (La notte), ap-
pear to have circulated in Augsburg and Ulm by 1722. See Sardelli, Vivaldis Music for Flute
and Recorder, 9596 and 111.
68. The score (D-Dl, Mus. 2199-R-1) is available in both a modern edition and fac-
simile as Albinoni, Sonate B-dur. Talbot (Tomaso Albinoni, 174) assigns the sonata the cata-
log number So 32 and observes that its fourth movement adopts the formal design of
[Albinonis] concerto allegros, including a distinctive motto.
69. The Quantz work opens with a thoroughly galant concerto allegro exhibiting a ve-
ritornello structure. Mary Oleskiewicz (personal communication) believes the sonata
may have been composed around 1740, and possibly during Quantzs last years at the
Dresden court.
70. The work was published by John Walsh, with a forged Jeanne Roger title page, as
op. 2, no. 3 around 1730. D-Dl, Mus. 2410-Q-3, pp. 18 is in an unidentied hand,
while Mus. 2410-Q-4, pp. 16 (scored for two oboes and continuo) may be in the hand
of the young Quantz, concerning which see Oleskiewicz, Quantz and the Flute at Dres-
den, 162, 672. If this identication is correct, then Handels trio may have served
Quantz as a model for his own Sonaten auf Concertenart.
71. On Vivaldis use of the parallel minor see Brover-Lubovsky, Die schwarze Gredel.
 Notes to Pages 30612 573

72. Best, Handels Chamber Music, 49092. The dating of ca. 171718 is also
adopted by Baselt, Hndel-Handbuch, 3:173, and Burrows, Handel, 436. That the trio pre-
ceded the sinfonia is also attested to by Hawkins (A General History, 2:889): From the
third of [Handels] Sonatas for two violins or hautboys, which he had composed some
years before, he had made an overture to Esther; and of the last movement in the same
composition, inserting in it sundry solo passages adapted to the instrument and adding
to it a prelude and an air singularly elegant, he now formed a concerto, the beauties
whereof he displayed by his own masterly performance. The concerto, as discussed
below, is HWV 290.
73. This is Mus. 2410-Q-4, pp. 16; the paper in Mus. 2410-Q-3 contains no water-
mark. On the dating of the paper, see Zohn, Music Paper, 13941 (Watermark 5). Ad-
mittedly, the watermark in the Handel manuscript is a variant of that found in Telemanns
composing score (Mus. 2392-O-38). But it closely matches the mark found in parts to
the concerto evidently prepared around the same time by the anonymous Dresden Copy-
ist P (Mus. 2392-O-58), and in Pisendels set of parts to Telemanns double concerto
52:a2 (Mus. 2392-O-20), a work that may also have been composed at Dresden in 1719.
74. Burrows (Handel as a Concerto Composer, 200; Handel, 52) proposes the one-
movement Sonata for organ, violin, two oboes, and strings from Il trionfo del Tempo e del
Disinganno, HWV 46a (1707) as the closest Handel came to the Vivaldian style, also
pointing to the second movement of the organ concerto HWV 295 (1739) as a model
of Vivaldian formal clarity. I would nevertheless hold up the trio movement as stylistically
closer to Vivaldis fast ritornello-form movements.
75. Poetzsch, in fact, considers 43:d2 a ripieno concerto (Telemann, Konzerte und So-
naten, viii).
76. Manuscript sources for sonatas published by Telemann are included in the tables
only if they appear to predate the publication or provide alternative scorings or genre des-
ignations. Two works are of doubtful authenticity: the Trio in A major for ute, oboe
damore or violin, and continuo 42:A9 (= Anh. 42:G); and the fragmentary Quartet in
G major for ute, oboe damore, violin, and continuo 43:G13. Most of the solos are dis-
cussed by Swack, The Solo Sonatas, 4448, 13436, 148, 227, and 256; and Tele-
mann, Douze solos, x.
77. See the fast movements of the Quadri sonatas (43:g1 and 43:A1), the prelude to
the fth of the Nouveaux quatuors (43:A3), and the second movements of the trios 42:e7
and h6; the third movements of the auf Concertenart trio 42:C3 and quartet 43:G10 may
also be mentioned here. Elements of ritornello form are discernible as well in the fol-
lowing trio and quartet movements: 42:E5/iv, e4/i, F1/i, G5/i, G7/i, a8/ii, and B5/i;
51:D6/i (a quartet); and 43:F6/i (= Anh. 42:F3), a Concerto of doubtful authen-
ticity.
78. The rst two percentages increase slightly if one counts concertante fugues as
movements in concerto style.
79. The sonata movements include 41:g7 (XII Solos); 42:D5/iii (Musique de table),
D6/iii (Six concerts), E6/ii, e3/iii (Six concerts), G6/ii (Essercizii musici), g5/iii (Essercizii mu-
sici), and A3/iii (Six concerts); and 43:A1/iii (Quadri). The framing ritornello is typically
574 Notes to Pages 31326

set o from the central section through tonal disjunction, exaggerated caesura, contrast
in texture, and, in 42:g5/iii, by change of tempo.
80. Ritornello-da capo structures are found in six trio and quartet movements (42:
c2/ii, G1/ii, A6/ii; 43:G2/ii, g4/iii, h2/i) plus one solo movement (41:A5/iv), while
double motto entrances occur in eleven movements (42:F14/i, B1/i, h1/ii; 43:d1/ii,
G1/ii, G2/ii, G6/i, g2/ii, g4/i and iii, a3/iv). Though not, strictly speaking, in da capo
form, three further movements (42:A9/i, E6/i; 43:G12/ii) allude to it by cadencing in
the mediant or submediant approximately at the two-thirds point, then, following a
caesura, returning to the tonic and partially recapitulating material heard at the outset.
81. Swack, The Solo Sonatas, 4448; and Johann Ernst von Sachsen-Weimar,
6369.
82. For example, in the binary nale of the viola concerto, 51:G9, the ritornello is
stated twice in the rst half and four times in the second half.
83. The second and third movements of 43:G10 appear to provide further examples
of Telemanns self-borrowing in auf Concertenart movements: as mentioned in the previous
chapter, the Andante bears a striking resemblance to the opening and closing sections of
43:A1/iii, another Andante in the tonic minor employing a neo-Corellian style; and the
opening theme of the Vivace is almost identical to that in 42:G1/ii.
84. Concertante rondeaus are found in a number of Telemanns other sonatas, includ-
ing 41:e5/iv and s1/iv; 42:d7/iv, E7/iv, e2/iv, e7/iv, A6/iv, and B4/ii and iv; and
43:e2/iv, G1/iii, G2/iv, and h3/ii. Such movements dier from those auf Concertenart
principally by stating a nonmodular refrain complete at each appearance, shunning such
orchestral eects as unison writing and hammerstroke gestures, and by being placed at the
end of a work.
85. See Telemann, Concerto a Quatro.
86. Dreyfus, Bach and the Patterns of Invention, 7383. Telemanns second ritornello, in the
dominant, comes close to the ideal form. In the example, continuo gures above the Fon-
damento sta are from the 1730 Hamburg edition, while those below are from the
173637 Parisian reprint.
87. Swack, On the Origins, 38889; Dreyfus, Bach and the Patterns of Invention,
11216.
88. One is reminded of the ritornello-form prelude to Bachs G-minor English Suite
BWV 808, concerning which see Dreyfus, Bach and the Patterns of Invention, 12830; and
Butler, The Prelude to the Third English Suite.
89. Given their similar scoring, not to mention their shared status as early documents
in the reception history of the Italian concerto, it is dicult to resist drawing a parallel
between Boismortiers op. 15 and Schickhardts op. 19. Boismortier, however, includes at
least one movement in full-edged ritornello form in each of his concertos, employing
allunisono textures, hammerstrokes, or both in nearly every ritornello.
90. The concerto is dated to ca. 1740 or later in Bowers, The French Flute School,
175, 251.
91. That Telemann was concerned with attering his French colleagues during his
Parisian visit is suggested also by the Rameau borrowing in the same quartets conclud-
ing movement (see chapter 4).
 Notes to Pages 32630 575

92. Whereas Telemanns Sonaten auf Concertenart from the Quadri and Musique de table were
known in Paris, there is no rm evidence that Vivaldis chamber concertos circulated there
(though see the discussion of Boismortiers op. 37 below).
93. Around 174849, Mondonville appears to have performed his Concerto in an
orchestral arrangement at the Concert Spirituel. See Brook, La symphonie franaise, 1:5965.
A further instance of solo indications in a manuscript work occurs in the autograph
score to Vivaldis concerto for ute, violin, bassoon, and continuo, RV 106. See Sardelli,
Vivaldis Music for Flute and Recorder, 109.
94. This sonata is the only one in the collection suitable for either violin or ute, and
bears the characteristic title Les amusements dApollon chez le roi Admte.
95. The repertory of French Sonaten auf Concertenart undoubtedly extends well beyond
the works cited here. For example, Green (The Hurdy-Gurdy, 31, 41, 75, 79, 83, 87, 90)
refers to trios for hurdy-gurdy and other instruments by Boismortier, Esprit-Philippe
Chdeville, Corrette, Jean-Baptiste Dupuits, and Naudot from the 1730s that exhibit a
ritornello form and other concerto-like features (31).
96. Talbots observation (A Vivaldi Sonata, 96) that in Italy between 1707 and 1710
the paths of the sonata and the concerto diverged: the sonata became the vehicle for con-
servative techniques of composition, the concerto the vehicle for newer techniques rings
true for Germany as well, though perhaps at an interval of several years.
97. Kallberg, The Rhetoric of Genre, 89.
98. Dreyfus, Bach and the Patterns of Invention, 13133.
99. Ratner, Classic Music, 142.
100. Kollmann, An Essay, 19; Burney, A General History of Music, 2:95657. Both quoted
in Broyles, The Two Instrumental Styles of Classicism, 22627. As Broyles points out,
Kollmann distinguishes between newly composed symphonies for keyboard and arrange-
ments of orchestral works. Though newly composed works by Bach and Benda are un-
known, Broyles argues persuasively that the rst movement of Bachs sonata W. 55/4 (H.
186) is in symphonic style, a view shared by Schulenberg, The Instrumental Music, 131, 140.
101. Grave, Concerto Style, 95, 93.
102. Smith, Style, Swifts Reader, and the Genres of Gullivers Travels, 257.
103. Orrery, Remarks, 12123.
104. Doody, The Daring Muse, 56.
105. Ibid., 7576.
106. Compare, for example, the interpretations oered in Marissen, A Critical Reap-
praisal and Swack, Bachs A-major Flute Sonata Revisited.
107. Swift, Des Capitains Lemuel Gulliver Reisen. In 172729 Wend supplied librettos for
a number of Telemanns stage works: the intermezzo Buonet und Alga, oder Die Mans-tolle
alter Jungfer,TVWV 21:21; the operas Emma und Eginhard, oder Die Last-tragende Liebe,TVWV
21:25, and Flavius Bertaridus, Knig der Longobarden,TVWV 21:27 (in collaboration with the
composer); the opera prologue and epilogue Der Britten Freude und Glckseligkeit, TVWV
23:3; and the opera prologues Die Kronen-Wrdige Jugend an dem Glorwrdigsten Krnungs-Feste,
TVWV 23:6, and Die aus der Einsamkeit in die Welt zurckgekehrte Opera, TVWV 23:7. On the
reception of English literature in Germany at this time see Fabian, The English Book.
108. Kmmerer, Nur um Himmels willen keine Satyren, 65 n. 207, 67, 75 n. 228.
576 Notes to Pages 33538

Chapter 7

1. Burney, The Present State of Music, 236, 24546, 251. Burneys sketch of Hamburgs
musical history focuses on Handel and Mattheson at the expense of Telemann, who like
the painter Raphael, had a rst and second manner, which were extremely dierent from
each other. In the rst, he was hard, sti, dry, and inelegant; in the second, all that was
pleasing, graceful, and rened (244). His brief account of Telemanns career and music
appears to rely principally on the composers 1740 autobiography and the 1770 Ver-
such einer auserlesenen musikalischen Bibliothek by the Hamburg professor Christoph
Daniel Ebeling, Burneys worthy friend and correspondent (242). In Ebelings 1773
German translation of Burneys book, he explains in a footnote that the author says far
too little about Telemann because he did not know enough about this true geniuswith
his many and virtues and faultsfrom his works. It is a pity that he did not have the
mourning poems and newspaper articles from Telemanns death. For the German text, see
Klein, Dokumente zur Telemann-Rezeption, 2527, 3233.
2. Quoted in TB, 213.
3. Daub, The Publication Process, 65 and 71. See also Ottenberg, Die Klavier-
sonaten Wq 55 im Verlage des Autors. Bach had previously self-published the two parts
of his Versuch ber die wahre Art das Clavier zu spielen in 1753 and 1762.
4. For example, Sebastian is the likely source for ve Telemann editions oered as lots
49, 7880, and 84 in the 1789 auction catalog of Emanuels estate: the Sonates sans basse;
Neue Sonatinen; Helden-Music, oder 12 neue musicalische Marches; Sei suonatine; and Fantaisies pour le
clavessin. For a discussion and facsimile of the catalog, see Leisinger, Die Bachsche Auc-
tion von 1789. After Emanuel left Leipzig, Sebastian subscribed to Telemanns Nouveaux
quatuors (see below).
5. At least two unauthorized rst editionsthe Six sonates en trio dans le goust italien and
the Quatrime livre de quatuorsand more than a dozen reprint editions, presumably unau-
thorized as well, appeared in Paris, Amsterdam, and London between 1722 and 1760.
6. Dates in the table are based in part on the research of Martin Ruhnke cited below
in n. 10. For a list of unauthorized eighteenth-century editions of Telemanns music, see
TWV 1:24142.
7. See Adams, International Dissemination of Printed Music.
8. On Klopstocks project, which allowed other self-publishers to tap into his sub-
scriber base, see Daub, The Publication Process, 6970, and Clark, C. P. E. Bach as a
Publisher of His Own Works, 2045. Clark (211) credits Klopstocks subscriber net-
work with providing much of the motivation for Bach to launch his career as a publisher
of his own music.
9. See, for example, Lenneberg, On the Publishing and Dissemination of Music, chap. 3 (in-
cluding several references to Telemann); Boorman and Krummel, Printing and Publish-
ing of Music; Beer, Musikverlage und Musikalienhandel; and Krummel and Sadie,
Music Printing and Publishing.
10. The principal exceptions in this regard are several valuable studies by Martin
Ruhnke focusing on the chronology of Telemanns editions, the transcription of his
 Notes to Pages 33842 577

printed catalogs, and the unauthorized Parisian reprints. See his Telemann als Musikver-
leger; TWV 1:23142 and TWV 3:27681; and Die Pariser Telemann-Drucke und die
Brder Le Clerc.
11. Rose, The Mechanisms of the Music Trade, 5, 2223. I am grateful to the au-
thor for sharing this article with me prior to its publication.
12. Quoted and translated in Snyder, Dieterich Buxtehude, 308.
13. Lenneberg, On the Publishing and Dissemination of Music, 56 and 61.
14. See the list of editions in Wohnhaas, Die Endter in Nrnberg, 2014.
15. Adlung, Anleitung zu der musikalischen Gelahrtheit, 72728: Wenn ein Verleger sein
Vermgen dran gewendet, so wird bisweilen in einer grossen Stadt 1 Exemplar verkauft;
30 und mehr Liebhaber nehmen davon die Abschrift, und der Verleger mu sein Exem-
plarien behalten. Wer kann wohl dieses billigen? Daher geschiehet es, da die Verleger
nichts geben wollen vor die Composition, und mssen entweder die Knstler umsonst ar-
beiten, oder lassen es gar unterwegens zum Nachteil des ganzen jubolischen Reichs. Ad-
lung refers here to Jubal, a descendent of Cain and supposedly the inventor of the harp
and organ.
16. Walther, Briefe, 195 (letter to Heinrich Bokemeyer of 4 August 1736): Die Ver-
leger befrchten, es mchte ihnen solch Unternehmen zu Schaden gereichen, weil, wenn
1 Liebhaber Geld anwendet, ihrer 10 und mehr es abschrieben [sic]; welches auch die
Wahrheit ist. . . . Bey so bewandten Umstnden mag den Selbst-Verlag auch nicht wagen.
17. Hunter, The Publishing of Opera and Song Books, 668.
18. Homann-Erbrecht, Der Nrnberger Musikverleger Johann Ulrich Haner,
126.
19. Hunter, The Publishing of Opera and Song Books, 66667.
20. Rose, The Mechanisms of the Music Trade, 1619 (quote from 18).
21. Walther, Briefe, 195 (letter to Heinrich Bokemeyer of 4 August 1736): Der Hr.
Verfaer habe nicht so viel draus gelset, da Druck u. Papier bezahlet sey. Another edi-
tion likely to have been subsidized is Johann Graf s VI sonata violino solo, op. 2 (Rudol-
stadt, 1723), which was available from the author, and printed by Joh. Heinrich Lwe,
book printer to the royal Schwarzburg court.
22. I am grateful to Professor Talle for sharing these data with me.
23. See Heussner, Nrnberger Musikverlag und Musikalienhandel, 325 and
33041.
24. [Gude], Nachricht von der Stadt Hamburg, 3078: Frembde / und zwar solche / die
nicht gerne etwas anders als ihr Vaterland zu admiriren pegen / schreiben ausdrcklich:
Dass zu Franckfurt am Mayn, wann es wohl und friedlich stehet / in denen Messen eine
mchtige Anzahl Volcks; aber zu Hamburg ist schier tglich Mess. Translation adapted
from Stewart, Georg Philipp Telemann in Hamburg, 29. For an overview of the pub-
lishing industry in Hamburg during Telemanns time, see Colshorn, Hamburgs Buch-
handel im 18. Jahrhundert.
25. The Auserlesene Soliloquia (1714), Musicalische Land-Lust (1714), Seelige Erlsungs-
Gedancken (1715), and Kayserliche Friedens-Post (1715).
26. For details see Rose, Music Printing in Leipzig, 34546.
578 Notes to Pages 34244

27. Forsters exact monetary gures are given in Poole, Music Engraving Practice,
102. Concerning publishing costs in early eighteenth-century England, see Hunter, The
Publishing of Opera and Song Books, 66773.
28. Butler, Bachs Clavier-bung III, 64; idem, The Engraving of J. S. Bachs Six Parti-
tas, 2425.
29. Walther, Briefe, 192 (letter to Heinrich Bokemeyer, 26 January 1736).
30. Hunter, The Publishing of Opera and Song Books, 664. Hunter (The Print-
ing of Opera and Song Books, 341) points out that in London during the 1720s, a
dozen or more engravers worked on musical publications.
31. Mattheson, Der brauchbare Virtuoso, foreword, 13: Das Werck ist schon drey Jahren
fertig / und in des Herrn Verlegers Disposition gestanden; der es aber nicht eher als itzund
zu publiciren vor rathsam erachtet. Ob ich mich nun zwar gerne allen vernntigen Mein-
ungen unterwere (wobey zu rhmen nicht umhin kan / da ich biher mit einem
geschickten / gelehrten und activen Manne / dem Herrn Kiner / zu tun habe) so bende
ich doch / da in Musica practica drey Jahr ein grosses machen und viel ndern / und da /
wenn ich Z.E. zwl dergleichen Sonaten anitzo setzen solte / dieselbe / meinen Ge-
dancken nach / schon etwas galanter heraus kommen msten.
32. See Rose, Publication and the Anxiety of Judgement, especially 2632.
33. Heussner, Nrnberger Musikverlag und Musikalienhandel, 323.
34. Oswald Bill suggests Graupner as the engraver because he nds the quality of the
workmanship to be below that of a professional. See his introduction to Graupner,
Monatliche Clavir Frchte, viii. In any case, Graupner not only self-published his collection
(In Verlegung des Autoris), but also issued the collections twelve suites serially. The
same appears to have been the case with his Vier Partien auf das Clavier (Darmstadt, 1733).
35. Heussner, Der Musikdrucker Balthasar Schmid in Nrnberg, 361.
36. Musikalisches Lexicon, 657: Weil nun zu solchen sich bis hieher kein Verleger nden
wollen, als hat der Hr. Auctor im Vergangenen Sommer sich im Kuperstechen u. radiren
unterweisen lassen, und schon verschiedene Tabellen verfertiget, um beyde selbst dem Pub-
lico zu liefern. Butler (The Engraving of J. S. Bachs Six Partitas, 7, 1516) points out
that the summer in question must have been 1730, and that Ziegler probably began his
study of engraving in Leipzig with Brhl during the summer of 1727.
37. Butler, The Engraving of J. S. Bachs Six Partitas, 1215.
38. Hortschansky, The Musician as Music Dealer, 209.
39. On Schtz, Theile, and Schein as self-publishers see Rose, The Mechanisms of
the Music Trade, 2022.
40. For a thorough study of Kuhnaus prints, see Harriss commentary in Kuhnau, The
Collected Works for Keyboard, 1:xxxxiii and 2:129203. Harris (1:xxxi) considers a fourth
collection, the Frische Clavier Frchte (1696), to have been self-published by Kuhnau as well,
despite the formulation In Verlegung Joh. Christo Mieths, und Joh. Christo Zim-
mermanns on the editions title page. He also names Immanuel Tietz as the publisher of
the Musicalische Vorstellung einiger biblischer Historien, though Gedruckt by Immanuel Tietzen
would seem to identify Tietz as the printer of the typset title page (Kuhnau is identied
as the publisher on the engraved frontispiece).
 Notes to Pages 34447 579

41. The single-leaf format used in most copies of Kuhnaus editions suggests to Har-
ris (ibid., 1:xxiii) that he obtained the services of a specialist who printed small engrav-
ingsor that the composer obtained a small press for his own use at home. In Nurem-
berg, by contrast, Wolfgang Moritz Endter did not begin publishing engraved editions
until a decade after Kuhnau, starting with Johann Pachelbels Hexachordum Apollinis (1699);
he kept using movable type alongside engraving until he closed his business in 1731. See
Heussner, Nrnberger Musikverlag und Musikalienhandel, 322.
42. Felginers business was located close to the Johanniskirche, thus at the physical cen-
ter of Telemanns professional activity. Clostermann (Das Hamburger Musikleben, 46) specu-
lates that Telemanns brief business relationship with him ended when the composer be-
came aware of the booksellers Peter Heuss and Johann Christoph Kiner, both of whom
dealt more extensively with published music.
43. On Telemanns eorts to secure his right to print Passion librettos, see TB, 2830,
3645, and 4954; Clostermann, Der Ratsbuchdrucker-Streit; and Pohlmann, Die
Frhgeschichte des musikalischen Urheberrechts, 23842.
44. Menke, Das Vokalwerk, Anhang A, 56.
45. TB, 21516, 219.
46. Hr. Gg. Ph. Telemann ist gesonnen, mit dem Anfange des bevorstehenden neuen
Jahrs einen zum allgemeinen Gebrauch besonders eingerichteten musicalischen Jahr-Gang
auf alle Sonn- und Fest-Tage heraus zu geben. Jedes Stck soll eintzeln, und 4 Wochen
vorher zum Vorschein kommen, damit es bey Zeiten an auswrtigen Orten zu haben sey,
und auch dort knne aufgefhrt werden. Die Einrichtung ist folgender Gestalt: Das Ex-
emplar enthlt eine Partitur, damit so wol eine eintzelne Person, die beyds spielen und sin-
gen kann, sich derselben bedienen knne, als auch, da zwey oder drey Personen zugleich
daraus musiciren, oder auch und insonderheit, da ein jeder, der solchen Jahrgang au-
hret, ihn beym Directorio, als etwas sehr nthiges, gebrauchen knne. Sonst bestehet
er durchgehends aus Cantaten, von einer Singe-Stimme und einem Instrumente, nebst
dem General-Ba. . . . Dieser Jahrgang, wozu der Text von einer geschickten Feder, und auf
die jedesmalige Epistolische Lection gerichtet ist, wird beydes complet, und auch bey
einzelnen Stcken, ausgegeben. Da er berhaupt 67 Piecen enthalten wird, so sollen
diejenigen, welche denselben vollstndig verlangen, ihn fr 20 Marck oder 6 Rthlr. 16
Groschen haben, dergestalt, da sie auf jedes Quartal 5 Marck oder 1 Rthlr. 16 Groschen
praenumeriren, welches noch nicht 5 Schill. oder 2 1/2 Gr. betrgt. Eintzeln aber werden
sie nicht unter 6 Sl. oder 3 Gr. zu haben seyn. Menke, Das Vokalwerk, Anhang A, 89.
47. Es ist bereits ber zwey Jahr / als ich zu herausgebung eines Musicalischen Jahr-
Ganges auf alle Sonn- und Fest-Tage mich so viel lieber entschlo. . . . Das Werk wrde
auch schon lange im Druck gelegen haben, wenn nicht der Herr Poet, bald durch Un-
plichkeit, bald durch berhufte Amts-Geschte, sich genhtiget gesehen, in der Ord-
nung des Jahr-Ganges zuweilen eine Lcke zu lassen. Wie er uns aber zuverlssige Honung
gemacht, das die zwischenher fehlende Stcke annoch alle nachkommen sollen, ich auch
durch seine so Geist- als Sinn-reiche Arbeit zu verschiedenen nicht gar gemeinen Einfllen
fters ermuntert worden bin: so drfen die Liebhaber erbaulicher Kirchen-Andachten desto
weniger zweifeln, da wir nicht beyderseits unserer Zusage nachkommen werden.
580 Notes to Pages 34749

48. In November of that year Vivaldi asked the Piedmontese count Carlo Giacinto
Roero di Guarene to nd six subscribers in Turin willing to pay four Hungarian ducats
for the projected publication. See Talbot, The Fortunes of Vivaldi Biography, 129, with
reference to Antonetto, Un documento della civilit piemontese del Settecento, 139. Rudolf Rasch
suggests that Vivaldi was in fact gathering subscribers for Michel-Charles Le Cnes edi-
tions of opp. 8 and 9 (1725 and 1727), which together comprise twenty-four concertos.
However, Paul Everett interprets Vivaldis plan (to self-publish?) in light of his apparent
dissatisfaction with Le Cne and his predecessor Jeanne Roger, who may have conspired
to delay the publication of Opus 8 by ve or more years. See Rasch, La famosa mano di
Monsieur Roger, 106; and Everett, Vivaldi: The Four Seasons, 25. In February 1733 the clas-
sical scholar Edward Holdsworth reported to Charles Jennens from Rome that Vivaldi
had resolved not to publish any more concertos, because he says it prevents his selling
his compositions in MSS which he thinks will turn more to account; as certainly it would
if he nds a good market for he expects a guinea for every piece. Quoted in Talbot, Vi-
valdi, 60.
49. Careri, Francesco Geminiani, 31.
50. Clostermann, Der Handel mit Eintrittskarten, 265.
51. Hortschansky, Prnumerations- und Subskriptionslisten, 158; Daub, The
Publication Process, 67; Clark, C. P. E. Bach as a Publisher of His Own Works, 211.
52. Hunter and Mason, Supporting Handel, 29.
53. These gures derive from ibid., 3435. Rose and Mason speculate that it was
Handels publishersCluer and Creake in 172527 and John Walsh Jr. from 1736
who suggested advertising for subscribers.
54. Burchell, The First Talents of Europe, 9498.
55. TB, 216. In 172627 Telemann was the Hamburg agent for Johan Helmich
Romans twelve ute solos (Stockholm, 1727). A December 1726 newspaper advertise-
ment announced that he would accept advance payment for the collection until the fol-
lowing Easter. For the text of the advertisement, see Rathey, Georg Philipp Telemann als
Kommisionr, 19. During the 1740s and 1750s, Telemann acted as an agent for violin
sonatas by Giuseppe Tartini and Berlin treatises by C. P. E. Bach (Versuch ber die wahre Art
das Clavier zu spielen, 1753), Wilhelm Friedrich Marpurg (Abhandlung von der Fuge, 1753), and
Johann Friedrich Agricola (Anleitung zur Singkunst, 1757). See TB, 328, 368, 370; and
Czornyj, Georg Philipp Telemann, 71. In return for collecting thirty subscriptions to
Agricolas book by October 1755, Telemann received six free copies that he presumably
sold for his own prot.
56. Clostermann, Der Handel mit Eintrittskarten, 262.
57. Menke, Das Vokalwerk, Anhang A, 1011.
58. In the Munich copy of the Harmonischer Gottes-Dienst (D-Mbs, 20 liturg. 431 K), a
handwritten note by the Cantor Johann Martin Haarb indicates that in April 1727 the
collection cost 12 Reichstaler, 7 Kreutzer (290 Gute Groschen), including postage from
Hamburg. See Telemann, Harmonischer Gottes-Dienst, opposite p. xxxvi.
59. Menke, Das Vokalwerk, Anhang A, 11 and 21.
60. Such discounts are not unlike those oered by London publishers during the rst
quarter of the eighteenth century. See Hunter, The Publishing of Opera and Song
 Notes to Page 349 581

Books, 675. In the table, Telemanns prices are given both in their original form and as
converted to Gute Groschen.
61. Hieraus ist zu urtheilen, was fr einen Umfang das Werk am Ende haben werde.
Dahero habe ich durch die Zeitungen bekandt gemacht, da nach dessen Vollendung, sel-
biges nach Vergleichung meiner brigen Werke verkaufet werden solle, welches denn 16.
bis 18. Rthl. austragen wird. Ob ich nun zwar wei, da Ew. HochEdlen diese Summe
nicht achten, so she ich doch lieber das durch Dieselben die Anzahl der Prnumerirenden
vermehret wrde, weil ich, nach Kaufmanns-Ahrt, einen geringen gewissen Vortheil einem
gehoten grssren vorziehe. TB, 234.
62. Solte die Praenumeration hinlnglich anwachsen, so verbindet man sich, di
Werck mit einem Anhange etlicher vollstimmigen Sprche, die sich zu allen Evangelien
schicken, zu vermehren. Quoted in Hobohm, Neues aus dem Telemannischen Verlag,
89. See also Menke, Das Vokalwerk, Anhang A, 2122. No such appendix appears to have
been printed.
63. See Menke, Das Vokalwerk, Anhang A, 2223; and Helle Ulrichs translation of the
collections preface in Telemann, Fortsetzung des harmonischen Gottesdienstes, 1:vii. Some of Tele-
manns previous editions, such as the Quadri (1730), were indeed printed on inferior paper.
C. P. E. Bach was especially sensitive to how the quality of paper could aect his bottom
line. When, in 1780, his Orchester-Sinfonien, Wq. 183/H. 66366 were printed on a poor
grade of paper by the Leipzig publisher Schwickert, he complained to Johann Gottlob Im-
manuel Breitkopf that these symphonies will do damage to our printings simply because
of the paper. I fear a reprint. What inappropriate commercial economizing! Bach, Briefe
und Dokumente, 1:31617 (no. 366; letter of 25 January 1780). Translated in Daub, The
Publication Process, 67. Max Seiert, in his 1920 introduction to Telemann, Singe-, Spiel-
und Generalba-bungen, vii, noted that one of the Berlin exemplars of the bungen (appar-
ently lost in World War II) had printing on both sides of each pagean economy in which
Telemann could indulge once he was no longer issuing songs serially.
64. Clostermann (Der Handel mit Eintrittskarten, 264) refers to but does not cite
a newspaper advertisement in which Telemann calls for subscribers to Der getreue Music-
Meister. Although there is no rm evidence that the Nouvelles sonatines were sold by sub-
scription, their rise in price from 3 Marks in a 1730 catalog (see n. 76 below) to 4 Marks,
8 Gute Groschen in a 1731 catalog (TWV 1:23233) may mean that subscribers received
a discount of 33 percent. This publication may also have been issued serially, for an an-
nouncement of 23 January 1731 (Menke, Das Vokalwerk, Anhang A, 20) states that two
sonatinas of Herr Telemanns popular composition have recently been received. On the
other hand, the extant treble part to the collection (D-Kk, mu 6608.0331) reveals that
only the fth and sixth sonatinas could have been issued as a pair, as both the third and
fourth works begin in the middle of a page. Another candidate for serial, and possibly
subscription, publication is the Six concerts et six suites, for the separate paginations of the
concertos and suites in each partbook suggest that the collection was issued in two groups
of six works. If so, this would help explain why all three extant copies of the publication
are incomplete. J. S. Bachs apparent practice of selling each of the four printing units of
the Musicalisches Opfer separately (with each purchase of one or more units including a copy
of the typeset title and dedication to Frederick the Great) furnishes a parallel case. All
582 Notes to Pages 34955

but two surviving exemplars of Bachs collection are incomplete. See Butler, The Print-
ing History, 32728.
65. Ruhnke, Telemann als Musikverleger, 506.
66. Menke, Das Vokalwerk, Anhang A, 10, 1517, 22; TWV 1:23637.
67. Elsas, Umriss einer Geschichte der Preise und Lhne, 2a:515, 548.
68. TWV 1:237: Die etwan hierauf prnumeriren mgten, belieben ihren Namen hier
unter zu zeichnen.
69. Walther, Briefe, 188: Es hat dieses Werck, durch Untree der Unterhndler, die fa-
talitt gehabt, da sehr wenige Exemplaria davon vertrieben worden; u. die durchlauchtigste
Mama she gar zu gerne, wenn, fr nurgedachtes pretium, es bekannter werden knnte, solte
auch gleich am pretio noch etwas abgehen. // Es liegen wol 2 bis 300 Exemplarien da. //
One wonders if the oending agents were the booksellers Kloss in Leipzig and Sellius in
Halle, both of whose names are printed following the editions preface. Kloss, in any case,
sold the concertos at the 1718 Easter trade fair in Leipzig. See Ghler, Verzeichnis, 3:4.
70. Bachs agents were Christian Petzold in Dresden, Johann Gotthilf Ziegler in Halle,
Georg Bhm in Lneburg, Georg Heinrich Ludwig Schwanenberger in Brunswick, Gab-
riel Fischer in Nuremberg, and Johann Michael Roth in Augsburg. See Neumann and
Schulze, Bach-Dokumente, vol. 2, no. 224. Telemanns agents included Crowneld in Lon-
don, Peter Schenk in Amsterdam and Leipzig, court bookseller Dussarat in Berlin, city
music director Balthasar Knig in Frankfurt am Main, Wolfgang Moritz Mayr in Nurem-
berg, Kaltenbrunner in Jena, and Peter Heuss in Hamburg. See TWV 1:23132, and TB,
12425 (facsimile of the catalog).
71. TB, 81, 83.
72. See TWV 1:233 for the Gleditsch advertisement. Also at the Leipzig fairs, Chris-
tian Herolds edition of the Vier und zwanzig theils ernsthafte, theils scherzende Oden was available
from the publisher in 1741 and 1742, and the Engel-Jahrgang, published by Christoph
Heinrich Lau, was sold in 1751 by Bernhard Christoph Breitkopf. See Ghler, Verzeichnis,
4:2425.
73. TWV 1:23336.
74. The auction catalog of Selhof s estate has been reprinted as Catalogue of the Music
Library . . . of Nicolas Selhof. The Telemann editions are listed as lots 6673, 38688, 470,
55459, 698, 106061, 114344, 1176, 16001601, 1728, 1894, 2654, and
276061 (the foreign reprint editions are lots 7173, 386, 698, and 2760).
75. One wonders if there was any overlap between these manuscript works (lots 2140,
2177, 23035, 234142, 237071, 24089, 2460, and 2519) and those of Le Cne,
whose estate included Teleman 11 Pezzi di Composizioni Concerto Trios & numerati
no 24. 25. 26. 27. 28. 29. 30. 31. 38. (item 4) and [Sonate a] trio del Sign. G. P. Tele-
man (item 82). See Rasch, I manoscritti musicali, 1066, 1069.
76. TB, 123; Brusniak, Zur Pege der Musik Georg Philipp Telemanns, 98101, in-
cluding a facsimile of the catalog sent to Waldeck (assigned to 1730 in TWV 2:244).
77. Gleichwie der Capellmeister Telemann im itzigen Jahre ein groes musicalisches
Singe-Werk / bestehend aus geistlichen Cantaten auf die Evangelien aller gewhnlichen
Fest- und Sonn-Tage / vermittelst Praenumeration herausgegeben / also ist er geson-
nen / im nchst-knftigen dergleichen fr Instrumente ans Licht treten zu lassen.
 Notes to Pages 35556 583

Es soll den Titul fhren: Tafel-Music / enthaltend

3. Ouverturen mit der Svite, von 7. Parten:
3. Quadri.
3. Concerts, von 7. Parten.
3. Trii;
3. Soli, und
3. Beschlu-Symphonien / von 7. Parten.
Es ist in drey Auhrungen eingetheilet / so da jedesmahl 1. Ouverture, 1. Quadro
&c bi zur Schlu-Symphonie / gespielet werden kann. So wohl bey den Ouverturen /
als Concerten, benden sich 2. 3. bi 4 concertierende Instrumente verschiedener Gat-
tung. Die Quadri, Trii und Soli werden, in Ansehung der Instrumente / bestndig ab-
wechseln / die Schlu-Symphonien aber voll und fugirend / jedoch auch mit etwas Con-
certirendem untermischet seyn.
Von der Praenumeration werden alle Viertel-Jahr 2. Rthl. Hamburger Wehrt / und
zwar die erste um Neu-Jahr 1733 / dem Verfasser berliefert; Man kan sie aber auch auf
einmahl mit 8. Rthl. entrichten / und werden dagegen die behrigen Quittungen ausge-
hndiget. Die Ausgabe der Music geschieht auf Himmelfahrt / Michaelis und Weih-
nachten selbigen Jahres / jedesmahl mit einer vollstndigen. Man wird sich des besten
Frantzsischen Papieres dabey bedienen / und die Noten / so auf metallenen Platten be-
ndlich / weitluftig und rein darstellen. Wann das Werk fertig ist / wird es bi auf 12.
Rthl. zu stehen kommen. / Hamburg den / 1732. Quoted in Hobohm, Neues aus dem
Telemannischen Verlag, 8485. Hobohm (8586) also transcribes Telemanns receipt
and various Rudolstadt court documents relating to the payment for and binding of the
music. For Telemanns letter to Graf, see TB, 17879.
78. Zedler, Subscription auf Bcher, Prnumeration auf Bcher, in Groes vollstndi-
ges Universal-Lexicon, 44:cols. 157273: Jezuweilen peget solchen Bchern das Verzeich-
nis der Subscribenten vorgedrucket zu werden, welches eine gedoppelte Absicht hat, die
beyde zum Vortheil des Verlegers ausschlagen. Denn da nden sich so viele eitele Men-
schen, die, um nur ihren Nahmen in Schriten gedruckt zu sehen, gern zwey, drey und
mehr Thaler zahlen, und die Anzahl der Subscribenten oder Prnumeranten aus dieser
Einbildung vermehren. Hernach so locket auch manchen, der die Einsicht nicht hat, eines
Buches Gte selbst einzusehen und zu beurtheilen, und also sich blo lediglich von dem
Ansehen grosser Mnner blenden lsset, ein solches Verzeichnis zu Erkauung des Wer-
ckes an, wenn er in solchem eine ziemlich Anzahl der grsten Mnner darinnen erblicket,
denn da urtheilet er so gleich: Es msse dieses Buch ein vortreiches Werck seyn, weil alle
diese nach dem Besitz desselben ein Verlagen bey sich empfunden. Zedlers observations
are echoed by Robinson and Wallis (Book Subscription Lists, iii), who note that the promise
to print the list [of subscribers] is a recurring feature of proposals from the seventeenth
century until the present day. Some subscribers were motivated by the advertisement as-
pect of the list. . . . Another important motive for many subscribers was the social cachet
to be gained from vicarious association with the more noble supporters.
79. Die Liebhaber der Music haben im knftigen 1733. Jahre ein grosses Instru-
mental-Werck, Tafel-Music genannt, von der Telemannischen Feder zu erwarten; es
584 Notes to Pages 35658

besteht in 9. starcken Stcken mit sieben und aus so viel schwchern mit 1. 2. 3. bis 4 In-
strumenten. Man prnumeriret bey jedem Quartal 2 Rthl., und zwar das erste mal auf
Neu-Jahr. Die Ausgaben geschehen auf drey mal, als um Himmelfahrt, Michaelis und
Weihnachten. Die Namen der Prnumerirenden sollen dem Wercke beygedruckt werden.
TWV 1:198.
80. Du irrest Dich, mein Freund, / Wenn Du vermeint, / Da mein obhandnes Werk
schon itzo fertig; / Auf Himmelfahrt sey erst desselbigen gewrtig. / Sieh, nach Be-
lieben, / Im Nachrichts-Zettul nach, da stehts geschrieben. TB, 182.
81. Kremer, Telemanns Beziehungen zum Plner Hof, 47, 52. Kremer speculates
that Telemanns receiptdated 13 February 1739, a full six months after Grtz submit-
ted a bill to the court for six Guldenmay relate to a second copy of the Nouveaux
quatuors.
82. Auch hat Selbiger [Hetling] mir die vllige Prnumerung auf die Tafel-Music mit
8. Rthl. entrichtet, ob Er zwar anfangs desswegen etwas Bedenken trug. . . . Endlich er-
suche ich noch, von meinem Musicalien an den Oerten, wo Sie durchkommen, (insonder-
heit von meiner Tafel-Music) ein gutes Wort zu sprechen. TB, 180.
83. Herr Schreiber scheint ein Mann von Teutscher Treu. / Er wirbet mir Prnu-
meranten / Bey Seinen dortigen Bekandten, / Und hat schon deren drey. / Erhalt Ihn
dabey, / Da Er solch einen frhlichen Bericht / Mir oftermals mg berschreiben. /
Doch weisst auch Du fr mich dergleichen aufzutreiben, / So unterlass es nicht. TB, 183.
On the identities of Hetling and Schreiber, and concerning the chronology of the un-
dated letter, see Koch, Telemann, Riga und die 1730er Jahre, 25960.
84. TB, 318.
85. Ibid., 26869, 272.
86. See Ottenberg, Die Klaviersonaten Wq 55, 28.
87. Ew. HochEdlen angenehmste Zuschrift hat mich von neuem belebet, nachdem
ich bis anher mich nicht wenig darber betrbet, da unter 5. Personen in Frankfurth, die
ich zu meinem Jahr-Gange eingeladen, mich nicht ein einziger einer Antwort gewrdiget
hat. TB, 233. On the previous 13 November, Telemann had asked Uenbach to gather
subscriptions for him (TB, 23233).
88. TB, 18691, 202 n. 86. At least two of Telemanns publications from the 1740s
were available in south German publishing centers: in 1749 the Viennese rm of Johann
Paul Krau advertised the Vier und zwanzig theils ernsthafte, theils scherzende Oden, and in 1753
Johann Jakob Lotter in Augsburg oered the same collection and the Music vom Leiden und
Sterben des Welt Erlsers. See Gericke, Der Wiener Musikalienhandel, 7, 44.
89. Der Music-Meister erscheinet nchster Tage mit seiner zweyten Lection. Ich mgte
wohl, da drauen eine Anzahl Liebhaber solchen mit antrte, damit ich alle 14. Tage so
viel Exemplarien berschicken knnte, die des Post-Geldes wehrt wren. TB, 123.
90. TB, 183, 185, 188, 234.
91. No fewer than ve surviving catalogs, newspaper advertisements, and handbills
listing published and forthcoming works for 1735 and 1736 solicit subscriptions for this
edition.
92. Der Herr Capellmeister Telemann arbeitet gegenwrtig an 6 Ouverturen, mit
 Notes to Pages 35860 585

ihren umfnglichen Switen. Drei davon bestehen aus 2 Violinen oder Hoboen, Bratsche
und Fundament. In den drei brigen aber kommen annoch 2Waldhrner, die jedoch auch
wegbleiben knnen. Die Ausfertigung davon geschiehet gegen Himmelfahrt dieses 1736.
Jahrs, und wird die Erfahrung zeugen, da sie, sowol wegen Reinigkeit der Noten, als
Gte des papiers, alle vorhergegangene Werke weit bertreen. Ungeachtet nun deen
Umfang sich bis 100 Platen erstrecket, so werden doch nicht mehr, den 2 1/2 Rthlr. vo-
raus gezahlt verlanget, die der Herr Verfaer gegen Quitung empfngt, welcher diese Musik
den Liebhabern, als eine Schreibart, worin seine Feder sich besonders gebet hat, zu bester
Gewohnheit empehlet, und die Unterschriften in ansehnlicher Zahl so wnschet, als er-
wartet. TWV 1:238.
93. For example, Johann Matthias Leoths VI Sonaten auf die Violin oder Flaute travers, mit
dem General-Ba (1729), Matthesons Der brauchbare Virtuoso (Violino, overo Traverso Solo,
col Continuo), and Balthasar Schmids 1730 Neu componirte Menuete, welche sowohl auf der Vi-
olin, samt dem darzu accompagnirten General-Ba als auf dem Clavier allein nach Belieben knnen gespielet
werden (Newly Composed Menuets, Which May Be Played at Ones Discretion on Violin
with the Accompaniment of Basso Continuo, or on Keyboard Alone). The Leoth and
Schmid titles derive from newspaper advertisements quoted in Heussner, Nrnberger
Musikverlag und Musikalienhandel, 335, 338.
94. The Kleine Cammer-Music may be played on violin, ute, keyboard, or (especially)
oboe; the Sonates sans basse are for two violins, utes, or recorders; the two collections of
Sonate metodiche and the XII Solos are for violin or ute (the rst set of methodical sonatas
was further advertised as playable on keyboard; TWV 1:233); the Nouvelles sonatines are
playable on keyboard or melody instruments including ute, violin, recorder, bassoon,
and cello; the Trietti methodichi and Sonates corellisantes are for two utes or violins; and the
XIIX Canons mlodieux are for two utes, violins, or violas da gamba.
95. Helden-Music, oder 12 neue musicalische Marches, auf zween Hautbois, oder
Violinen etc. gerichtet, deren 6 mit einer Trompete, und 3 mit 2 Waldhrnern, begleitet
werden knnen, alle aber auch auf dem Claviere allein zu spielen sind. TWV 1:232.
96. See n. 152 for a transcription of the title page.
97. A facsimile of the subscription list is printed in Max Seierts front matter of
Telemann, Musique de table.
98. In his 1740 autobiography, Telemann claimed that in 1730 no fewer than seven
unauthorized reprints of his publications appeared in Paris. Either these editions have not
survived or the date is incorrect. See Mattheson, Grundlage einer Ehren-Pforte, 369.
99. One copy of the Musique de table appears to have belonged to the Paris Opra singer
Gabriel-Vincent Thvenard (16691741), a nonsubscriber who could conceivably have
purchased the collection from Blavet. The auction catalog of Thvenards estate, sold on
15 January 1742, includes Le 1er. Liv. de Table en trio by Telleman. Also included in
the catalog are Le 1er. Liv. de quatuor, probably Le Clercs reprint of the Quadri, and Le
1er. Liv. de Clavessin, which may be a lost reprint by Le Clerc of the Fantaisies pour le clavessin
(see TWV 2:242). On Thvenards music collection see Cohen, Un cabinet de musique.
100. US-Wc, M420.A2.T18 and B-Bc, V. 7119. The Washington copy of the collec-
tion has been issued in facsimile as Telemann, Nouveaux quatuors: Pariser Quartette 712.
586 Notes to Pages 36064

A facsimile of the subscription list in the London exemplar (lacking the supplement) is
given in Telemann, Zwlf Pariser Quartette, [xii]. The rst page is also reproduced in Grosse,
Hndel und Bach auf Subskriptionslisten.
101. An order for three copies by Pommer in Venice is the only one for either the
Musique de table or Nouveaux quatuors to come from Italy.
102. Cdiz (7), Rouen (7), Antwerp (6), Menen (6), and Lille (5).
103. Quoted in Rogers, Pope and His Subscribers, 10.
104. Daub, The Publication Process, 73; Ottenberg, Die Klaviersonaten Wq 55,
2829.
105. Second states of subscriber lists were hardly rarities: the rst editions of Han-
dels Rodelinda, Atalanta, Arminio, Faramondo, and Alexanders Feast added between one and twelve
names after the presses started. See Hunter and Mason, Supporting Handel, 29.
106. Consider C. P. E. Bachs remark to Johann Gottlob Immanuel Breitkopf in 1785
that he had always received names of subscribers (as many as forty) after the printing of
his editions, when there was no possibility of including them in the lists. Bach: Briefe und
Dokumente, 2:1092 (no. 508; letter of 26 August 1785). Tellingly, the lists for the Clavier-
Sonaten . . . fr Kenner und Liebhaber II, III, and VI are entitled Verzeichnis der Prnumer-
anten so weit die Nachrichten gehen (List of Prnumeranten as far as can be conrmed).
107. This scenario played out in C. P. E. Bachs editions. See Clark, C. P. E. Bach as
a Publisher of His Own Works, 2067.
108. In Leipzig, Johann Sebastian Bach; in London, George Frideric Handel (Mr.
Hendel, Docteur en Musique); in Paris, Michel Blavet, Anne Jeanne Boucon (the only
female musician among the Nouveaux quatuors subscribers), Franois Campion, the cellist,
Edouard, who performed the Nouveaux quatuors during Telemanns Paris trip, Jean-
Baptiste Forqueray, Joseph Hyacinthe Ferrand, Pierre Guignon, and Jacques-Christophe
Naudot; in Dresden, Pantaleon Hebenstreit, Pisendel, and Johann Joachim Quantz; in
Zerbst, Johann Friedrich Fasch; in Frankfurt, Johann Balthasar Knig; in Darmstadt,
Ernst Christian Hesse; in Hamburg, Johann Gottfried Riemschneider and Giovanni Pi-
antanida; in Merseburg, Christoph Frster; in Rudolstadt, Johann Graf; in Eisenach, Jo-
hann Christian Hertel; in Lille, Jean-Joseph Cassana de Mondonville; and in Stockholm,
Johan Helmich Roman. The Charls from London listed in the Nouveaux quatuors list may
have been the horn player and composer Charles, the earliest named clarinet player in
the British Isles. See Rendall, Hogwood, and Boydell, Charles.
109. Hunter and Mason, Supporting Handel, 41; Rogers, Pope and His Sub-
scribers, passim.
110. Clark, C. P. E. Bach as a Publisher of His Own Works, 207.
111. See the transcription in TD, 163.
112. Clark (C. P. E. Bach as a Publisher of His Own Works, 206) suggests that
C. P. E. Bach may have avoided printing subscription lists to Die Israeliten in der Wste, Wq.
238/H. 775 (1775), and the Claviersonaten mit einer Violine und einem Violoncell zur Begleitung,
Wq. 90/H. 53134 (1777), because the number of subscribers was small.
113. These last include the 12 Fantasies basse viole; Six ouvertures 4 ou 6; Lustige Arien aus
der Opera Adelheid (rst edition); Helden-Music, oder 12 neue musicalische Marches; Ouverture und
Suite; XII Fantasie per il violino senza basso (surviving only in a manuscript copy); Lustiger Misch-
 Notes to Pages 36465 587

masch oder scotlndische Stcke; and Duos travers. et violoncell. The Six ouvertures 4 ou 6, Lustige
Arien aus der Opera Adelheid (rst edition), and Helden-Music, oder 12 neue musicalische Marches
survived into the early twentieth century, when some of the music appeared in modern
editions, but all have been missing since 1945. The last trace known to me of the Duos
travers. et violoncell is the 1819 auction catalog listing the estate of Johann Nikolaus Forkel
(Forkel, Verzeichni, lot 1015), where the edition is described as Duetti a Floute [sic] trav.
e Violoncell. I have not found any reference to Telemanns editions of the Ouverture und
Suite, XII Fantasie per il violino senza basso, or Lustiger Mischmasch oder scotlndische Stcke (scored,
apparently, for violin or ute and continuo) from after the eighteenth century.
114. Robinson and Wallis, Book Subscription Lists, ix.
115. D-Bds, SA 3897. This preface is quoted and discussed in the following chapter.
116. B-Bc, T 5,828. See Swack, The Solo Sonatas of Georg Philipp Telemann, 143.
For a facsimile of the dedication, see Telemann, Douze solos, [xviii]. Telemann dedicated the
Continuation des sonates mthodiques to two of the brothers in 1732. The following year, four
members of the family subscribed to the Musique de table.
117. Telemanns practice is not so dierent from that of certain seventeenth-century
composers who printed their music with multiple dedications addressed to dierent re-
cipients. See Rose, The Mechanisms of the Music Trade, 24. It is also possible that an
alternate title page for the Sonates sans basse, adding Telemanns position as Kapellmeister to
the Eisenach and Bayreuth courts, was intended for non-Hamburg purchasers. See Tele-
mann, Kammermusik ohne Generalba, x.
118. Rasch, La famosa mano di Monsieur Roger, 12425 and 135, n. 77.
119. On Clavier-bung III see Butler, Bachs Clavier-bung III, 125, n. 3. The size of
Bachs printing runs for the Musicalisches Opfer are discussed in Butler, The Printing His-
tory of J. S. Bachs Musical Oering, 32529.
120. Hortschansky, Prnumerations- und Subskriptionslisten, 16163.
121. Scherer, Quarter Notes and Bank Notes, 165, with reference to Hbel, Gedruckte Musik,
32. Such small press runs were evidently more protable than hiring a professional copy-
ist: Scherer (165) estimates that engraving music became cheaper than copying by hand
when runs reached only 2540 copies.
122. Judging from gures cited by Rose (Music Printing in Leipzig, 34244), this
seems also to have been the case in seventeenth-century Leipzig, where the typical print
run for hymnals may have been 1,500 to 2,000 copies, and some collections of devotional
songs were issued in print runs of at least 300700 copies. Samuel Michaels Ander Theil
newer Paduanen (1630) apparently had a print run of 1,000 copies, and 400 copies were
printed of Christoph Schultzes Collegium musicum charitativum (2nd ed., 1678).
123. The same number of copies were printed for Herrn Doctor Cramers bersetzte Psalmen
mit Melodien zum Singen bey dem Claviere, Wq. 196/H. 733 (1774) and the two volumes of
Claviersonaten mit einer Violine und einem Violoncell zur Begleitung,Wq. 90 and 91/H. 52224 and
53134 (1776 and 1777). Figures were smaller for large-scale vocal works: 555 copies
were printed of the Heilig, Wq. 217/H. 778 (1779; 167 subscribers ordering 267
copies), and 554 of Klopstocks Morgengesang am Schpfungsfeste, Wq. 239/H. 779 (1784; 176
subscribers ordering 255 copies). See Clark, C. P. E. Bach as a Publisher of His Own
Works, 200201; and Daub, The Publication Process, 79.
588 Notes to Pages 36568

124. Bach, Briefe und Dokumente, 2:126364 (no. 592; letter to Breitkopf of 3 May
1788).
125. Hamburgische Berichte von neuen gelehrten Sachen 2/88 (3 November 1733), 740; cited
in Stewart, Georg Philipp Telemann in Hamburg, 128. It is of course possible that the
gure of 400 copies was mentioned only because it was in some respect unusual.
126. Die gedruckten Sachen sind theils einzeln, theils gedoppelt und in mehrern Ex-
emplaren vorhanden: viele Quatuors, die corellisirenden Sonaten, und andre Trios, sechs
Cantaten, sechs Ouverturen, 36 Phantasien, sechs Kanons fr zwo Flten u.a. benden
sich darunter. See chap. 1 n. 93. No extant copies of Telemanns editions have so far been
identied as his Handexemplare. Sizable inventories of unsold sale copies may have been rel-
atively common among eighteenth-century music publishers. For example, the 1743 in-
ventory of Le Cnes estate in Amsterdam lists sixty copies of his reprint edition of Tele-
mannns Sei suonatine. I am grateful to Rudolf Rasch for this information.
127. On the salaries of Telemann and Bach at Frankfurt, Hamburg, and Leipzig, see
Siegele, Im Blick von Bach auf Telemann, 4853; Fischer, Frankfurter Telemann-Dokumente,
2527; Petzoldt, The Economic Conditions of the 18th-Century Musician, 18588;
Klemann, Telemann in Hamburg, 44; and Mattheson, Grundlage einer Ehren-Pforte, 364, 366.
128. Ich mich nicht gnugsam verwundern kann, wodurch Sie in dieser angenehmen
Wissenschaft es in so kurzer Zeit so weit gebracht haben. Die Erndungen von denen, so
ich bisher gesehen, sind nicht zu verbessern; die Harmonie darinnen ist ausbndig und
die Nettigkeit des Griels mit grster [sic] Sorgfalt in acht genommen worden. TB, 216.
129. Ibid., 231. A facsimile of the frontispiece is given in Menke, Bilddokumenten, 142.
130. TB, 22731.
131. Menke, Das Vokalwerk, Anhang A, 22.
132. See Hunter, The Printing of Opera and Song Books, 32931; and Boorman,
Printing and Publishing of Music. Hunter (331) suggests that the continuing prefer-
ence for freehand, copper engraving may have stemmed from a desire to outdo Walsh,
both technically and aesthetically. Hardie (All Fairly Engraven?, 625) places Walshs in-
troduction of punches, at rst limited to noteheads, in late 1697 or early 1698.
133. Die Music dazu bin ich Willens, mit ausserordentlichem Fleisse auszuarbeiten;
die Schnheit der Noten aber betreend, so wird man kaum glauben knnen, da die
Ahrt meiner gehammerten Krpel-Arbeit auf einen so guten Fu sey zu setzen gewesen.
TB, 233.
134. Der berhmte Capell.Director in Hamburg, Hr. George Philipp Telemann hat
zu unsern Zeiten auch etwas neues, zu seinem Behele erfunden: indem er die meisten
seiner Musicalischen Stcke selbst in Zinn gestochen, und hernach durch einen Kupfer-
Drucker abdrucken laen. Walthers transcription, found at the end of his entry on Tele-
mann, is quoted in Krones, Die Fortsetzung des musikalischen Lexici, 180. To judge
from his title pages, Telemanns regular printer was Philipp Ludwig Stromer from 1728
(Pimpinone) until at least 1735 (Fugirende und veraendernde Choraele), though Heusss widow
printed the Zwo geistliche Cantaten and Grund printed the III Trietti methodichi e III scherzi.
135. Dieser seltene Nachruhm grndet sich auf viele unverweriche Zeugen, nem-
lich auf seine auserlesene, und jederzeit mit vielem Beyfall aufgenommene, theils nach
Kupferstich-Art eingerichtete und theils gedruckte Werke, deren etliche und funfzig an
 Notes to Pages 36870 589

der Zahl sind. Die letztern machen nur gar wenig aus, jene aber hat er, nach einer En-
glndischen aber weit hher getriebenen Erndung, smtlich und mit allen nur erforder-
lichen Figuren, ohne Griel, mit solcher Geschwindigkeit in die Platten gebracht, da es
ihm mglich gewesen, in einem Tage deren 9. oder 10. zu verfertigen, daher es kein Wun-
der, wenn man in etlichen Wochen Ausgaben davon gesehen, die sich auf 2 bi 300. Seiten
erstrecket; wobey er jedoch seinen brigen Verrichtungen keinen Abbruch gethan. The bi-
ography may have been published in conjunction with Schmids 1744 printing of the Mu-
sicalisches Lob Gottes and an engraved portrait of Telemann by Georg Lichtensteger. How-
ever, Butler (Bachs Clavier-bung III, 94) dates the biography to 1746 based on the
publishers number (N. XVII). Transcriptions of the German version are given in TB,
5460, and in TD, 21318. For a facsimile of both versions, see Hobohm, ed., Drucke aus
dem Verlag Balthasar Schmid, [710].
136. Wegen meines Jahr-Ganges melde, da davon bereits bey 60. Platten heraus
sind, u. deren bis Ostern noch wohl 40. erfolgen drften. TB, 234.
137. Scherer, Quarter Notes and Bank Notes, 159, with reference to Hbel, Gedruckte Music,
41.
138. Schaefer (Die Notendrucker und Musikverleger, 2:37374) has also commented upon
the consistent appearance of Telemanns Hamburgs editions. He also argues, erroneously,
that Telemanns preferred method of working with both copper and pewter plates was not
engraving with a burin or stamping with punches, but etching, a method requiring sub-
stantially less physical eort (though not necessarily less time). He states that the editions
reveal distinguishing features of etching without indicating what those might be.
139. Seierts views on Telemanns engraving practices are recorded in the commen-
tary to his editions: Telemann, Singe-, Spiel- und Generalba-bungen, vvii; Telemann, Fan-
taisies pour le clavessin, ix; Telemann, Musique de table, 6.
140. Ein Mann, dem vor tausenderlei schriftlichen Verpichtungen von frh bis spt
die Hand og, um alles zu bewltigen, der hatte anderen Zeitvertreib ntig als Noten-
stich. Es war vielmehr der Kampf ums Dasein, der ihm den Griel in die Hand
drckte. . . . Auch der neue Biograph mutet uns reichlich Mrchenglubigkeit zu. Neun bis
zehn Platten sind gewi durchschnittliche Tagesleistung eines eiigen und geschickten
Stechers, also auch gern Telemann zuzugestehen, aber ohne Griel und ohne brigen
Verrichtungen Abbruch zu tun? das begreife, wer will; Telemann war kein Hexenmeister
und hatte auch nur zwei Hnde. Mit Suren operierten erst die Lithographen, und Tele-
manns Arbeitsstunde og wie bei andern in 60 Minuten dahin. . . . Den wahren Sachver-
halt wird die kommende Bibliographie einmal klar legen mssen. Telemann, Fantaisies pour
le clavessin, viiiix.
141. Menke, Das Vokalwerk, 1920; idem, Bilddokumenten, 138. Seierts tracing theory
is also adopted by Fleischhauer in Telemann, Singe-, Spiel-, und Generalba-bungen, 1.
Werner, in Telemann, Pimpinone oder Die ungleiche Heirat, 102, concurred with Seiert that
Telemann had hired a professional engraver, but noted that most of the text was stamped.
142. Based in part on the appearance of the latter collection, Martin Ruhnke (Tele-
mann als Musikverleger, 510) considered that Telemann had either done his own en-
graving or hired an amateur.
143. In preparing his plates for engraving, Telemann might have lightly sketched the
590 Notes to Pages 37073

music onto the plates with a point, as described in 1767 by the professional engraver
Madame de Lusse. See Poole, Music Engraving Practice, 106. Alternatively, he might
have followed the method employed for portions of J. S. Bachs Musicalisches Opfer, in which
pages with music written on one side are soaked in oil and traced onto a plate. This pre-
vented mirror-imaging, a common mistake in direct engraving. See Wol, Kritischer Bericht,
in Bach, Musikalisches Opfer, 5253; and Marissen, More Source-Critical Research, 1719.
144. Seiert, in Telemann, Fantaisies pour le clavessin, ix; idem, in Telemann, Musique de table,
5; Menke, Das Vokalwerk, 1920; idem, Bilddokumenten, 137. Menke states that Schne-
manns observations were conveyed to him in personal correspondence of 1940.
145. Layout problems are most common in the serially published editions in which
Telemann imposed on himself strict space limitations for each installment. In fact, some
of the composers most cramped engraving is found in the keyboard fantasies, where, at
the ends of systems or at the bottom of the page, he frequently skirts disaster by intro-
ducing the miniature notation employed for ornamented melodies in the methodical
solos and trios. A particularly egregious example is the rst movement of the second Fan-
tasy, second dozen, where space is so tight that the tiny quarter notes in mm. 1417 and
4447 must go without their stems. Miniature notation is also pressed into service in the
Zweytes sieben mal sieben und ein Menuet nos. 21 and 42, both of which conclude installments
of seven menuets; in the vocal score of the Fortsetzung des harmonischen Gottesdienstes; and oc-
casionally in the violin, viola da gamba, and cello parts to the Quadri.
146. Thieme and Becker, Allgemeines Lexikon der bildenden Knstler, 12:500501. For se-
lected reproductions of Fritzschs work, see Maertens, Kapitainsmusiken, 39599; Menke,
Bilddokumenten, 54, 73; and Klemann, Telemann in Hamburg, 69, 7879, 137. Reproduc-
tions of the Brgerkapitne engraving are cited in chap. 3 n. 104.
147. See Klemann, Telemann in Hamburg, 6469.
148. See the reproductions in Menke, Bilddokumenten, 159.
149. Boorman, Printing and Publishing of Music.
150. Castellani, introduction to Telemann, Six concerts et six suites, [i], including facsim-
iles of the copies at Paris (containing only the Clavessin part) and Mnster (lacking the
Clavessin partbook for the suites). Johann Philipp Hinnenthal, the editor of Telemann,
Sechs Suiten, was apparently unaware of the Paris copy, for he excluded the obbligato harp-
sichord part from the edition.
151. The history and contents of the collection are discussed in Koudal, The Music
Discovered at Aalholm Manor.
152. The title on the Mnster and Aalholm copies of the Clavessin part reads:
Six / CONCERTS / et six / Suites, / Clavessin et Flte traversire, / ou / Claves-
sin, Traversire et Violoncello, / ou / Violon, Traversire et Violoncello ou Fonde-
ment, / ou / Clavessin, Violon, Traversire et Violoncello; faits / par / Telemann. In
the Paris copy Telemann eliminates the list of secondary scorings: VI CONCERTS et
VI SUITES / pour / le Clavessin / et / la Traversire, / etc: / par / Telemann.
153. These are, in apparent chronological order of their production, D-Bds, Mus.
15844 Rara (containing only Fantasies 212, second dozen), DK-Kk, mu 6802.0131,
and DK-Kk, mu 6510.0531. It is worth noting that the Berlin copy once belonged to C.
P. E. Bach. See Leisinger, Die Bachsche Auction von 1789, 109.
 Notes to Pages 37377 591

154. With the exception of measures 2829 in the Allegrement of Fantasy 3, sec-
ond dozen, Telemann made no substantive changes to the musical text in the replacement
plates. Indications of a later engraving style in these plates include short note stems char-
acteristic of the third dozen (and of Telemanns other publications from 1733 onward;
see Figures 7.5c and 7.5d below), and the use of punches for quarter-note rests, lower-
case v, and capital G that are otherwise found only later in the collection.
155. Menke (Bilddokumenten, 139) reports that the title pages in Berlin and Frankfurt
exemplars of Pimpinone (now lost) diered signicantly.
156. Pingeling arrived in Hamburg sometime between 1719 and 1724. See Thieme
and Becker, Allgemeines Lexikon der bildenden Knstler, 27:58. He engraved at least one music
print, Georg Christoph Schultzes Six sonate a due auti trav. senza basso (Hamburg, 1729).
157. Pingelings plate must have been replaced relatively early in the press run, for it
appears in each of the Berlin Staatsbibliothek parts, but is mixed with the unsigned plate
at Brussels and the Berlin Sing-Akademie (D-Bds, SA 3900, where pp. 4142 of the primo
partbook are mistakenly bound into the secondo partbook).
158. Previous writers have mistakenly considered the edition to have been typeset
(Ruhnke, Telemann als Musikverleger, 510; idem, TWV 1:150; and Swack, The Solo
Sonatas, 17). That this edition, and not the Frankfurt rst edition, was the one adver-
tised from 1728 is conrmed by a list of Telemanns works published up until that year,
where it is described as being eight folios in length (corresponding to thirty-one num-
bered pages plus a title pageversus the twenty-one numbered pages of the Frankfurt
edition). For the full text of the list, published in the Hamburgische Auszge aus neuen Bchern
und Nachrichten von allerhand zur Gelahrtheit gehrigen Sachen (Hamburg, 1728), see Clostermann,
Das Hamburger Musikleben, 211. A facsimile of the lists second page is given in Closter-
mann, Georg Philipp Telemann in Hamburg, 58. One notes with disappointment, however, that
the music in the only extant copy of the Hamburg edition (B-Bc, Littera T, no. 5821) be-
gins with p. 4, suggesting that two pages (containing a reprint of the 1715 dedication to
Johann Ernst?) have been lost.
159. Its presence in the Continuation des sonates mthodiques means that this edition must
have followed the ute fantasies and the launch of the keyboard fantasies.
160. In the tenth of the Fugirende und veraendernde Choraele (Ich ruf zu dir, Herr Jesu
Christ) new rest punches appear in the fugirende setting but unexpectedly give way to
the old punches in the Vernderung. Starting with the twelfth chorale (Christus, der
uns selig), the new punches are used for the remainder of the edition. Did Telemann en-
grave the plates out of order, or was an assistant engraver working alongside him?
161. In the third dozen of the Fantaisies pour le clavessin we again nd Telemann (and per-
haps an assistant) alternating and even mixing new and old punches for the same symbol.
He may have been responding to the changing preferences of his customers by shifting
from soprano clef in the rst two dozen fantasies to treble clef in the third dozen.
162. Werner (in Telemann, Pimpinone, 102) notes that ve numbers in the lost edition
of the intermezzo included a type of German Druckschrift, while Menke (Das Vokalwerk,
19) observes that the rst edition of the Lustige Arien aus der Opera Adelheid included Ger-
man lettering.
163. The second of the smaller fonts is already used sparingly in the dedicatory pref-
592 Notes to Pages 37781

aces to the Sept fois sept et un menuet and Zweytes sieben mal sieben und ein Menuet. Each font was
subject to minor variations in the form of alternative letter punches, and one wonders if
variations occurring in rapid succession (as with lower-case z in the rst two of the Fan-
taisies pour le clavessin, third dozen) betray the presence of an assistant engraver.
164. As seen in the illustrations, this letter was produced by at least two punches of
diering size. No capital Os of any kind appear in La petite musique de chambre and the Sept
fois sept et un menuet. The eyeball form of the letter reappears in the second of the small
fonts used during the 1730s, as, for example, in the VI moralische Cantaten II.
165. Ruhnke, Telemann als Musikverleger, 51011; idem, TWV 1:25, 241. Tele-
manns sale is discussed below.
166. The Schwerin manuscript is discussed in Swack, The Solo Sonatas, 14546.
On the Darmstadt manuscripts, see Stewart and Bill, unpublished study of the Telemann
sources at the Hessische Landes- und Hochschulbibliothek. Concerning the Dresden
sources, see Zohn, Music Paper, 13233.
167. Brusniak (Zur Pege der Musik Georg Philipp Telemanns, 98) identies the
Jahr Gang as the Harmonischer Gottes-Dienst and the Duetten as the Sonates sans basse, but
does not identify the Concerten or Exercitii Musici.
168. Because the switch from freehand engraving to stamping occurs at roughly the
same point in each partbook, it would appear that Telemann engraved the collection work
by work rather than part by part.
169. The concluding phrase of the title page, e che si trovano apresso [sic] dellAu-
tore (and which is available from the author), is another unusual feature of the print.
Only a handful of other Hamburg editions name the author as publisher on their title
pages: both parts of the Harmonischer Gottes-Dienst (in Verlegung des Autoris), the Sonates
sans basse (aux depens de lAuteur), and the Fugues lgres (chez lAuteur).
170. Telemann, Lebens-lau, 177: Wer vielen nutzen kan / thut besser / als wer
nur fr wenige was schreibet. This is the explanation of Telemanns publishing activities
oered in Ruhnke, Telemann als Musikverleger, 503, 517.
171. Rose, The Mechanisms of the Music Trade, 3031.
172. TWV 1:232, 237.
173. Hamburgische Auszge aus neuen Bchern und Nachrichten, Elter Theil, V, 81927: In-
zwischen ist es doch der Wahrheit gem / da unter uns Deutschen nicht leicht ein Com-
ponist zu nden seyn werde / der mit so vielen Wercken / und mit so vielen daran gewen-
deten Kosten / wie unser Herr Capellmeister Telemann (indem er der Verleger aller seiner
Wercke bis auf ein Einziges ist) dem Publico zu dienen beissen gewesen. . . . Die Lieb-
haber und Kenner der Music werden keine verdrliche Arbeit unternehmen / wenn sie
beyder Arbeit zusammen halten / und beobachten wollen / wie fern sie von einander abge-
hen. . . . Aus der Vorrede / welche der Herr Capell-Meister seinem Music-Meister (von
dem nunmehro alle vierzehen Tage die Fortsetzung ausgegeben wird) beygefget hat / ist
zu ersehen / da dieses Werck nicht das geringste der Telemannischen Musicalischen Wer-
cke sey / sondern vielmehr im Gegentheil den Music-Liebhabern zum grossen Behu di-
enen werde. Quoted in Clostermann, Das Hamburger Musikleben, 213, 21516.
174. TB, 185. A collection taken up by Telemanns fellow citizens without his knowl-
edge raised 600 Reichstalers. If he was including this sum in the gure of 3,000 Reich-
 Notes to Pages 38183 593

stalers, then his debts would have totaled 4,400 Reichstalers. Siegele (Im Blick von Bach
auf Telemann, 6061) attributes the extent of Telemanns publishing activities to the
debt accumulated by Maria Catharina: In order to avoid nancial ruin, he worked to the
limits of his capacity, perhaps even beyond them.
175. Mein Noten-Kram kann mir, bey vielen Kindern, / Fr deren Auferziehn ich
manchen Thaler gebe, / Die Sorgen guten Theils vermindern; / Er ist mein Acker und
mein Pug, / Wovon ich lebe: / Das ist genug. TB, 181. On 12 May 1725, only a few
months before embarking on the Harmonischer Gottes-Dienst project, Telemann informed
Duke Johann Wilhelm of Sachsen-Eisenach that he wished to become corresponding
agent for the Eisenach court mainly to help support his eight children (TB, 79).
176. See Reipsch, Telemanns Bluhmen-Liebe.
177. Der hiesige Musicdirector Telemann will die Platten seiner Notenwerke, deren
44 sind, verkaufen. Derselben Prei wird nach dem Catalogo also eingerichtet, da wenn
zu E. ein Exemplar 3 Gulden kostet, der Kufer 100 Gulden fr die Platten bezahlet, da
er also sein Interesse zu 6 pro Cent gewinnet, wenn jhrlich nur 2 Exemplarien abgehen.
Die smmtlichen Werke mssen entweder beysammen bleiben, oder knnen hchstens
nur in zwo Classen getheilet werden. Menke, Das Vokalwerk, Anhang A, 26.
178. Menke, Bilddokumenten, 141.
179. Hobohm, Grundzge der Telemann-berlieferung, 10; Ltteken, Sprachver-
lust und Sprachndung, 207. Ltteken bases his view largely on Telemanns remark to
Carl Heinrich Graun on 15 December 1751 (TB, 284) that he had been melodied out
for many years and had cribbed and copied from himself many thousands of times.
But this is likely nothing more than a self-deprecatory segue to the adage that follows (one
of Telemanns favorites): Ist in der Melodie nichts Neues mehr zu nden, so mu man
es in der Harmonie suchen (If there is nothing new to be found in melody, then one
must search for it in harmony). TB, 28485. Michael Philipps view that Telemanns cre-
ative crisis is further manifested in the Symphonie zur Serenata of 1765 is taken up in the next
chapter.
180. Indeed, just months before the announcement, on 3 February 1740, Telemann
had asked Albrecht von Haller in Gttingen for moralischen Oden that he could set to
music and publish in the manner of Sperontess Singende Muse an der Pleisse und Sale. See TB,
143. This project likely became the Vier und zwanzig theils ernsthafte, theils scherzende Oden.
181. According to the Nuremberg biography, Telemann arrived back in Hamburg by
Pentecost (Whit Sunday) in 1738, that is, by 25 May. See TD, 217, and Hobohm, ed.,
Drucke aus dem Verlag Balthasar Schmid, [8]. Telemann gives the date of August Bernhards
death as 2 May 1738 in the 1740 autobiography (Mattheson, Grundlage einer Ehren-Pforte,
367). However, the death date is 25 May in Winckler, Nachrichten von Niederschsischen
berhmten Leuten und Familien, 1:356. See Hobohm, . . . aus diesem Ursprunge, 19.
182. Mattheson, Grundlage einer Ehren-Pforte, 369: Nachgehende hat man, guten Fre-
unden zu Gefallen, herausgegeben: 6. Soli, fr Violin. und GB von Herrn Graf; 6. Duette
oder Trii, fr 2. Viol. mit und ohne GB, von Herrn Frster; Anleitung zum Transponiren,
von Herrn Haltmeier.
183. In Telemanns preface to the Anleitung (dated 14 March 1737, his fty-sixth birth-
day) he mentions his intention, apparently unrealized, to publish Haltmeiers brief essay
594 Notes to Pages 38384

Ausung der Dissonanzien. No publication information is included in Graf s 6 Soli,

though the composers dedication is dated 8 February 1737. See Hobohm, G. Ph. Tele-
mann als Herausgeber, 51.
184. The latter scenario is put forward by Hobohm, G. Ph. Telemann als Heraus-
geber and Wagner, Frster, (Johann) Christoph (Friedrich), col. 1495.
185. It is possible that a 26 July 1741 newspaper announcement for the Musikalische
Probe was placed by Telemann. See Menke, Das Vokalwerk, Anhang A, 27. Neither of the
treatises identies Telemann as publisher, but both Sorge and Jacob Adlung used the stan-
dard phrase zum Druck befrdert in describing his role. See Hobohm, G. Ph. Tele-
mann als Herausgeber, 60 nn. 3536. Nothing came of Pisendels plan in the years
174952 to have Telemann publish Jan Dismas Zelenkas Responsoria pro hebdomada sancta,
ZWV 55. See TB, 34748, 355, 359, 363; Maertens, Georg Philipp Telemann und Jan
Dismas Zelenka; and Stockigt, Jan Dismas Zelenka, 26566.
186. One may also cite a further theoretical work that could have ended up as the Singe-
Spiel- und General-Bass-bungen: on 2 January 1730 Telemann advertised his Unterricht,
worinn von der vierstimmigen Composition und vom General-Basse gehandelt wird. Es ist
beym Autore um 8 Marck oder 4 Gulden zu bekommen (Tutor that will be concerned
with four-voice composition and continuo. It is available from the author for 8 Marks or
4 Gulden). See Menke, Das Vokalwerk, Anhang A, 17. Telemanns quotation of a price here
and in advertisements for the Fux translation suggests that he had made signicant head-
way toward completing these projects. The anonymous review of Telemanns publications
in the 1728 Hamburgische Auszge mentions that he has translated the Fux treatise and
will have it printed as soon as possible. See Clostermann, Das Hamburger Musikleben, 216.
187. Telemann, Beschreibung einer Augen-Orgel, preface: Allein die enge Zeit hat bisher
meinem Vorhaben Grenzen gesetzet, aber doch nicht verhindert, einen guten Teil davon zu
Papiere zu bringen, welcher, mit dem ueberreste, dereinst das Licht zu sehen bestimmet ist.
188. Hr. Telemann wird indes die Kenner der Musik gar sehr verbinden, wenn er,
seinem Versprechen gems, den gegenwrtigen Zustand der Musik zu Paris, so wie er ihn
aus eigener Erfahrung erlernet hat; deutlich beschreibet, und dadurch die franzsische
Musik, welche er in Teutschland so sehr in Aufnahme gebracht, immer beliebter bey uns
zu machen suchet. Quoted in Klemann, Telemann in Hamburg, 86.
189. Unser hochverdienter Herr Telemann hat hiemit ein mehrers geliefert, als zu
seinem unsterblichen Ehren-Gedchtnis ntig zu seyn scheinet. Er ist daher nicht zu ver-
denken, wenn er nunmehr einer Arbeit in dergleichen Gattungen ein endliches Ziel zu
sezen [sic] beschlossen hat. Es mu aber allen Liebhabern seiner grndlichen und hochge-
brachten Wissenschat zu besonderer Freude gereichen, da Er seine brige Lebens-Zeit
zu Lehr-Schriten anzuwenden gesonnen ist. Wir knnen uns schon zum voraus auf die
reifesten Frchte sichere Rechnung machen, sintemahl Er ein hchstwichtiges Werk, unter
der Auschrit, musikalischer Practicus, stckweis herauszugeben anstalten machet, und
hiebey alles, was Er bey einer langen Erfahrung bemerket, getreulich anzubringen ge-
denket. Hobohm, Drucke aus dem Verlag Balthasar Schmid, [8]; TD, 218.
190. Ew: HochEdelgeb. Bemhung der Welt zu zeigen, da unsere practische Musique
Zusammenhang und Ordnung haben me, wie andre facultaeten, ist hchstlblich und
ntig. TB, 271.
 Notes to Pages 38487 595

191. See, for example, the portraits of Johann Georg Pritius, Michael Richey, Tobias
Heinrich Schubart, Petrus Theodor Seelmann, Philipp Nicolai, Johann Rist, Johann Mel-
chior Goeze, Joachim Johann Daniel Zimmermann, and Johann Georg Hamann the elder
in Menke, Bilddokumenten, 58, 6970, 7273, 82.
192. In the seventeenth and eighteenth centuries musicians were most often repre-
sented as Kapellmeister, with rolls of music paper in their hands; as performers, holding,
playing, or in close proximity to an instrument (at least in the case of instrumentalists);
as composers, in the act of writing music (with quill in hand) or displaying notated music
in the form of a single leaf or open book; or as scholars, placed in a library. Although
some portraits combine images relating to these dierent activities, the particular combi-
nation in the Preiler/Schneider portrait is unconventional. Concerning imagery in com-
poser portraits, see Braun, Arten des Komponistenportrts.
193. The VI Ouverturen nebst zween Folgestzen may be assigned to 1745 based on the pub-
lishers number (no. 17). On Schmids numbering system, see Butler, Bachs Clavier-bung
III, 9298, 112. A publication date of between September 1746 and March 1747 for
the Music vom Leiden und Sterben des Welt Erlsers is posited by Hirschmann in Telemann, Jo-
hannespassion 1745, x. Butler (98), however, suggests that the last plates for the Passion were
not engraved until mid-1747. In any case, it seems that Carl Heinrich Graun owned a
copy of the edition by June 20 of that year (TB, 273).
194. The duets were advertised in Hamburg on 29 April 1752 as being available from
the composer. See TWV 1:128. Bock also published Telemanns song Gengsamkeit,
using Breitkopf s movable type, in the April 1765 issue of his Hamburgisches Journal. See
Mller, Hamburgisches Journal.
195. Hobohm, ed., Drucke aus dem Verlag Balthasar Schmid, [14].
196. Hobohm, Notizen zu den Telemann-Drucken, in ibid., 35.
197. A newspaper advertisement for the Passion of 26 April 1746 listed agents in Al-
tenburg, Berlin, Breslau, Erfurt, Frankfurt am Main, Hamburg (Telemann), Hof, Loben-
stein, Leipzig, Meiningen, Nuremberg, Stuttgart, Ulm, Waldau, and Zwickau. The text of
the advertisement is given in Telemann, Johannespassion 1745, ixx.
198. Facsimiles of the Graefe Lied are given in Menke, Bilddokumenten, 140.
199. Ew.r HochEdelgeb.n neue Erndung gedruckter Noten hat auch meinen Bey-
fall, bis auf die Disen, die mir zu klein scheinen.
Ich nehme mir demnach hiermit die Ehre, anzufragen, wie viel man fr eine Seite in
Folio, ohne Text, bezahlen msse? wie viel fr eine dergleichen, mit Text? und wie viel fr
eine in Qvart, oder gro Octav, mit abgewechselter Schrift, als ein musicalisch Buch?
Sollte es Ihnen belieben, mir Nachricht hierauf zu ertheilen, so werde mich alsdann mit
mehrern heraus lassen. TB, 4041.
200. Endlich nde mich auch gereizet, ein Stck von meiner itzigen Arbeit der Presse
Eurer Hochedelgeb. anzutragen. . . . Die Partitur bestehet aus 35. Seiten, welchen ich
vieleicht noch einen Discurs von einem Bogen ber etliche Eigenschaften, die ein Com-
ponist bey der schildernden Schreibart zu bemerken hat, hinzufgen drfte. Sollte es
gefallen, dem Verlag davon gegen Aushndigung einer Anzahl Exemplarien, zu ber-
nehmen, so wrde unverzglich ein reines Concept veranstalten. . . .
Ich bin sonst auch gesonnen, meine diesjhrige Passionsmusic stckweise her-
596 Notes to Pages 38792

auszugeben, und bey jeder Abteilung von den durch die Erfarung entdeckten Vorteilen bey
der Singecomposition, besondern von einer rechten Anwendung der deutschen Sprache,
die durch den Zwang der welschen Melodien oft sehr verungestaltet wird, zu handeln.
Lebe ich noch lnger, so lieget ferner ein festtglicher Jahrgang bereit, zu welchem sich
nicht wenig Prnumeranten andringen. Quoted in Fleischhauer, Annotationen zu
Werken Telemanns, 50.
201. Gerber, Historisch-Biographisches Lexicon der Tonknstler, 2:col. 634: Auch wei man,
da [Telemann] von dem nachmals erfundenen Breitkopschen Notendrucke Gebrauch
gemacht hat. Wenigstens erinnere ich mich, einen seiner Kirchenjahrgnge auf diese Weise
gedruckt, gesehen zu haben.
202. See Brook, ed., The Breitkopf Thematic Catalogue, cols. 90200. Comparatively little
music by Telemann appears in Part 2 (1762) and Supplement 1 (1766) of the catalog,
and nothing at all in Part 1 (1762) or the fteen post-1766 supplements.
203. So bald der Herr Capell-Meister von seiner itzigen Unplichkeit vllig ge-
nesen, wird er auch ein besonders sehr wohl ausgearbeitetes Intermezzo, und den auf des
Knigs von Frankreich hieselbst aufgefhrten Prologum heraus geben, die beyde mit all-
gemeinem Applausu aufgenommen worden. Menke, Das Vokalwerk, Anhang A, 10.
204. TD, 13940.
205. Das Werck wird aus einer Partitur / und aus Noten nach Kupfer-Art / vermit-
telst einer leserlichen Schrit / und eines saubern Abdruckes / bestehen. Die Einrichtung
der Stcke ist folgender gestalt gemachet: Ein Biblischer Spruch wird mit 4 Singe-
Stimmen / mit 2 Violinen und einer Viola / nebst dem gezieerten Basse / den Anfang
machen: Hierauf folget ein Recitatif / sodenn eine Arie mit der behrigen Symphonie;
ferner ein Choral / wiederum ein Recitatif / und endlich noch eine Arie nach voriger
Eigenschat / worauf mit dem Anfangs-Spruche beschlossen werden soll. Quoted in
Clostermann, Das Hamburger Musikleben, 217.
206. TB, 14142. Telemann proposed that Wilckens write the librettos for eight can-
tatas (that for Trinity is not mentioned), each of which would include a brief biblical quo-
tation, an aria, a recitative (but as brief as possible), a chorale, another aria, and a re-
peat of the biblical quotation.
207. The anonymous reviewer in the 1728 Hamburgische Auszge expressed hope that the
analyses would appear from time to time in separate sheets. See ibid., 216.
208. Letters to Bokemeyer, 8 March 1731 and 8 March 1735, in Walther, Briefe, 139,
18687.

Chapter 8

1. TWV 1:118.
2. Marpurg, Abhandlung von der Fuge, 1:13435.
3. Quantz, preface to Sei duetti: Es ist wahr, es giebt eine Art Duette, wo beyde Stim-
men vom Anfange bis zum Ende fast nichts anders als Terzen und Sexten mit einander
daher spielen: und die sind nichts weniger als schwer zu setzen. Allein, wem nur z.E.
Herrn Capellmeister Telemanns Flten-Duette bekannt sind, der wird leicht einsehen, da
 Notes to Pages 392402 597

ich von jener Art gar nicht geredet habe. Translated in Reilly, Further Musical Ex-
amples, 164.
4. Reilly, Further Musical Examples, 163.
5. Dlon, Dlons, des blinden Fltenspielers Leben, 1:6869: Jenen [den Werken Quantz]
verdanke ich grtentheils meine Fertigkeit; diesen aber [den Telemann-Werken] gnzlich
meine Sicherheit im Takt; denn sie sind durchaus theils kanonisch, teils fugenartig gear-
beitet; auch enthalten sie, neben unsern gewhnlichen Taktarten, noch verschiedene, die
uns beynahe ganz fremd geworden sind, wohin hauptschlich der Drey-zweitel-Takt
gehrt. Ich habe dies mit Fleis zu bemerken wollen, um diejenigen, denen es Ernst um
grndliche Erlernung der Musik zu thun ist, aufmerksam zu machen und ihnen anzura-
then dergleichen Compositionen, wofern ihrer noch habhaft werden knnen, eissig zu
studiren, und sich doch nicht von dem jetzt berall herrschenden und bel verstandenen
Gemeinspruch abschrecken zu lassen, da sie bereits zu alt seyen. Quoted and translated
in Telemann, Neun Sonaten, iv and x.
6. The presence of recorder as one of the melody instruments may be taken as a fur-
ther indication of the collections origin in the 1720s; the latest of Telemanns securely
datable publications to call for recorder (and then only in a single piece) is the Musique de
table (1733).
7. Concerning the dating of Bachs trios see Schulze, Studien zur Bach-berlieferung,
11019.
8. On the arrangement of trios for two melody instruments and continuo as obbligato
keyboard trios, see Marissen, A Trio in C major; Fillion, Bach and the Trio Old and
New, 8790; Oleskiewicz, Quantz and the Flute at Dresden, 24446; and Sheldon,
The Transition from Trio to Cembalo-Obbligato Sonata.
9. On the pastoral echo in Telemanns solos, see Swack, The Solo Sonatas,
12931, 14950.
10. It is possible that these and other capriccio-style movements by Telemann had
vocal models, for the same kind of alternation occurs in Eginhards aria Lat mir den
letzten Streich nur geben in act 2, scene 11 of Die Last-tragende Liebe oder Emma und Egin-
hard, TVWV 21:25 (1728).
11. Swack, The Solo Sonatas, 10316, 15560.
12. Stewart, Georg Philipp Telemann in Hamburg, 8182.
13. Der getreue / Music-Meister, / welcher / so wol fr Snger als Instrumentalis-
ten / allerhand Gattungen musicalischer Stcke, / so auf verschiedene Stimmen und fast
alle gebruchliche Instrumente / gerichtet sind, / und / moralische, Opern- und andere
Arien, / dessgleichen / TRII, DUETTI, SOLI etc. / SONATen, OUVERTURen, etc. / wie
auch / FUGEN, CONTRAPUNCTe, CANONES, etc. enthalten, / mithin / das mehreste,
was nur in der Music vorkommen mag, / nach Italinischer, Franzsischer, Englischer,
Polnischer, etc. / so ernsthaft- als lebhaft- und lustiger Ahrt, / nach und nach alle 14.
Tage / in einer LECTION / vorzutragen gedenket, / durch / Telemann.
Geneigte Leser! Es wrde das gegenwrtige Werk, von dessen Inhalte der Titul be-
reits hinlngliche Nachricht ertheilet, ohne Vor-Rede geblieben seyn, wann ich nicht den
Raum dieses leren Blates mit etlichen schwarzen Buchstaben zu schmcken gedchte. Bey
solcher Gelegenheit knnte ich meinen Lesern dessen Wehrt schmeichlerisch anpreisen;
598 Notes to Pages 4026

allein, wie ich mich dadurch einer unordentlichen Selbst-Liebe schuldig machte, also
wrde ich selbiges vieleicht auch in Verdacht bringen, als ob es dergleichen Aufputzes
bedrfte. Demnach sage ich nur, da es ein musicalisches Journal sey, und, meines Wissens,
das erste, so, vermittelst wirklicher Music, in Teutschland, zum Vorschein kommt. Haben
sonst die so genannten monatliche, oder solche, Schriften, die zu gewissen Zeiten Stck-
weise herauskommen, vielfltig ihre Liebhaber gefunden, so solte ich glauben, es werde
auch diese nicht gar verworfen werden, da sie, mit jenen, den Zweck hat, zu nutzen und
zu belustigen.
Man knnte mir inde etwan einwerfen, da es von einer einzelnen Person nicht
wenig gewagt sey, dergleichen Werk zu unternehmen, worin so vielerley Sachen vorgetra-
gen werden sollen. Es ist wahr, und habe ich mich desswegen lange bedacht, ehe ein fester
Schlu gefasset worden; ich sehe auch im Voraus, da manche Lection mit etwas Schwei
begleitet seyn drfte, ob ich mich schon einiger massen darauf verlassen knnte, da mich
die Noten bisher fast so bald gesuchet, als ich mich nach ihnen umgesehen. Aber, weil der
Mensch der Arbeit wegen, und um dem Nchsten zu dienen, lebet, so habe ich mich
endlich diese Hinderni nicht anfechten lassen, zumal, da ich darauf gerechnet, ich wrde
zur muntern Fortsetzung dieser Stze auch dadurch angefrischet werden, weil ich mich an
einem Orte bende, wo die Music gleichsam ihr Vaterland zu haben scheinet, wo die
hchsten und ansehnlichsten Personen die Ton-Kunst ihrer Aufmerksamkeit wrdigen,
wo verschiedene vornehme Familien Virtuosen und Virtuosinnen unter den ihrigen zehlen,
wo so mancher geschickter Lehrling der Music die Honung machet, da sie hier
bestndig wohnen werde, und wo endlich der Schau-Platz so viele bndige Gedancken
auswrtiger Componisten durch die auserlesensten Stimmen dem Gehre mittheilet.
Damit aber diese Bltter desto mehr Vernderung haben mgen, so lasse ich mir nicht
entgegen seyn, wenn auch andere, zu deren Anfllung, einigen Beytrag thun wollen, da
man denn die Namen der HHrn. Verfasser, wo Sie solche kund machen, hinzufgen wird,
sich aber auch zugleich ausbedinget, da Sie das Einzuschickende Post-frey machen
wollen.
Sollte dieser Music-Meister mit einer gtigen Aufnahme beehret, mithin dessen Lec-
tionen fortgesetzet werden, so drfte ich, wenn es meine Geschte zulassen, von Zeit zu
Zeit ber jedes Stck desselben eine Untersuchung drucken lassen, so sich aber nur auf
meine eigenen Stcke beziehen wrde, und wodurch ich allerhand Vorteile zeigen knnte,
die in der Practic mit Nutzen anzuwenden wren.
Weiter habe ich nichts mehr vorzutragen, als da ich von den Music-Liebhabern mir
eine gewogene Meinung, so wohl ber diese, als meine brige, Arbeit erbitte, der ich ver-
harre / Deroselben / ergebenst- und dienst-schuldigster / Telemann.
14. Marpurg, Legende einiger Musikheiligen, 210. For the context of Marpurgs paraphrase,
see Zohn, Images of Telemann, 46366.
15. See the list of contents in TWV 1:24366.
16. On the use of void notation in French baroque music, see Thompson, Once more
into the Void, and Walls, Sonade, que me veux tu?, 41 and 47 n. 23.
17. Flassig, Die solistische Gambenmusik, 34 and 9394. Telemann left the work untitled,
noting simply that it was a piece for viola da gamba senza Cembalo.
18. My reading of this movement is inuenced by the discussion of recitative in
 Notes to Pages 40610 599

Marpurg, Kritische Briefe ber die Tonkunst, 2:34976. For a commentary on and partial trans-
lation of this passage, see Vial, Take Pause, 15568, 17487.
19. See the discussion in Yearsley, Bach and the Meanings of Counterpoint, 14853.
20. On the dissemination of BWV 1074 and the source of Zelenkas canon, see Years-
ley, Bach and the Meanings of Counterpoint, 4244; and Stockigt, Jan Dismas Zelenka, 113.
21. Walker, Theories of Fugue, 31315.
22. Mattheson, Critica musica, 1:360: in den simplen Canonen / als allunisono, von
2, 3, bi 4 Stimmen / schon etwas herauszubringen ist / das dem Ohr angenehm / und
dem Urtheile des Verstandes ergetzlich fllt. Jedoch hierzu gehret ein ganzer Mann / der
von der Modulation und Melodie Meister ist / und dadurch den Abgang der Har-
monie / als welche ihm hierinne nicht unterwrg ist / bemnteln kann. Bey Anfngern
aber sind die Canones einiger massen darzu ntze / da sie ihre Feder geschickt machen /
mit der Zeit desto ungezwungener / und gleichsam aus Gewonheit / in allerhand gebun-
dene Stze zu gehen. Allein / weil nicht zu feurige ingenia gar leicht dadurch in die Pedan-
terie gerathen knnen / so sind solche mehr zu galanten / als dergleichen ernsthaten
Ausarbeitungen zu fhren. Bey dieser Betrachtung fllt mir ein: warum unter den itzigen
Canonisten nur etliche wenige dem Stefani, auf seinem / gleichsam mit Blumen bewach-
senen / Wege folgen; und hingegen so viele andere unter Dornen und Disteln herum
irren? Kurz / Canones verdienen ihr Lob; sind aber einem einzelen Baume in einem
grossen Walde / oder / wie drben gedacht / einem Zimmer in einem weitluftigem Pal-
laste zu vergleichen.
23. Butler, Fasch and the Canonic Trio Sonata, 259.
24. Both cantatas were published in the Fortsetzung des harmonischen Gottesdienstes. On 23
June 1735, the same year that Telemanns Canones were published, the composer entered the
six-voice canon TVWV 25:114 into the visitor book of Conrad Arnold Schmid in
Lneburg.
25. Marpurg, Abhandlung von der Fuge, 2:9495.
26. On the canonic trios of Bach, Fasch, Fux, and Graupner, see Butler, Fasch and
the Canonic Trio Sonata; and Collins, Bach and Approaches to Canonic Composition.
On Quantz, see Everett, The Manchester Concerto Partbooks, 1:365; and Oleskiewicz, The
Trio in Bachs Musical Oering, 84. A Stlzel trio for two oboes and continuo (D-Bds,
SA 3896) concludes with a strict canon for the upper parts.
27. Neue auserlesene Arien, Menueten und Mrche, so mehrentheils von dem welt-
berhmten Musico und Capell-Director, Monsieur Telemann bey der damaligen, in der
Frstl. Schs. Eisenachischen Residenz aufgerichteten Hof-Capelle componiret worden
sind (D-Mbs, Mus. ms. 1579). Two of the marches in this collection are attributed to
Telemannthe only composer named in the manuscriptand eight menuets have con-
cordances among his overture-suites (see TWV 1:99). Thus it is possible that a majority
of the pieces are Telemanns. At least one other composer is represented in the manuscript
as well, for no. 52 is an instrumental version of the air LAimable vainqueur from
Andr Campras Hsione (1700).
As noted in TWV 1:62, ten menuets from the Sept fois sept et un menuet appear in a mid-
eighteenth-century manuscript of north German keyboard music apparently intended for
domestic use. This is the so-called Leopold Mozart notebook, allegedly copied in 1762
600 Notes to Pages 41014

for the instruction of the six-year-old Wolfgang. But as Wolfgang Plath has shown
(Leopold Mozarts Notenbuch), the title page is a forgery.
28. Lev. 25:810 (New Revised Standard Version).
29. Und ist dir ein Concert von vielen Stimmen wehrt, / So darf die Menuet sich
darum nicht verstecken. / Zudem di kleine Ding ist so geringe nicht. / Denn wit, da
man dabey gar viel erwgen msse: / Gesang und Harmonie, Erndung und Gewicht, /
Und was es mehr bedarf, sind keine taube Nsse.
30. On the relationship between Erbach and Telemann, see TB, 210. The counts thirty
Divertimenti Armonici or Divertissements Melodieux (D-DS, Mus. ms. 272; 2 ex-
emplars) were dedicated to Landgrave Ernst Ludwig of Hessen-Darmstadt and contain
twelve Sinfonie for two violins and bass, twelve more for two recorders or utes and
bass, and six Duetti for cello or bassoon and bass. Appended to the presentation man-
uscript is an elaborate title page engraved by Johann Friedrich Armand von Uenbach (re-
produced in Gropietsch, Graupners Ouverturen und Tafelmusiken, 71), a mutual friend of Er-
bach and Telemann.
31. TWV 1:23235.
32. Menke, Das Vokalwerk, Anhang A, 17.
33. See the preface to Telemann, 50 neue Menuette.
34. An uneven phrase has an odd number of measures, whereas an asymmetrical phrase
has an antecedent and consequent of dierent lengths. The fact that both types are so
scarce in Telemanns collections seems to place them in the minority of eighteenth-century
recueils and manuscripts of minuets. See Russell, Minuet Form and Phraseology, 399.
35. Zedler, Groes vollstndiges Universal-Lexicon, 12: cols. 121415: Held, Lat. Heros, ist
einer, der von der Natur mit einer Ansehnlichen Gestalt und ausnehmender Leibes-Str-
cke begabet, durch tapere Thaten Ruhm erlanget, und sich ber den gemeinen Stand
derer Menschen erhoben.
36. These titles are taken from the modern edition, from which it is unclear whether
Telemann included both German and French versions.
37. Together with the Nouveaux quatuors, these works have become known as Tele-
manns Paris quartets, a label rst given to them by the MW edition. In fact, however,
the Quadri are no more Parisian than other Hamburg publications that were known in
the French capital.
38. Si la connoissance de la Musique doit tre conte parmi les meilleures qualits &
ornemens dun galant-homme, comme personne ne le niera, si non les ignorans, ou les
capricieus, Vous merits, Monsieur, une gloire dautant plus clatante, quon voit en Vous
le comble de perfection, auquel vous y avs atteint. Car sans Vous entendre joer de la
Flte traversire, & sans y admirer la delicatesse dun Blauet & dun Quantz, dont Vous
tes pltt la copie, que lapprentif, Vos discours decouvrent deja une profonde pntra-
tion dans la belle science de lharmonie, & le got exquis, qui parmi tant de manires
ecrire & joer Vos font tojours faire un digne choix. Qvoiquoutre cela Vous possedis,
Monsieur, encore plussieurs rares talens de la nature & de ltude, je dis pourtant, que cest
principalement celui-l, qui quasi par un instinct inconn me contraint Vous temoigner
ici publiquement lestime particulire, que jai pour Vous, & dans laquelle je ne csserai ja-
mais dtre / Monsieur, / Vtre / tres-humble & tres-obbessant Serviteur, / George Philippe
Telemann. / Hambourg ce 4. Juillet, 1730.
 Notes to Pages 41430 601

39. Marpurg, Historisch-kritische Beytrge, 4:15354: Weil seine Finger, zu gehriger Be-
deckung der Lcher der Flte zu dnne waren: so konnte ich freylich auch ihm den guten
und reinen Ton nicht beybringen, den ihm seine vorigen beyden braven Lehrer nicht hat-
ten geben knnen. Weil ber dieses seine Zunge zu unbiegsam war, als da er die zur
Geschwindigkeit nthigen Bewegungen damit htte machen knnen: so war er auch aus
dieser Ursache desto ungeschickter aus meinem Unterrichte Nutzen zu ziehen.
40. See Blumrder, Thematische Arbeit, motivische Arbeit, 12.
41. Here and in Example 8.9, Telemanns bass gures are given above the Fonda-
mento line, while the gures from the Parisian reprint edition are given below. The
Parisian gures tend to be more complete and often turn the triads of Telemanns edition
into seventh and ninth chords. It is unclear whether this reects a French preference for
richer harmony, or simply a spelling-out of a more widespread practice in continuo per-
formance.
42. Neumann, Ornamentation in Baroque and Post-Baroque Music, 564.
43. Quantz, Versuch, chap. 13.
44. Sonate metodiche, welche denen sehr ntzlich sey knnen, so der sangbaren
Manieren sich beeiigen wollen. Quoted in TWV 1:152.
45. For additional examples of rubato, see in the Sonate metodiche the rst movements of
Nos. 4 (mm. 67) and 5 (m. 13); and in the Continuation des sonates mthodiques the rst
movements of Nos. 1 (mm. 1213) and 5 (m. 7).
46. Quantz, Versuch, 17172; Reilly, On Playing the Flute, 2012. Quantz goes on to ob-
serve that one has less freedom to add extempore ornaments in a quartet.
47. See Heller, Zu einigen Aspekten der solistischen Improvisation; Fechner, Im-
provisationsskizzen und ausnotierte Diminutionen; and idem, Einige Anmerkungen zu
einem Berliner Violinkonzert.
48. Fechner, Anmerkungen aus auhrungspraktischer Sicht, 3940.
49. D-Dl, Mus. 2392-Q6 (42:D1), 2392-Q11 (42:A8), and 2392-Q80
(42:G9).
50. Mattheson, Der vollkommene Capellmeister, 344.
51. For readings of several other movements in the scherzi as sonata forms, see Stew-
art, Georg Philipp Telemann in Hamburg, 13038.
52. D-Dl, Mus. 2392-R8 and 2392-R9, both edited in Telemann, 2 Sonatinen.
53. See Brooks, tienne Nau.
54. Quantzs letter to Moldenit was published in Marpurg, Historisch-kritische Beytrge,
4:15491 and 31920. See also Reilly, On Playing the Flute, xxxii, and Quantz and His Ver-
such, 5455.
55. Huth and Hirschmann, Georg Philipp Telemann, 446.
56. Mirjam Nastasi, Hinweise zur Interpretation, in Telemann, Fantasien fr Flte solo;
Bragg, Rhetoric and Aekt.
57. Among writers of the time, both Fuhrmann (Musicalischer-Trichter, 86) and Majer
(Museum musicum, 89) equated the fantasia with the capriccio.
58. Eppinger (Fantasien, 174) notes that in mm. 3031 the top contrapuntal voice
includes the subjects rst three notes in retrograde.
59. TWV 1:237. The sole source for the collection is an eighteenth-century manu-
script in an unknown hand; all that survives of Telemanns Hamburg edition is a single
602 Notes to Pages 43040

copy of the title page, which was mistakenly appended to the unique exemplar of the ute
fantasies.
60. Quantz, Versuch, 294; Reilly, On Playing the Flute, 310.
61. The collection includes 41:h4, A4, g6; 42:Es1, e2, D5; 43:G2, d1, e2; 50:5, 9, 10;
53:A2, F1; 54:Es1; 55:e1, D1, B1. In TWV 3 the catalog number 50:5 is assigned to the
Conclusion of Production 1, even though it had already been given to a two-movement
sinfonia in TWV 2.
62. TB, 180: Di Werk wird hoentlich mir einst zum Ruhm gedeien, / Du aber
wirst den Wehrt zu keiner Zeit bereuen.
63. Reimer, Tafelmusik, 36.
64. Zedler, Tael-Music, in Groes vollstndiges Universal-Lexicon, 41: col. 1436: Tael-
Music, diese ist tglich an Frstlichen Hfen, in so lange keine grosse Trauer einfllt, zu
hren, wenn nehmlich die Hof- und Kammer-Musici, Mittags und Abends, in dem nch-
sten Zimmer bey dem Tafel-Gemach aufwarten, und annehmliche Symphonien und Con-
certen zur Belustigung der hohen Herrschaten, auf allerhand Instrumenten machen
mssen. Dergleichen Tafel-Musiquen hrt man auch auf entlichen Hochzeiten, Kindt-
auen und andern Festivitten, die unter brgerlichen Personen vorgehen.
65. Reproduced in Bowles, Turkish Military Bands, 551.
66. Scheibe, Critischer Musikus, 62021. Translated in Spitzer and Zaslaw, The Birth of the
Orchestra, 23031.
67. Owens, The Wrttemberg Hofkapelle, 29497.
68. That Telemann expected string parts to be doubled in at least some of the collec-
tions orchestral works is clear from solo and tutti notations in the printed parts. See
Maunder, The Scoring of Baroque Concertos, 17577.
69. Swack, The Solo Sonatas, 11718.
70. On the meaning of divertimento during the late seventeenth and early eigh-
teenth centuries, see Ruf, Divertimento, and Finscher, Studien zur Geschichte des Streich-
quartetts, 9395.
71. Walther, Musicalisches Lexicon, 27.
72. Ruf, Divertimento, 24.
73. SCHERZI MELODICHI / per divertimento di coloro, / che prendono le
Acque minerali / in Pirmonte, / con Ariette semplici e facili, / a Violino, Viola e Fonda-
mento. In the 173334 Amsterdam/Hamburg catalog of his publications, Telemann de-
scribed the forthcoming collection as Melodic Early Hours at Pyrmonts Waters
(Melodische Frh-Stunden beym Pyrmonter Wasser) and Six Small and Lively Intro-
ductory Symphonies with Suite (6. Petites & vives Sinfonies dIntroduction, avec la
suite). See TWV 1:234 and 236.
74. E Pirmonte, ove Iddio h concesse tante benedizzioni alle sue Acque Minerali, che
i miracoli, che annualmente fanno nel rendere la salute agli infermi, sorpassano la credenza,
essendo stato io stesso tr anni, testimonio instupidito, nel veder quel, che hanno eettuato
in altri, & in me stesso. Essendo dunque la Musica una parte de divertimenti innocenti, h
creduto che le presenti Compositioni potrebbero forse, causa della loro semplicit, e
gusto, rallegrare i forastieri quivi raunati pi chaltra Musica la pi articiale.
75. Brusniak, Zur Pege, 99, 104; and Amerkungen, 199.
 Notes to Pages 44052 603

76. Telemann reported being ill to the Eisenach court on 26 April 1730 (TB, 99).
Kuhnert (Urbanitt auf dem Lande, 7393) shows that many of the spas visitors came pri-
marily for social networking.
77. Brusniak, Zur Pege, 102; Kuhnert, Urbanitt auf dem Lande, 150, 181, 18990.
78. Kuhnert, Urbanitt auf dem Lande, 4546.
79. Ibid., 111.
80. For additional commentary on the collections musical style, see Jeanne Swacks
preface to Telemann, Douze Solos.
81. Telemann, Sechs Suiten and Sechs Konzerte.
82. For documentation of this practice during the rst third of the eighteenth cen-
tury see Fuller, Accompanied Keyboard Music, 23236.
83. See Mortensen, Unerringly Tasteful?, 67577.
84. Telemanns use of crossed-hand writing here and in Concerto 1/iv is a further
reection of the techniques popularity during the early 1730s, regarding which see Years-
ley, The Awkward Idiom.
85. See, for example, Concerto 1/ii, mm. 1117; Concerto 1/iv, mm. 4758; Con-
certo 2/ii, mm. 6166; and Suite 4/v.
86. See also the nal four measures of Concerto 3/i, which provide an embellished
and rescored version of mm. 2528.
87. Regarding the response to Corellis music across Europe, see Allsop, Arcangelo
Corelli, chaps. 1011; Angelucci, Il modello corelliano; Russell, An Investigation;
Arnold, The Corellian Cult in England; Finscher, Corelli als Klassiker; Edwards,
The Response to Corellis Music; and Pincherle, Corelli, chap. 3.
88. See TWV 1:235, 237.
89. Finscher, Corelli und die Corellisierenden SonatenTelemanns, 8095.
90. Despite Finschers view (Corelli und die Corellisierenden Sonaten Telemanns,
90) that this movement contradicts the intellectual demands of Corellis trio sonatas,
its inclusion here is justied in light of the pastorales status as an Italian baroque topic.
91. Marpurg, Abhandlung von der Fuge, 1:83, 96.
92. Telemanns privilege was granted on 3 February 1738 to protect several opuses
of instrumental music without words for twenty years beginning on 31 January 1738.
For a facsimile and transcription of the privilege, see Ruhnke, Telemanns Pariser Druck-
privileg von 1738, 9899. Le Clerc had received a privilege on 6 April 1736 to print
cinq oeuvres de Thelemann, and received another one on 12 January 1751 (retroactive
to 18 November 1750) to print instrumental works by Thelleman and others. See
Brenet, La librairie musicale en France, 436 and 446; and Ruhnke, Die Pariser Tele-
mann-Drucke, 152.
93. Mattheson, Grundlage einer Ehren-Pforte, 36667: Meine lngst-abgezielte Reise
nach Paris, wohin ich schon von verschiedenen Jahren her, durch einige der dortigen Vir-
tuosen, die an etlichen meiner gedruckten Wercke Geschmack gefunden hatten, war ein-
geladen worden, erfolgte um Michaelis, 1737, und wurde in 8. Monathen zurck geleget.
Daselbst lie ich, nach erhaltenem Knigl. Generalprivlegio auf 20 Jahr, neue Quatuors
auf Vorausbezahlung, und 6. Sonaten, die durchgehends aus melodischen Canons be-
stehen, in Kuper stechen. Die Bewunderungswrdige Art, mit welcher die Quatuors von
604 Notes to Pages 45260

den Herren Blauet [sic], Traversisten; Guignon, Violinisten; Forcroy dem Sohn, Gambisten;
und Edouard, Violoncellisten, gespielet wurden, verdiente, wenn Worte zulnglich wren,
hier eine Beschreibung. Gnug, sie machten die Ohren des Hofes und der Stadt ungewhn-
lich aufmercksam, und erwarben mir, in kurtzer Zeit, eine fast allgemeine Ehre, welche mit
gehuter Hichkeit begleitet war.
Sonst verfertigte ich fr Liebhaber zween lateinische, zwostimmige davidische
Psalmen mit Instrumenten; eine Anzahl Concerte; eine franzsische Cantate, Polypheme
genannt; eine schertzende Symphonie auf das Modelied vom Pere Barnabas; hinterlie eine
Partitur zum Druck von 6. Trii; setzte und hrte, zum Beschlu, den 71. Psalm in einer
grossen Motete, von 5. Stimmen und mancherley Instrumenten, die im Concert spirituel
von bey nahe hundert auserlesenen Personen, in dreien Tagen zweimahl, aufgefhret
wurde, und schied mit vollem Vergngen von dannen, in Honung des Wiedersehens.
94. Marpurg, Historisch-kritische Beytrge, 1:192. It is possible that Edouard was a relative
of the dancing master Jean douard (. late seventeenth century) and his brother, the ed-
itor and music bookseller Jacques douard (. 170927). See Marcelle Benoit, d-
ouard, in Dictionnaire de la musique, 262.
95. Bloch-Michel, Programmes du Concert Spirituel. 251.
96. Marpurg, Abhandlung von der Fuge, dedication to volume 1: Die Meisterstcke Ihrer
Feder haben vorlngst die falsche Meinung widerleget, als wenn die sogennante galante
Schreibart sich nicht mit einigen aus dem Contrapunct entlehnten Zgen verbinden liesse.
Die volkommenen Muster, die Sie hievon mit so allgemeinen Beyfall entworfen, liegen
nicht nur Deutschlande vor Augen; auch Frankreich, dem unvergleichlichen Frankreich
hat Ihr Nahme den Nahmen der Deutschen verehrungswerth gemacht. Durch die Finger
einer Boucon, eines Blavet, eines Fortcroix, eines Guignon schallet derselbe noch immer
an dem Gestade der Seine wieder.
97. Reipsch, Telemann und Frankreich, 3839, and Das Modelied vom Pere Bar-
nabas.
98. Bloch-Michel, Programmes du Concert Spirituel, 25960.
99. Saint Mard, Reexions sur lOpra, 263. Quoted in Reipsch, Telemann und
Frankreich, 46 n. 125.
100. La Laurencie, G. Ph. Telemann Paris, 8284.
101. Finscher, Studien zur Geschichte des Streichquartetts, 66.
102. Stal, Germany, 2:77. Quoted in Hanning, Conversation and Musical Style,
514.
103. D-Bds, Mus. 21791, Am. B. 349, SA 3554, SA 3902 (two copies, one incom-
plete), and SA 3929. Another Berlin copy of the duets, Mus. 21785/5, may have origi-
nated in southern Germany or Austria, for it is written on Italian paper.
104. On the attitudes of Berlin musicians toward canon, see Yearsley, Bach and the Mean-
ings of Counterpoint, 13843, 15557.
105. Marpurg, Abhandlung von der Fuge, 2:94.
106. TWV 1:125.
107. Devris and Lesure, Dictionnaire des diteurs, Nos. 13133, 202; Ruhnke, Die
Pariser Telemann-Drucke, 15759.
108. Landmann (Die Telemann-Quellen, 92) believes a Dresden manuscript copy of the
 Notes to Pages 46066 605

collection (D-Dl, Mus. 2392-P1) to have been prepared in Berlin during the third quar-
ter of the eighteenth century, thus during Quantzs tenure at the court of Frederick the
Great.
109. Reipsch and Zohn, Unbekannte Instrumentalmusik. For a description of the
manuscript parts (D-Bds, SA 3903), copied around 1780, see Telemann, Neun Sonaten, 52.
The duets are in the following keys: b, e, G, A, G, e, b, G, D.
110. On her involvement with the Sing-Akademie, see Wollny, Sara Levy. Levy also
owned manuscripts of the XIIX Canons mlodieux (D-Bds, SA 3902) in the same
unidentied copying hand as the duets under discussion.
111. Interestingly, this manuscript (D-Bds, Mus. ms. 21787; dated to ca. 1740 by Jae-
necke, Autographe und Abschriften, 291) contains a number of markings that suggest its use
in performance or as teaching material. These include dynamic indications (1/iii) and no-
tations in pen and pencil of what appear to be an alternate passage for one of the ute
parts and a counterpoint exercise (in the empty staves following 3/ii and 6/iii).
112. For Telemanns correspondence with these musicians, see TB, 12628, 264306,
32728, 36673. Czornyj (Georg Philipp Telemann, 112) suggests that Telemann and
Graun began exchanging letters before the spring of 1735, when the latter moved from
Wolfenbttel to Ruppin. It is certain from Grauns letter of 7 December 1739 that the
two were in contact before Telemann left for Paris in September 1737.
113. Czornyj (Georg Philipp Telemann, 1089) speculates that Telemann visited
Graun in Berlin during the second half of 1751.
114. See Rampe, Bach, Quantz und das Musicalische Opfer, 1920; and Oleskiewicz,
The Trio in Bachs Musical Oering. On the possibility that the G-minor sonata, BWV
1020, and the E-at sonata, BWV 1031, were modeled on works in the same keys by
Quantz, see Rampe (1819) and Swack, Quantz and the Sonata in E-at Major.
115. Telemann, Vorwort und Symphonie zur Serenate, 8.
116. Die Erndung dieser Symphonie ist durch die Vorstellung einiger in einem
Jahrhunderte vorgefallenen Vernderungen in den musicalischen Schreibarten veranlasset
worden, aus welchen ich diejenigen erwhlet habe, die, anstatt der Wut der sonst gewhn-
lichen Symphonien, eine freundliche Gemthsbewegung erwecken knnen. Sie sind in vier
Abstze getheilet. Den ersten nenne ich: Die alte Welt; unter Andeutung des Zeitmaes: Alt-
deutsch. Nach solchen ehrbaren Melodien ward ehemals von Hohen und Niedrigen, auch
von Ehrwrdigkeiten, getanzet. Der zweyte Theil iesset aus dem ersten, nur mit dem Un-
terschiede, da er etwas lebhafter einher tritt, und darum die Beyschrift fhret: Ernsthaft-
munter. Die mittlere Welt macht den dritten Theil aus, und das Wort, Capellmig, deutet sein
Tactgewicht an. Der Satz selbst bestehet aus einem Gewebe, das aus einer einzigen Clausul
entstehet. Dergleichen Ausarbeitungen waren schon vorlngst in den Capellen der Hfe
fr andchtig erklret worden, wurden aber vor etwa 50 Jahren auch zum weltlichen Ge-
brauche berall angewendet. Die jngere Welt beschliesset mit einer lustigen Menuet. Von
den Abnderungen bey der Nachwelt wre zwar mancherley wahrscheinlich vorher zu
sagen: Jedoch, ein Saul zu seyn, / Dazu bin ich zu klein. / Telemann, / im 85sten Jahre.
117. See the discussion of Polish dances in Przybyszewska-Jarminska, History,
48384.
118. TWV 1:10. The fughetta next appeared in John Casper Hecks The Musical Library
606 Notes to Pages 46671

and Universal Magazine of Harmony (London, ca. 1775). See Klein, Dokumente zur Telemann-
Rezeption, 4548.
119. As is suggested by Philipp, Lppische Schildereyen?, 29394.

Chapter 9

1. On the chronological boundaries of the long eighteenth century in music, see Web-
ster, The Eighteenth Century as a Music-Historical Period?, 5560.
2. Koch, Die Bedeutung der polnischen, 28.
3. Bill, Die Polonaisen Christoph Graupners, 7786; Little and Jenne, Dance and the
Music of J. S. Bach, 19798.
4. Ich kenne keine andere Polnische Musik, als die ich in [Telemanns] Composition
wahrgenommen, die mir gar barbarisch und eben so schn, als der Brenfhrer ihre, klingt.
Doch bin ich von einigen versichert worden, da Telemann die polnische Musik, die
eigentl[ich] zum Tantz gehrt, nicht einmahl recht verstehe und sich damit lcherlich
mache. Weil er davon so eingenommen ist, sollten die Polacken nach seinem Tode billig
um seine Haut anhalten, um daraus einen schnen polnischen Bock verfertigen zu laen.
Quoted in Koch, Die Polnische und Hanakische Musik, 2:85. Marx (Johann Mattheson, 77 and 144
n. 81) reproduces the leaf with Telemanns questions, and speculates that the composer
may have posed them to Hurlebusch in connection with the vacant position of organist
at Hamburgs St. Petrikirche in 1735.
5. NBR, 460; Zohn, Images of Telemann, 47576.
6. Simon, Polnische Elemente, 26. A seventeenth-century Austrian woodcut by Moritz
Wellhfer entitled Ein schner Beern-Tantz shows a dancing bear accompanied by an
ox playing the bagpipe and a donkey beating drums. See the reproduction in Alexander
and Strauss, The German Single-Leaf Woodcut, 2:688. Przybyszewska-Jarminska (History,
125) quotes an old Polish saying: the bears died, so throw down the bagpipes and
utes. Stephen Rose points out to me that a bear-skin (Bernhuter) was an idiot or fool
in German popular literature of the seventeenth century.
7. Koch, Die Polnische und Hanakische Musik. Other particularly informative studies include
Ruhnke, Zu Telemanns Polonaisen; idem, Telemann und die polnische Volksmusik;
Senhal, Hannakische Musik; and Steszewska, Polnische Elemente.
8. A similar point is made by Ruhnke, Zu Telemanns Polonaisen, 59. Telemanns
letter to Walther is quoted in chapter 3.
9. Koch (Die Bedeutung der polnischen, 2627) identies Hanakian music as
that of the Gorals (highlanders), an ethnic community in the southern Polish region of
Podhale, in the foothills of the Tatra mountains. He further suggests that Telemann may
have been referring more broadly to traditional music of the Carpathian mountains, as far
south as Moravia in the eastern Czech Republic. Seven movements by Telemann are la-
beled as Hanakian.
10. On the counts residency in Poland between 1704 and 1707, see Kruczek, Tele-
mann in Pless, 4041.
 Notes to Pages 47173 607

11. Telemann, Lebens-lau, 175: Ferner wurde hier / wegen der Nachbarschat /
mit der Polnischen Music bekannt / wovon gestehe / da ich viel Gutes und vernder-
liches darbey gefunden / welches mir nachgehends in manchen / auch ernsthaten
Sachen / Dienste gethan. Bey Erwehnung dieses bey der Music-verstndigen Welt so
schlecht geachteten Styli kann mich nicht enthalten / ihm ein kleines Panegyricum zu set-
zen: Es lobt ein jeder sonst das, was ihn kann erfreun. / Nun bringt ein Polnisch Lied die
gantze Welt zum springen; / So brauch ich keine Mh den Schlu heraus zu bringen: /
Die Polnische Music mu nicht von Holtze seyn.
12. Mattheson, Grundlage einer Ehren-Pforte, 360: Als der Hof sich ein halbes Jahr lang
nach Plesse, einer oberschlesischen, promnitzischen Standesherrschat, begab, lernete ich
so wohl daselbst, als in Krakau, die polnische und hanakische Musik, in ihrer wahren bar-
barischen Schnheit kennen. Sie bestund, in gemeinen Wirthshusern, aus einer um den
Leib geschnalleten Geige, die eine Terzie hher gestimmet war, als sonst gewhnlich, und
also ein halbes dutzend andre berschreien konnte; aus einem polnischen Bocke; aus einer
Quintposaune, und aus einem Regal. An ansehnlichen Oertern aber blieb das Regal weg;
die beiden ersten hingegen wurden verstrckt: wie ich denn einst 36. Bcke und 8. Geigen
beisammen gefunden habe. Man sollte kaum glauben, was dergleichen Bockpfeier oder
Geiger fr wunderbare Einflle haben, wenn sie, so ot die Tantzenden ruhen, fantaisiren.
Ein Aufmerckender knnte von ihnen, in 8. Tagen, Gedancken fr ein gantzes Leben er-
schnappen. Gnug, in dieser Musik steckt beraus viel gutes; wenn behrig damit umge-
gangen wird. Ich habe, nach der Zeit, verschiedene grosse Concerte und Trii in dieser Art
geschrieben, die ich in einen italinischen Rock, mit abgewechselten Adagi und Allegri,
eingekleidet.
13. See Norlind, Zur Geschichte; Simon, Polnische Elemente; and Hlawiczka, Grun-
dri.
14. Bowles, Musical Ensembles, 210. See also the discussion of the festivities in Owens,
Gedancken fr ein gantzes Leben, 44.
15. Ein teutscher Trunk Wein gewachsen am Rhein, / die welche violen, frantzsis-
che bein / man mcht auch schon holen die Tnze von Polen, / es reimt sich doch fein.
Quoted in Simon, Polnische Elemente, 37.
16. Przybyszewska-Jarminska, History, 124.
17. Weigel, Musicalisches Theatrum, 30: Hopp he, sa, sa! Mein Hann, spring Lustig mit
der lze, / mein Sack pfeit treich laut, die tntze gehen gut; / Schau, wie dein Dien-
del prangt, in Gold verbrmten peltze / Sie mu dir machen ja ein rechten frischen
muth; / drum lustig immer fort; thu es nur tapfer wagen: / Es wird hier keine nicht dir
einen tantz abschlagen (Hopp he, sa, sa! My Hans, leap joyfully with Olga, my bag pipes
splendidly loud, the dances go well. See how wonderful your lass looks in gold-trimmed
fur; she must really cause you to take renewed heart. Be always merry, only venture to do
it boldly: no one here will refuse you a dance.). Simon (Polnische Elemente, 75) observes that
cries like hop, hop, hej were still common in Polish and other Slavic songs during the
nineteenth century.
18. Weigel, Musicalisches Theatrum, 31: Ich bin ein schner Mensch und kan so treich
pfeien / auf den anmuthigen Bock, da manchen bel wird; / auch! wie die Bren selbst
608 Notes to Pages 47379

ein Menuet begreien, / doch weil von vieler Mh der Hals gantz abgekirrt, / so
schenckt ihr Tantzende, die trotz den Bren springen / mir bald was in den Bock! So will
ich lustig singen.
19. Marissen, Social and Religious Designs, 33.
20. Czekanowska, Polish Folk Music, 16769.
21. Agricola, Musica instrumentalis deudsch, 204; Speer, Unterricht, 92.
22. Bula (Das Volkslied) provides an overview of traditional music in the Pless re-
gion, as transcribed around the turn of the twentieth century.
23. Czekanowska, Polish Folk Music, 8082.
24. Wol, Inventing Eastern Europe, 345 and 291.
25. Ibid., chap. 4.
26. Quoted and translated in ibid., 334.
27. Jaucort, Pologne, 932: Elle na point dcole de Peinture, point de thtre; lAr-
chitecture y est dans lenfance; lHistoire y est traite sans got; les Mathmatiques peu
cultives; la saine Philosophie presque ignore; nul monument, nulle grande ville.
28. Voltaire, Correspondence, 47:136 (Letter 9311, to Pierre Michel Hennin): Je donne
encor cinq cent ans aux Polonais pour faire des toes de Lyon, et de la porcelaine de
Sv[r]e.
29. Quoted in Wol, Inventing Eastern Europe, 27980.
30. Viel federn giebt Es hier, Undt doch die betthe schlecht, / Viel Dieb Undt
Schelmisch Volck, gar wenig galgen Recht. / Viel frcht Undt wenig Brodt, Viel holtz
Undt schlimme brcken, / Viel Krieg Undt wenig blutt, Im Sommer sehr Viel Mcken. /
Die Sbel sindt nicht Rar, wie auch die Pfeyl Undt Kcher, / Die Huser Unerwehrt, die
Stuben Schwartze lcher. / Doch Schne pferdt giebts hier und dennoch garstig stlle, /
Zwar Stcke haben Sie, Undt dennoch Schlechte Wlle. Quoted in Arnold, Geschichte der
Deutschen Polenlitteratur, 26263.
31. Voltaire, Charles XII, 58.
32. Sgur, Mmoires, 2:15354: Mais, ds quon entre en Pologne, on croit sortir en-
tirement de lEurope, et les regards sont frapps dun spectacle nouveau: une immense
contre, presque totalement couverte de sapins toujours verts, mais toujours tristes,
coupe de grandes distances par quelques plaines cultives, semblables aux iles parses
sur lOcan; une population pauvre, esclave; de sales villages; des chaumires peu di-
rentes des huttes sauvages; tout ferait penser quon a recul de dix sicles, et quon se
retrouve au milieu de ces hordes des Huns, des Scythes, des Ventes, des Slaves et des Sar-
mates. Translated in Sgur, Memoirs and Recollections, 2:122.
33. Ledyard, Journey Through Russia and Siberia, 228. Ledyard further observes (211) that
there is a rude, unnished, capricious fantastic Taste that divides both Poland & Russia
from the Genius of Europe.
34. Fichte, Briefwechsel, 1:17578.
35. Telemann, Lebens-lau, 175; Mattheson, Grundlage einer Ehren-Pforte, 36061.
36. Printz, Phrynidis Mytileni, 3:84: da waren zween Bier-Fiedler / die machten eine
solche Harmonie, da mir die Ohren vier Wochen lang davon wehe thaten / massen der
Bassiste ins Wesen hinein schrobete / wie es ihm einkahm / also / da er fast nichts / als
lauter ben machte / und gemeiniglich eine Secunde ber oder unter dem Thon / so mit dem
 Notes to Pages 47982 609

Discant eine Octav resoniret / aushielte. Nichts desto weniger geele denen Bauern diese
Music so treich wohl / und wurden darvon so lustig / da ich gedachte / sie wrden die
Stube umbkehren. Translated in Chew, The Austrian Pastorella, 142. This reminis-
cence is provided by the character of Euclides, one of Printzs mouthpieces in the book.
37. Printz, Phrynidis Mytileni, 3:8586.
38. Fuhrmann, Musicalischer-Trichter, 75: Vitium Conjunctionis ist / wenn man altvter-
liche Passagien zusammen setzet / da Bauer- und Bieredler-Manieren daraus werden /
dergleichen die Pfuscher / Scher-Geiger / Bock-Pfeier / Leyrer und Sack-Pfeier zu
machen pegen: Aber diese nicht allein / es knnens auch andere vermeynte Knstler /
da man schweren solte / sie htten der Bieredler ihre Briee gefunden. Translation
adapted from Spitzer and Zaslaw, Improvised Ornamentation, 545.
39. Der Polnische Pracher mit seiner, aus einem alten Babilonischen Weidenstock
zugehauenen, mit verschiedenen ausgedrreten Aalshuten geickten, mit dritthalb Paar
verroste[te]n Eisernen Seiten bezogenen und mit einem alten Fingerhut hengenden Fed-
erkiel gespielten Pandur, nebst seinem erbrmlich schn singenden Discantisten Pachole
in einem Musicalischen Concentum von 5 Instrumenten formiret. Quoted in Kremer,
Zwischen Barbarei und Schnheit. I am grateful to the author for sharing his unpub-
lished paper with me.
40. Harwood and Nordstrom, Bandora [pandora], 654.
41. Grner, Sammlung neuer Oden und Lieder, preface: Man hat mich auch versichert, da
viele Scherz- und Liebeslieder der Polen und die kriegerischen Dumy der Cosaken, zu
welchen sie auf der Pandore zu spielen pegen, in ihrer Art unvergleichlich sind und den
beliebtesten Gesngen der Franzosen und Italiner den Vorzug streitig machen knnten.
42. Harwood and Nordstrom, Bandora [pandora], 653; Zedler, Pandore, in Groes
vollstndiges Universal-Lexicon, 26: col. 532.
43. Kremer, Zwischen Barbarei und Schnheit. Quotation from Psalm 137:12
(New Revised Standard Version).
44. Salmen, . . . denn die Fiedel macht das Fest, 6163.
45. See Thomke, Musikerguren, for a sampling of Beers literary accounts of mu-
sicians. Stephen Rose has pointed out to me that some of Beers novels (such as Teutsche
Winternchte of 1682 and its 1683 sequel, Die kurtzweiligen Sommer-Tge) place value on itin-
erant musicians as sources of entertainment. And elsewhere Beer writes with contempt
about professional musicians, especially organists.
46. Beer, Smtliche Werke, vol. 12/I, chap. 46 (Von denen Bier-Fidlern), 37679; chap.
19 (Von Teutschen / Welschen / Frantzsischen Sngern und Instrumentalisten), 327:
Occasione dessen mu ich auch etwas von einem Polacken melden / welchen in Leipzig
auf dem Pauliner-Collegio dergestalten geschwind auf seiner Violin hin und wieder / auf
und nieder / oben und unten / solvirt und gebunden / habe herumfahren / hupen und
springen sehen / da ich immer gedacht habe / der Kerl wrde mit samt der Fiddel zum
Fenster naus fahren. Der Teutsch / so mit ihm geigte / wolte diesem nichts nachgeben /
fuhre der Polack mit einem musicalischen Schwermer voran / so wischte dieser mit einem
halbpfndigen Raquetlein hinten nach / da hrte man denn ein gedel gefadel / quidel
quadel, ropeldi popeldi, rumpidi, pumpidi, da einer nicht gewust hat / sey es gehauen oder
gestochen / genhet oder geklppet / Kraut oder Rben / Most oder Milch / kurtz /
610 Notes to Pages 48284

sie bewegten sich in diesem Kramantzen dergestalten mit dem Kope / da dem einen
die Peruque auf halbweg zwle hinber stunde / und er nur mit einem Auge die Parthie
sehen konte.
47. On the professional tensions between town musicians and beer-ddlers, see
Drescher, Spielmnnische Tradition, 96107; Krickeberg, Social Status of the Spielmann,
11920; Roch, Von Kunstpfeifern, Bieredlern und andern Bernheutern, 14851; and
Tatlock, Authority, Prestige, and Value, 25052. Not surprisingly, Printzs three novels
depicting the lives of ctional Stadtpfeifer (Cotala, 1690; Pancalus, 1690; Batalus, 1691) in-
clude many negative depictions of beer-ddlers.
48. Salmen, . . . denn die Fiedel macht das Fest, 99.
49. Kayserliche Conrmation der Artickel des Instrumental-Musikalischen Collegii in dem Ober- und
Nieder-Schsischen Crais und anderer interessierten Oerter: Soll keiner sich unterfangen, unehr-
liche Instrumenta, als da seyn Sackspfeifen, Schafsbcke, Leyern und Triangeln, welcher
sich oftmals die Bettler zum Sammeln der Almosen fr den Thren gebrauchen, zu
fhren, dadurch dann die Kunst ebenfalls in Verachtung gebracht und verkleinert gehal-
ten wird. Quoted in Moser, Musikergenossenschaften, 91.
50. Soll keiner von dieser Profession, er sey gleich Herr, Gesell, oder Jung sich un-
terstehen, bei Aufwartungen, Sackpfeien, Pohlnische Bock, Leyern, Triangel und der-
gleichen nicht Musicalische Instrumenten zu gebrauchen, im wiedrigen Fall und auf be-
stretten von der Musicalischen Cassa um zwey Gulden gestraet werden. Quoted in
Sittard, Zinckenisten-Ordnung, 30.
51. Krickeberg, Social Status of the Spielmann, 10102 and 115.
52. Zedler, Musicanten, in Groes vollstndiges Universal-Lexicon, 22: cols. 138687.
53. Krickeberg, Social Status of the Spielmann, 10607.
54. Wol, Johann Sebastian Bach, 19293; Quantz, Lebenslauf, 20708.
55. I am indebted to Stephen Rose for this information.
56. Owens, Gedancken fr ein gantzes Leben, 4854. Perhaps not coincidentally,
the musical collection of the Wrttemberg Crown Prince Friedrich Ludwig (now at D-
ROu) includes several of Telemanns Polish-style sonatas and concertos (42:a8, 43:G7,
43:B3, 51:D3, and 51:G1), all identied in the manuscripts as polonois, polonosse,
or the like.
57. Fischers dances appeared as appendices to his Tafel-Musik and Musicalische Frsten
Lust (see Table 1.1).
58. Przybyszewska-Jarminska, History, 75, 9192, 156; Zamoyski, The Polish Way,
19799.
59. Benda, Auto-Biographie, 252: In der zeit pegte in einem andern Gasthause ein
Alter Jude Nahmens Lebel der Blind gebohren war ebenfalls zu Dantz zu spielen, ein
Mann von gantz Vortreigen gaben zur Musique. Er componirte Seine piecen Selbst,
spielte sauber und in der usersten Hhe sehr rein, und Machte sein Instrument ob schon
die Violine nicht sonderlich war gar ausnehmend wohl Klingen. Ich gieng Ihme ters
nach um Gelegenheit zu haben, ber seine spielarth meine reexiones zu Machen und
Muss aufrichtig gestehen, dass ich durch ihn mehr anlass bekommen mich zu bemhen
dass Instr. wohl Klingend zu Machen, als durch Meinen Meister Selbst. Translation
adapted from Nettl, Forgotten Musicians, 212. According to Czekanowska (Polish Folk Music,
165), Jewish violinists in Poland were renowned for their soft timbres.
 Notes to Pages 48487 611

60. Burke, Popular Culture, 810.

61. Bellman, The Style Hongrois, 2324.
62. Ibid., 12.
63. Wol, Inventing Eastern Europe, 311.
64. Schubart, Ideen zu einer sthetik der Tonkunst, 248: Die Volksmelodien dieser Nation
sind so majesttisch und dabey so anmuthig, da sie von ganz Europa nachgeahmt wer-
den. Wer kennt nicht den ernsten, feyerlichstolzen Gang der so genannten Polonoisen?
wer nicht den sanftnselnden Dudelsackgesang der Polaken?Ihre Lieder wie ihr Tanz,
gehren unter die schnsten und reitzendsten aller Vlker.
65. Christian Schmid, Der Bauren Tantz sampt dem Kegel-Platz: Mein Sackpfeien thut
nit klingen wol / Wann sie nit jederzeit ist voll / Also kann ich nicht lustig seyn / Wann
ich nit hab zu trincken Wein / Drumb wlt ihr / da mein Pfei thu klingen / So thut
mir auch zu trincken bringen (My bagpipe doesnt sound well when it is not full at all
times, just as I cannot be merry when I dont have wine to drink. So if you want my pipe
to sound, bring me something to drink.). The woodcut is reproduced in Alexander and
Strauss, The German Single-Leaf Woodcut, 2:530.
66. A brief denition of lustig from the 1730s (Zedler, Groes vollstndiges Universal-
Lexicon, 6: col. 1117 and 18: col. 1263) gives as synonyms content, satised, and happy,
but not amusing or comic. A longer denition from the turn of the nineteenth century
(Adelung, Wrterbuch, 2: cols. 213738) notes the words secondary meaning of arous-
ing laughter, funny, jocular. Grimms entry for lustig (Deutsches Wrterbuch, 12: cols.
134245) seems to conrm that this meaning became increasingly common during the
course of the eighteenth and early nineteenth centuries.
67. Coxe, Travels, 2:16668. At a ball given by Count Tysenhausen at Grodno (now in
Belarus), Coxe encountered what must have been courtly versions of Polish dances: The
Polish dances are simple, but not decient in grace, accompanied by a most pleasing air:
the company stand in pairs; the rst man leads his partner around the room in a kind of
step not much unlike that of a minuet, he then quits her hand, makes a full circle, joins
hands again, and repeats the same movements until the conclusion (2:23435).
68. Ibid., 2:16970.
69. Giord, Pastoral, 1718.
70. Bakhtin, Rabelais and His World, 6.
71. Giord, Pastoral, 24.
72. Powell, Pourquoi toujours des bergers?, 16789.
73. Bellman, The Style Hongrois, 127.
74. As noted in the previous chapter, the Polish rst movement of the Symphonie zur
Serenate includes a section entitled Ernsthaft-munter (Serious-cheerful). Additionally, the
polonaise movements in the rst two of the VI Ouverturen nebst zween Folgestzen bear the
serious-comic titles Larghetto e scherzando and Largo e scherzando.
75. Scheibe, Der critische Musikus, Funfzehntes Stck. Dienstages, den 17 September,
1737, 11819; revised and expanded in Critischer Musikus, 14950: Der berhmte Hr.
Telemann hat ihn am ersten in Schwang gemacht, und uns durch die schnsten Proben
dargethan, wie schn dieser Musikstyl ist, wenn sie in seiner Vollkommenheit ausgebet
wird. . . . Insgemein ist diese Schreibart zwar lustig, dennoch aber von groer Ernsthaftig-
keit. Man kann sich auch derselben zu satyrischen Sachen sehr bequem bedienen. Sie
612 Notes to Pages 48790

scheint fast von sich selbst zu spotten; insonderheit wird sie sich zu einer rect ernsthaften
und bittern Satire schicken. In the earlier version of this passage, Scheibe had credited
Telemann with making the Polish style well known (which was surely not the case), rather
than creating a vogue for it.
76. Simon (Polnische Elemente, 105) nds comic Poles in plays beginning in the late six-
teenth century. On the song tradition, see Czekanowska, Polish Folk Music, 137.
77. In this context, one wonders whether the 6. Ouvertures avec la suite comique
(6 Scherzende Ouverturen) and 6. Sonates comiques (6 [Scherzende] Sonaten)
that Telemann advertised but apparently never published (see chapter 8) were to be over-
ture-suites and sonatas in the style polonais.
78. Mattheson, Kern melodischer Wissenschaft, 26 and 117: Wenn ich etwas zu setzten
oder solche Worte in Noten zu bringen htte, darin eine besondere Oenherzigkeit und
ein gar zu freyes Wesen herrschte, wollte ich keine Melodien-Gattung, denn die Polnische
dazu erkiesen: Maassen, meines Erachtens, hierin ihr wahres Abzeichen, oder Character
und Aect beruhet. Selten lt sich die rechte Natur und Eigenschat eines Volcks, bey
desselben Lustbarkeiten und Tntzen verstecken; ob es gleich bey andrer Gelegenheit
geschehen mgte.
79. Sulzer, Komisch, in Allgemeine Theorie. Quoted and translated in Wheelock, Haydns
Ingenious Jesting with Art, 30.
80. Literary Magazine and British Review 2 (June 1789): 43337. Quoted in Wheelock,
Haydns Ingenious Jesting with Art, 30.
81. Hiller, Wchentliche Nachrichten, 4:19: Nur hte er sich vor jenem seltsamen Gemis-
che des Comischen und Ernsthaten, des Lustigen und Traurigen, des Hohen und
Niedrigen, das so lange abgeschmakt bleiben wird, als es unnatrlich ist, zugleich zu
lachen und weinen. Translated in Hosler, Changing Aesthetic Views, 7.
82. Hiller, Wchentliche Nachrichten, 2:14. See also the criticisms of symphonies by Dit-
tersdorf and Haydn cited in Wheelock, Haydns Ingenious Jesting with Art, 3946.
83. Burney, A General History, 2:95859.
84. On the aesthetic implications of composers distancing themselves from and tran-
scending appropriated musics, see Born and Hesmondhalgh, On Dierence, 1516.
85. Liszt, The Gipsy in Music, 2:333.
86. The concept of the internal other as custodian of an authentic low culture is dis-
cussed by Bohlman, Composing the Cantorate, 189.
87. Scott, Orientalism and Musical Style, 314.
88. Bellman, The Style Hongrois, 3132.
89. Bowles, Turkish Military Bands, 546.
90. Sthlin, Nachrichten von der Musik in Russland, in Hiller, Wchentliche Nachrichten
(1770 ed.), 205: Schon am Hofe der Kaiserin Anna, bey Gelegenheit des trkischen
Frieden-festes 1739, ist zwar eine ziemliche Nachahmung der trkischen Musik durch ein
Chor deutscher Hof-Musicanten, unter der Direction des oben erwahnten Concertmeis-
ters Hbners, aufgekommen, und zur abwechselnden Lust bey der Tafel-Musik gebraucht
worden. Es war aber noch immer zu melodis, und nicht genug irregular oder trkisch.
Translation adapted from Bowles, Turkish Military Bands, 553.
91. Mannsker, Elegancy and Wildness, 17987.
 Notes to Pages 490505 613

92. Chew, The Austrian Pastorella, passim.

93. Chrysander, Braunschweig-Wolenbttelschen Capelle und Oper, 243.
94. Bellman, The Style Hongrois, 42.
95. Hunter, The Alla Turca Style, 51.
96. D-ROu, Mus. saec. XVII.18.533 and 533a. On the manuscripts contents and
provenance, see Koch, Die Rostocker Telemann-Quellen, 45. The movement has also
been assigned the number 45:31 in TWV 2.
97. Moberg, Musik und Musikwissenschaft, 70.
98. Mattheson, Der volkommene Capellmeister, 16263, 165, 228.
99. Scheibe, Der critische Musikus, 11819; Critischer Musikus, 14950.
100. Marpurg, Kritische Briefe, 2:4345.
101. Marpurg, Clavierstcke, 1:24.
102. Kirnberger, Oden mit Melodien, preface: Die deutschen Polonoisen sind von den
wahren Polonoisen ebenso zu unterscheiden, wie der Todtengrber von dem Priester, ob-
gleich beide schwarz geleidet sind.
103. Lhlein, Anweisung zum Violinspielen, 74: Diese pohlnische Tanz-Melodien haben
ihre eigenthhmliche Schnheit, wenn sie zumal in ihrer eigenen, und nicht in der
deutschen Tracht erscheinen. Sie sind schwerer zu setzen und zu spielen, als man glauben
solte. Ihr Vortrag verlangt einen gewissen Schwung, den man nur von den Polen selbst er-
lernen kann.
104. Trk, Klavierschule, 402: Ueberhaupt haben nur wenige Polonoisen, welche von
deutschen Komponisten geschrieben und in Deutschland getanzt werden, den Charakter
einer chten Polonoise.
105. Koch, Die Polnische und Hanakische Musik, 2:2829.
106. On descendental rhythms, see Steszewska, Poland, 19.
107. Simon (Polnische Elemente, 81) describes similar modal and rhythmic shifts in Pol-
ish traditional music.
108. Lambranzi, Tantz-Schul, 57 (plate 29).
109. On baroque choreographies for comic characters, see Harris-Warrick and Marsh,
Musical Theatre, 104, 110, 13540.
110. Mozart, Letters, 286.

Afterword

1. Ebeling, Versuch, 316: Ueberhaupt wre er grsser, wenn es ihm nicht so leicht
gewesen wre, so unsglich viel zu schreiben. Selten hat man von Polygraphen viele Meis-
terstcke. Quoted in Klein, Dokumente zur Telemann-Rezeption, 25. On Ebelings critique and
its inuence, see Zohn, Images of Telemann, 46061.
2. Finscher, Der angepate Komponist; Ruhnke, Zu Ludwig Finschers neuestem
Telemann-Bild.
3. Finscher, Der angepate Komponist, 55354: Leichtigkeit des Produzierens,
Einfhlungsgabe und genaue Kalkulation gingen eine Verbindung ein, die zwar keine
groe, aber eine auerordentlich gut angepate und entsprechend erfolgreiche Musik her-
614 Notes to Pages 5057

vorbrachte. Nichts scheint Telemann ferner gelegen zu haben als der Gedanke, etwa wie
Bach musikalische Ideale, gesttzt auf seine Machtflle, durchzusetzen, Gattungen sys-
tematisch auszukomponieren und unter ein selbstgesetztes Niveau des Komponierens
um keinen Preis abzusinken. . . . Telemann ist so, vermge der Leichtigkeit, Flle und Uni-
versalitt seiner Produktion und vermge seiner strategischen Stellung in den Zentren des
zukunftsbestimmenden brgerlichen Musiklebens, Wegbereiter jener Stilwende gewesen,
die eine rigorose Vereinfachung des kompositorischen Handwerks mit den Kategorien
Einfall und Originalitt zu kompensieren suchte. . . . Original sind Telemanns Einflle
nicht immerEinflle, die Eekt machen, sind sie fast stets.
4. Ruhnke, Zu Ludwig Finschers neuestem Telemann-Bild, 345.
5. Dart, Reviews of Music, 302 and 304.
6. Carner, New Music, 528.
7. Mann, Music Reviews, 6045.
8. Silbiger, Trio Sonatas, 3.
9. Noble, Editorial, 221 and 223.
10. Webster, Eighteenth Century.
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 Index of Telemanns Compositions
Instrumental works are listed according to TWV number; vocal works and collections are listed alphabetically. Page
numbers given in italics refer to gures and musical examples.
Sacred Cantatas, Passions,
and Psalm Settings
Ach Herr, strafe mich nicht, 7:1, 21718, 554 n. 2
Brockes Passion, 5:1, 180
Da ich mich hier eingefunden, 1:1748, 135
Deus judicium tuum regi da, 7:7, 45253
Der Gottlose ist wie ein Wetter, 1:251, 520 n. 37
Heilig, heilig, heilig ist Gott, 2:6, 182
Ich will die zerfallene Htte Davids, 2:10, 184
Komm wieder, Herr, zu der Menge der Tausenden in Israel, 2:12, 184
Kommt, die Tafel ist gedeckt, 1:1006, 24
Kndlich gross ist das gottselige Geheimnis, 1:1020, 409
Lieber Knig, du bist tot, 4:15, 57
Music vom Leiden und Sterben des Welt Erlsers (St. John Pas-
sion, 1745), 5:30, 338, 351, 386, 389, 584 n. 88,
595 n. 193
Schaffe in mir, Gott, ein reines Herz, 1:1241, 2024, 25, 520
n. 30
St. John Passion (1749), 5:34, 47, 595 n. 197
St. John Passion (1765), 5:50, 57
St. Luke Passion (1728), 5:13, 389
St. Luke Passion (1764), 5:49, 57
St. Matthew Passion (1726), 5:11, 389
St. Matthew Passion (1762), 5:47, 57
Zirknirsche du mein bldes Herze, 1:21, 409
Occasional Vocal Works
Auf Christenheit, begeh ein Freudenfest and Auf ihr treuen Unter-
tanen, 12:1, 180
Belintes lebte noch in bester Jahre Blte, TVWV deest, 516 n. 27
Brgerkapitnsmusik for 1725, 15:3, 89
De danske, norske og tydske undersaatters glaede, 12:10, 338,
38687
Du Herr bist unser Gott, 13:17, 183
Es stehe Gott auf, das seine Feinde zerstreuet werden,
13:8, 183
Das Evangelium, das Wort des Lebens, 13:10, 183
Jauchzet dem Herrn alle Welt, 13:7, 183
Lat uns immer lustig sein, TVWV deest, 516 n. 27
Mit Danken und mit Loben, 14:8, 182
Musicalisch-Chorgraphisches Hochzeit-Divertissement, 11:21, 74
Sey tausenmahl willkommen, o auserwhlter Tag, 13:9, 183
Teutschland grnt und blht im Frieden, 12:1c, 169
Secular Cantatas
Der May, 20:40, 61
Ich kann lachen, weinen, scherzen, 20:15
Polyphme, 20:36, 452
Wie? Ruhet ihr, versteckte Saiten?, 20:13, 4, 487
Operas, Serenatas, and Other
Dramatic Works
Die aus der Einsamkeit in die Welt zurckgekehrte Opera, 23:7,
575 n. 107
Der Britten Freude und Glckseligkeit, 23:3, 575 n. 107
Buffonet und Alga, oder Die Mans-tolle alter Jungfer, 21:21, 575
n. 107
Calypso, 21:19, 65, 13132, 449
Das Ende der babylonischen Monarchie oder Belsazar, 21:11,
13738
Flavius Bertaridus, Knig der Longobarden, 21:27, 575 n. 107
Der geduldige Socrates, 21:9, 73
Die Kronen-Wrdige Jugend an dem Glorwrdigsten Krnungs-
Feste, 23:6, 575 n. 107
Die Last-tragende Liebe, oder Emma und Eginhard, 21:25, 170,
575 n. 107, 597 n. 10
Miriways, 21:24, 490, 521 n. 47
Der neumodische Liebhaber Damon (Die Satyren in Arcadien),
21:8, 73, 78, 170, 499
Omphale, 21:14, 73, 78
Pimpinone, oder Die ungleiche Heirat, 21:15, 182, 337, 373,
377, 381, 388, 501, 502, 545 n. 109, 588 n. 134,
591 n. 162
Serenate auf die erste hundertjhrige Jubelfeyer der Hamburgischen
Lblichen Handlungs-Deputation, 24:4, 465
Sieg der Schnheit (Gensericus), 21:10, 73, 532 n. 47
659
660 Index of Telemanns Compositions

Operas, Serenatas, and Other Dramatic Works (continued) 40:11822, 458

Spirti amanti festeggiate, 23:1, 388 40:123, 228, 458
Unschtzbarer Vorwurf erkenntlicher Sinnen, 24:1, 8687, 89, 40:12429, 228, 460
433, 526 n. 88, 533 n. 58 40:130, 228, 463, 464
Die verkehrte Welt, 21:23, 101, 407 40:131, 228, 463, 464, 465
40:132, 228, 463
Songs and Canons 40:133, 228, 463, 465
Gengsamkeit (La es gehn, wie es geht), 36:22, 40:13435, 228, 463
595 n. 194 40:141, 228, 46061
Der Noten und Des Glckes Lauf, 25:114, 599 n. 24 40:142, 228, 46061, 462, 494
Sanfter Schlaf, 25:63, 487 40:14344, 228, 46061
Vergngen, 25:87, 487 40:145, 46061
40:14649, 228, 46061
Works for Keyboard and Lute 40:15052, 45859
30:28, 466 40:200, 149, 152, 156, 17980, 542 n. 63, 542 n. 66
32:2, 70, 499 40:201, 160, 163, 542 n. 69
32:3, 395, 397 40:202, 160, 163, 542 n. 69
32:4, 395, 397 40:203, 160, 162, 163, 164, 17980, 266, 542 n. 69
32:5, 459 40:204, 543 n. 69
32:6, 288, 289, 314, 459
32:7, 45960 Works for One Instrument
32:8, 35960, 567 n. 19 and Basso Continuo
32:9, 459 41:C3, 42324
32:10, 459, 522 n. 51 41:C4, 441
32:11, 27 41:C5, 395, 397
32:12, 28 41:c1, 27374, 275, 530 n. 27
32:13, 28 41:c2, 425
32:14, 28 41:c3, 423
32:15, 28 41:D1, 271
32:17, 28 41:D2, 278
32:18, 28 41:D3, 423
Anh. 32:1 (55:Es4), 520 n. 39 41:D6, 403
33:5, 548 n. 13, 567 n. 18 41:D7, 425
33:8, 548 n. 13, 567 n. 18 41:D8, 441
Anh. 33:1 (51:h3), 124 41:D9, 395
Anh. 33:2 (52:c1), 124 41:d1, 402
Anh. 33:6 (Anh. 43:B1, 51:B2), 124 41:d2, 423
35:6 (55:E1), 520 n. 39 41:d3, 441
36:1168, 410, 521 n. 47, 599 n. 27 41:d4, 39596
36:49, 72 41:d5, 564 n. 91
39:1, 497 41:Es1, 22, 27374
39:2, 72 41:E1, 278, 280
41:E2, 402
Works for One or More Instruments 41:E3, 526 n. 88
without Basso Continuo 41:E4, 425
40:1, 40506, 407 41:E5, 42324
40:213, 42729 41:E6, 441
40:14, 289, 290, 567 n. 17 41:e1, 27374
40:1516, 43031 41:e2, 423
40:17, 567 n. 17 41:e3, 311, 425
40:1825, 43031 41:e4, 311, 443
40:10103, 228, 39193 41:e5, 379, 39596, 400, 405, 574 n. 84
40:104, 39193, 461 41:e6, 172, 395, 397
40:105, 39194 41:e7, 564 n. 91
40:106, 39193 41:e8, 311
40:107, 403 41:e11, 311
40:108 (Intrada, nebst burlesquer Suite), 2122, 70, 41:F1, 278
101, 103, 33031, 405, 407, 499 41:F3, 441
40:111, 359 41:F4, 395
 Index of Telemanns Compositions 661

41:F5, 564 n. 91 42:c5, 179

41:f1, 403, 404 42:c7, 17980, 220, 222, 223, 555 n. 5
41:s1, 441, 574 n. 84 42:c8, 220
41:s2, 220 42:D1, 277
41:G1, 27172 42:D2, 421, 42425, 426
41:G2, 27374 42:D3, 424
41:G3, 278 42:D4, 228, 265, 549 n. 19
41:G4, 423 42:D5, 436, 573 n. 79
41:G5, 402 42:D6, 312, 322, 443, 448, 573 n. 79, 603 n. 85
41:G6, 282 42:D7, 43841, 522 n. 51
41:G7, 425 42:D8, 44951, 521 n. 47
41:G8, 441 42:D9, 394, 396
41:G9, 198, 199, 395, 548 n. 13 42:D12, 408
41:g1, 27172 42:D13, 22021
41:g2, 27375, 27677 42:D14, 152, 220, 221, 307, 310, 312
41:g3, 418, 423 42:D15, 218, 568 n. 28
41:g4, 404 42:D16, 22729, 231, 556 n. 22
41:g5, 40304 42:D19, 228
41:g6, 311, 436 42:d1, 42021, 424, 548 n. 13
41:g7, 311, 441, 573 n. 79 42:d2, 228, 26566
41:g8, 564 n. 91 42:d3, 443, 446, 44849, 454
41:g9, 22021 42:d4, 394, 400
41:g10, 220 42:d5, 45859
41:g11, 220 42:d6, 22, 218, 22023, 225
41:A1, 27172 42:d7, 282, 497, 500, 574 n. 84
41:A2, 279 42:d9, 220, 222, 223, 225
41:A3, 418, 419, 423 42:d11, 22730, 231, 232, 46465, 521 n. 47
41:A5, 311, 314, 441, 574 n. 80 42:Es1, 436
41:A6, 395, 396 42:Es2, 43841
41:A7, 220 42:Es3, 394, 396
41:a1, 9, 271 42:E1, 424, 497
41:a2, 423 42:E2, 443, 44849, 603 n. 85
41:a3, 311 42:E3, 44951
41:a4, 425 42:E4, 394, 396
41:a5, 441, 442, 443 42:E5, 573 n. 77
41:a6, 395 42:E6, 282, 29192, 312, 573 n. 79, 574 n. 80
41:a7, 564 n. 91 42:E7, 282, 574 n. 84
41:B1, 27374 42:e1, 188, 228, 265, 549 n. 19
41:B2, 278 42:e2, 436, 574 n. 84
41:B3, 359, 406 42:e3, 443, 448, 573 n. 79
41:B5, 423 42:e4, 312, 43841, 573 n. 77
41:B6, 395, 397 42:e5, 282
41:B7, 564 n. 91 42:e7, 568 n. 28, 573 n. 77, 574 n. 84
41:B8, 220 42:e10, 220, 312, 314
41:h1, 27172, 273, 311, 314, 326, 549 n. 19 42:e11, 22729, 231
41:h2, 40405, 450 42:e12, 18788
41:h3, 423 42:e14, 227
41:h4, 272, 274 42:F1, 27778, 573 n. 77
41:h5, 441 42:F2, 44951
42:F3, 394, 400
Works for Two Instruments 42:F4, 568 n. 28
and Basso Continuo 42:F6, 282
42:C1, 405 42:F7, 17980, 220, 222, 555 n. 5
42:C2, 282, 408, 409 42:F10, 282
42:C3, 220, 222, 307, 312, 573 n. 77 42:F11, 188
42:c1, 188, 228, 265, 408 42:F12, 220, 223, 408
42:c2, 312, 379, 394, 397, 400, 574 n. 80 42:F14, 312, 314, 574 n. 80
42:c3, 282 Anh. 42:F3 (43:F6), 234, 243, 573 n. 77
42:c4, 227, 229 42:f1, 45859
662 Index of Telemanns Compositions

Works for Two Instruments and Basso 42:h3, 44952

Continuo (continued) 42:h4, 394
42:G1, 27778, 291, 312, 31415, 549 n. 19, 574 n. 42:h5, 227, 229, 231
80, 574 n. 83 42:h6, 282, 573 n. 77
42:G2, 42425 42:h7, 220
42:G3, 266
42:G4, 443, 446, 44849 Works for Three Instruments and Basso
42:G5, 43841, 573 n. 77 Continuo
42:G6, 394, 397, 399, 573 n. 79 43:C1, 188, 26667, 269, 542 n. 67
42:G7, 573 n. 77 43:C2, 234, 24344, 568 n. 28
42:G8, 282 43:D1, 293, 313, 31921, 413, 416, 494, 572 n. 67
42:G10, 282 43:D2, 43839
42:G11, 22022, 22324 43:D3, 45355
42:G12, 228, 26566 43:D4, 26667, 268, 269, 542 n. 67, 568 n. 28
Anh. 42:G (42:A9), 291, 312, 573 n. 76, 574 n. 80 43:D5, 149, 152
42:g1, 27778 43:D6, 234, 240, 24344, 558 n. 30
42:g2, 312, 322, 443, 446, 447, 448, 603 n. 85 43:D7, 313
42:g3, 43841 43:D8, 568 n. 28
42:g4, 44952 43:d1, 172, 313, 321, 359, 436, 548 n. 13, 574 n. 80
42:g5, 394, 397, 398, 521 n. 47, 573 n. 79 43:d2, 26667, 269, 307, 310, 313, 542 n. 67, 568 n.
42:g6, 282 28, 573 n. 75
42:g8, 419, 422 43:d3, 179, 234, 23536, 24243, 279, 558 n. 30
42:g9, 282 43:Es1, 14950, 152, 15759, 18788, 291, 521 n.
42:g10, 282 47, 542 n. 66, 568 n. 22
42:g11, 282 43:E1, 249, 43839
42:g12, 220, 307, 310, 312 43:E2, 14950, 15253, 542 n. 66
42:g13, 188, 220 43:e1, 413, 417
42:g14, 220, 223, 225 43:e2, 24243, 436, 574 n. 84
42:g15, 202, 22022, 223, 225 43:e3, 249, 43839
42:A1, 42425 43:e4, 22, 449, 453, 45556, 457, 458
42:A2, 228, 265 43:e5, 149, 152, 18788, 542 n. 66, 543 n. 71
42:A3, 312, 322, 443, 448, 573 n. 79, 603 n. 86 43:F1, 26669, 270, 542 n. 67
42:A4, 43841 43:F2 (52:F5), 249, 291, 295, 568 n. 22
42:A5, 44951 43:F3, 149, 152, 542 n. 67
42:A6, 312, 314, 39495, 397, 574 n. 80, 574 n. 84 43:F4, 149, 152, 542 n. 67
42:A7, 45859 43:F5, 149, 152
42:A8, 422, 42324 43:F6 (Anh. 42:F3), 234, 243, 573 n. 77
42:A9 (Anh. 42:G), 291, 312, 573 n. 76, 574 n. 80 43:G1, 293, 31314, 319, 413, 415, 416, 449, 572 n.
42:A10, 282 67, 574 n. 80, 574 n. 84
42:A11, 188 43:G2, 31314, 436, 548 n. 13, 567 n. 18, 574 n. 80,
42:A12, 188 574 n. 84
42:A13, 22022 43:G3, 249, 43839, 560 n. 52
42:A16, 22729 43:G4, 45355
Anh. 42:A1 (43:A7), 21719, 292, 554 n. 3 43:G5, 188, 26667, 269, 542 n. 67
42:a1, 27778, 279 43:G6, 234, 236, 240, 291, 31315, 574 n. 80
42:a2, 312, 322, 443, 445, 448 43:G7, 149, 152, 15960, 497, 542 n. 62, 610 n. 56
42:a3, 443, 444, 44849 43:G8, 14952
42:a4, 394, 400 43:G9, 14950, 152, 542 n. 67
42:a5, 179 43:G10, 234, 239, 24243, 313, 315, 573 n. 77, 574
42:a7, 282 n. 83
42:a8, 494, 495, 573 n. 77, 610 n. 56 43:G11, 234, 243, 549 n. 22, 568 n. 28
42:B1, 27778, 312, 314, 574 n. 80 43:G12, 234, 239, 24243, 313, 315, 574 n. 80
42:B2, 443, 44849 43:G13, 313, 42:A9 76
42:B3, 43841 43:g1, 319, 413, 573 n. 77
42:B4, 394, 396, 574 n. 84 43:g2, 234, 243, 245, 291, 31315, 574 n. 80
42:B5, 573 n. 77 43:g3, 4546, 29495
42:B6, 18889 43:g4, 213, 234, 240, 307, 30809, 31314, 574 n. 80
42:h1, 312, 314, 32223, 443, 445, 448, 574 n. 80 43:A1, 239, 312, 319, 413, 415, 41617, 456, 573 n.
42:h2, 443, 44849 77, 573 n. 79
 Index of Telemanns Compositions 663

43:A2, 43839, 560 n. 52 50:23, 5658, 99, 515 n. 14

43:A3, 453, 455, 573 n. 77 50:43, 534 n. 71
43:A4, 266, 268, 269, 542 n. 67, 568 n. 28 50:44, 515 n. 14, 526 n. 92
43:A5, 149, 152, 542 n. 67 Anh. 50:1 (Symphonie zur Serenata), 338, 386, 46567,
43:A6, 149, 152, 18788 485, 593 n. 179, 611 n. 74
43:A7 (Anh. 42:A1), 21719, 292, 554 n. 3
43:a1, 43839 Concertos for One Solo Instrument
43:a2, 213, 313, 32326, 45356 51:C1, 170
43:a3, 234, 23639, 313, 31516, 31719, 330, 548 51:C2, 160, 497, 499
n. 13, 567 n. 18, 574 n. 80 51:C3, 170
43:a4, 14950, 152, 542 n. 67 51:c1, 12425, 131, 132, 13435, 13637, 20203,
43:a5, 14950, 152, 542 n. 66 205, 495, 496
43:a6, 541 n. 62 51:c2, 12425, 131, 133, 135, 20203, 205
43:B1, 14950, 152, 542 n. 67 51:D1, 17071
43:B2, 149, 152, 15455, 220 51:D2, 17071
43:B3, 149, 15960, 161, 497, 542 n. 62, 610 n. 56 51:D3, 170, 544 n. 92, 610 n. 56
Anh. 43:B1 (Anh. 33:6, 51:B2), 124 51:D4, 170, 544 n. 92
43:h1, 413, 417 51:D5, 131, 137, 139, 295, 501
43:h2, 31314, 323, 45355, 574 n. 80 51:D6, 295, 573 n. 77
43:h3, 234, 24344, 568 n. 28, 574 n. 84 51:D7, 12425, 129, 179, 295
51:D8, 12425, 129
Works for Four or More Instruments 51:D10, 12425, 127, 543 n. 76
and Basso Continuo 51:d1, 12425, 131, 13334, 135, 169, 17980, 202,
44:1, 22, 14950, 152, 542 n. 63 20405, 550 nn. 3031
44:2, 563 n. 78, 568 n. 28 51:d2, 131, 135, 139
44:3 (55:D24), 96, 534 n. 71 51:Es1, 539 n. 21
44:4, 563 n. 78 51:E1, 170
44:5, 17980, 25859, 563 n. 79 51:E2, 168
44:6 (55:F2), 27, 36 51:E3, 125, 127
44:7 (55:F4), 95, 520 n. 39, 521 n. 47, 534 n. 71 51:e1, 131, 13537, 138, 202, 273
44:8 (55:F5), 31, 522 n. 54, 534 n. 71 51:e2, 131, 135
44:9 (55:F8), 95 51:F1, 170, 171
44:10 (55:F9), 31, 95 51:F2, 167, 18586, 295
44:11, 188, 25859 51:F3, 12427, 295, 570 n. 42
44:12 (55:F15), 534 n. 71 51:F4, 4550, 56, 497, 501, 515 n. 14
44:13 (55:F17), 534 n. 71 51:f1, 131, 202, 202
44:14 (55:F18), 31, 96, 534 n. 71 51:f2, 295, 539 n. 21
44:15, 534 n. 71, 568 n. 28 51:G1, 170, 295, 610 n. 56
44:16, 534 n. 71 51:G2, 131, 19293, 195206, 214, 504, 539 n. 21,
44:32, 17980, 25859, 260, 261, 563 n. 79 548 n. 13, 550 n. 31
44:33, 25859 51:G3, 131, 135
44:34, 25859, 261, 563 n. 79 51:G4, 539 n. 29
44:35, 25859, 261 51:G5, 12425, 127
44:41, 166, 258, 26263, 570 n. 46 51:G6, 295, 570 n. 42
44:42, 166, 258, 26263, 264, 570 n. 46 51:G8, 12426, 18586
44:43, 166, 258, 26263, 265, 570 n. 46 51:G9, 168, 295, 574 n. 82
Anh. 51:G1, 295, 549 n. 22
Symphonies, Divertimenti, and Marches 51:g1, 12425, 179, 202, 205
50:1, 6061, 6263, 515 n. 14 51:A2, 131, 135, 13839, 539 n. 29
50:2, 22, 5658, 515 n. 14 51:A3, 160
50:3, 182 51:A4, 91, 533 n. 64
50:4, 258, 261, 26263, 281, 292 51:A5, 295
50:5 (church sinfonia), 18788 51:a1, 12425, 12730, 202, 205, 539 n. 19, 550 n. 33
50:5 (Musique de table), 436, 438 51:a2, 170, 546 n. 123
50:8, 45253 51:B1, 16869, 18586, 306, 515 n. 14
50:9, 436, 438 51:B2 (Anh. 33:6, Anh. 43:B1), 12426
50:10, 438 51:h1, 17071
50:21, 5658, 70, 9496, 109, 515 n. 14, 526 n. 92 51:h2, 12425
50:22, 38, 5658, 5960, 466, 515 n. 14 51:h3 (Anh. 33:1), 12425
664 Index of Telemanns Compositions

Concertos for Two or More Solo 55:C6, 31, 3840, 81, 8283, 99
Instruments 55:C7, 32, 38, 186, 522 n. 53
55:c1, 38, 184
52:C1, 539 n. 29 55:c2, 32, 185, 522 n. 54, 530 n. 27
52:C2, 12426 55:c3, 3132, 179, 275, 530 n. 27
52:c1 (Anh. 33:2), 12425, 131, 214 55:c4, 31, 45, 179
52:D2, 12425, 129 55:D1, 44, 5052, 43334
52:D3, 12425, 18586, 543 n. 76 55:D2, 38, 96, 43435, 520 n. 32
52:D4, 295, 538 n. 16, 549 n. 22 55:D3, 185
52:d1, 521 n. 47 55:D4, 22, 27, 34, 38, 45, 55, 72, 179, 521 n. 47, 522
52:Es1, 186 n. 53
52:e1, 172, 173, 497, 498, 539 n. 29 55:D5 (La Galante), 69, 487, 529 n. 19
52:e2, 12425, 13940, 262, 515 n. 14 55:D6, 44, 5051, 5354, 523 n. 65, 525 n. 84
52:e3, 220 55:D7, 521 n. 47, 533 n. 64
52:e4, 12728, 18586 55:D9, 2728, 32
52:F1, 539 n. 29 55:D10, 3132, 73, 521 n. 47
52:F4, 12425, 129, 131 55:D11, 32, 521 n. 47
52:F5 (43:F2), 249, 291, 295, 568 n. 22 55:D12, 39, 99, 499, 521 n. 47, 532 n. 47
52:G1, 12526, 541 n. 53 55:D13, 32, 38
52:G2, 12425, 126, 152, 18586, 538 n. 10, 546 n. 124 55:D14, 44, 53, 521 n. 47, 525 n. 84
52:g1, 12425 55:D15, 31, 38, 40, 41, 99, 521 n. 45, 522 n. 54, 565
52:A1, 539 n. 21 n. 97
52:A2, 12526, 186 55:D16, 27, 28, 520 n. 39
52:a1, 172, 295 55:D17, 90, 469, 490, 491
52:a2, 139, 573 n. 73 55:D18, 31, 524 n. 72
52:B1, 139 55:D19, 38, 186, 525 n. 81
52:B2, 125, 133 55:D20, 188
53:C1, 139 55:D21, 5658, 70, 90, 515 n. 14
53:D1, 13941, 179, 515 n. 14 55:D22 (Ouverture, jointes dune suite tragi-comique), 38,
53:D3, 135, 295 5658, 69, 10817, 515 n. 14
53:D4, 179 55:D23, 28, 36, 38, 5658, 95, 515 n. 14, 526 n. 92
53:D5, 169, 186, 539 n. 29 55:D24 (44:3), 96, 534 n. 71
53:E1, 174, 175 55:D26, 524 n. 69
53:e1, 139, 14142 55:d1, 27, 520 n. 39
53:e2, 314 55:d2, 31, 38
53:F1, 295, 435, 437 55:d3, 31, 38, 40, 522 n. 58
53:G1, 139, 142, 501 55:Es1, 434, 521 n. 47, 532 n. 47
53:g1, 179, 258, 261, 281 55:Es2, 31, 36, 44, 5354, 523 n. 65, 525 n. 84, 526
53:A1, 13940, 141 n. 89, 533 n. 63
53:A2, 175, 435, 440 55:Es3 (La Lyra), 6970, 96, 97
53:a1, 13941 55:Es4, 32, 520 n. 39, 521 n. 47
53:h1, 139, 141, 142, 515 n. 14 55:Es5, 179, 275
54:D1, 17475, 17678, 435 55:E1, 38, 520 n. 39, 521 n. 47
54:D2, 170, 186, 422, 539 n. 29 55:E2, 32, 54, 520 n. 39, 522 n. 58
54:D3, 169 55:E3, 4344, 53, 55, 291
54:D4, 170, 185 55:e1, 44, 50, 433
54:Es1, 435, 539 n. 29 55:e2, 32, 521 n. 47
54:F1, 4546, 314 55:e3, 27, 31, 34, 35, 38, 75, 99, 179, 185, 520 n. 39,
54:A1, 12426, 12829 521 n. 47, 531 n. 39
54:B1, 17273 55:e4, 532 n. 47
54:B2, 17274 55:e5, 185, 533 n. 63
55:e6, 185, 275
Overture-Suites 55:e7, 31
55:C1, 27 55:e8 (LOmphale), 31, 36, 69, 73, 96, 186, 213
55:C2, 2728, 50, 54, 525 n. 87 55:e9, 186
55:C3 (Wasser-Ouverture), 6970, 8389, 93, 117, 182, 55:e10, 31, 44, 54, 90, 526 n. 89
529 n. 17, 533 n. 55, 533 n. 59 55:F1, 96, 434, 520 n. 32
55:C4, 2728, 31, 32, 36, 38, 521 n. 47, 533 n. 63 55:F2 (44:6), 27, 36
55:C5 (La Bouffonne), 38, 69, 96, 98, 531 n. 39 55:F3, 27, 39, 99
 Index of Telemanns Compositions 665

55:F4 (44:7), 95, 520 n. 39, 521 n. 47, 534 n. 71 55:a7, 27, 72, 485, 521 n. 47
55:F5 (44:8), 31, 522 n. 54, 534 n. 71 55:B1, 44, 96, 43334
55:F6, 22 55:B2, 31, 275
55:F7 (Ouverture la pastorelle), 33, 6970, 90 55:B3, 72
55:F8 (44:9), 95 55:B4, 533 n. 63
55:F9 (44:10), 31, 95 55:B5, 32, 38, 7577, 179, 469, 531 n. 43
55:F10 (Ouverture la burlesque), 31, 6970, 72, 188, 55:B6, 70, 530 n. 26
529 n. 18 55:B7, 186
55:F11 (Ouverture en Pantomie), 39, 69, 8893, 96, 117, 55:B8 (Ouverture burlesque), 6970, 72, 74, 76, 104, 179,
182, 529 n. 18, 533 nn. 5960 469, 490, 529 n. 18, 530 n. 35
55:F12, 186, 525 n. 81 55:B9, 27, 31, 18586, 520 n. 39, 522 n. 58, 529 n. 15
55:F13, 28, 29, 36, 44, 50 55:B10, 36, 37, 38, 39, 40, 81, 8385, 107, 142
55:F15 (44:12), 534 n. 71 55:B11, 34, 70, 10509, 117, 186, 515 n. 14
55:F16, 57, 88, 95, 515 n. 14 55:B13, 31, 38, 45, 522 n. 58
55:F17 (44:13), 534 n. 71 55:h1, 2223, 27, 31, 33, 185, 520 n. 39
55:F18 (44:14), 31, 96, 534 n. 71 55:h3, 27, 45, 521 n. 47
55:f1, 22, 2728, 31, 36, 37, 72 55:h4, 44, 53
55:s1, 3132, 34, 38, 77, 99, 533 n. 63
55:G1, 38, 522 n. 58, 565 n. 97 Collections
55:G2 (La Bizarre), 28, 6970, 101, 10203, 529 n. 18 Auszug derjenigen musicalischen. . . Arien, 337, 34950, 354,
55:G3, 22, 521 n. 47, 565 n. 97 367, 388
55:G4 (Ouverture des nations anciennes et modernes), 31, 69, XIIX Canons mlodieux, 228, 338, 353, 366, 409, 452,
73, 7577, 80, 466, 529 n. 18 458, 460, 463, 585 n. 94, 605 n. 110
55:G5, 27, 38, 185, 520 n. 39, 521 n. 47 Continuation des sonates mthodiques, 337, 374, 376, 379,
55:G6, 44, 524 n. 69, 525 n. 84 388, 41718, 42224, 441, 587 n. 116, 591 n.
55:G7, 22, 27, 44, 50 159, 601 n. 45
55:G8 (La Querelleuse), 32, 69 De danske, norske og tydske undersaatters glaede. See under Occa-
55:G9, 22, 27, 522 n. 58 sional vocal works
55:G10 (Ouverture burlesque de Quixotte), 6970, 75, 95, Duos travers. et violoncell, 337, 378, 587 n. 113
10305, 117, 487, 529 n. 18, 533 n. 64, 535 n. 86 Engel-Jahrgang, 338, 351, 386, 388, 582 n. 72
55:G11, 185, 275 Essercizii musici, 172, 198, 279, 282, 31112, 337, 373,
55:G12 (Ouverture avec la suite burlesque), 6970, 72, 529 378, 37980, 383, 393400, 413, 423, 503, 521
n. 18 n. 47, 573 n. 79, 591 n. 157, 592 n. 168, 597 n. 6
55:G13, 524 n. 69 12 Fantaisies basse viole, 337, 349, 35153, 42627, 586
55:Anh. G1 (La Putain), 69 n. 113
55:g1, 38, 96, 43435 12 Fantaisies travers. sans basse, 337, 352, 374, 42629,
55:g2 (La Changeante), 33, 36, 38, 6970 591 n. 159
55:g3, 45, 275, 27677 Fantaisies pour le clavessin, 46, 288, 314, 337, 352, 366,
55:g4, 40, 179, 522 n. 60 37374, 42627, 430, 567 n. 18, 576 n. 4, 585
55:g5, 38 n. 99, 591 n. 154, 591 n. 159, 591 n. 161, 592 n.
55:g6, 31, 521 n. 47 163
55:g7, 44, 525 n. 84 XII Fantasie per il violino senza basso, 288, 314, 337, 378,
55:g8, 44, 5354, 525 n. 84, 526 n. 90, 533 n. 63 388, 42627, 43031, 567 n. 17, 586 n. 113
55:g9, 2223, 5657, 515 n. 14 Fast allgemeines evangelisch-musicalisches Lieder-Buch, 183, 337,
55:A1, 28, 43435 367, 36970, 377, 386, 388
55:A2, 87 Fortsetzung des harmonischen Gottesdienstes, 337, 34950, 352,
55:A3, 38 355, 35758, 36769, 374, 389, 590 n. 145,
55:A4, 4445, 523 n. 65, 524 n. 68 599 n. 24
55:A5, 38, 45 Franzsischer Jahrgang, 27
55:A6, 521 n. 47 Fugirende und veraendernde Choraele, 337, 352, 377, 588 n.
55:A7, 38, 44, 50, 70, 525 n. 84 134, 591 n. 160
55:A8, 4445, 99, 523 n. 65, 524 n. 68 Fugues lgres et petit jeux, 338, 353, 459, 592 n. 169
55:A10, 515 n. 14 Der getreue Music-Meister, 70, 280, 282, 311, 330, 337,
55:a1, 43435 350, 352, 354, 356, 359, 367, 377, 38082,
55:a2, 36, 4244, 51, 52 38990, 397, 40010, 413, 425, 427, 44950,
55:a3, 27, 38 458, 499, 526 n. 88, 581 n. 63
55:a4, 39 Harmonischer Gottes-Dienst, 212, 337, 343, 346, 348, 350,
55:a5, 22, 31 352, 354, 367, 38991, 505, 553 n. 65, 580 n.
55:a6, 186 58, 592 n. 167, 592 n. 169, 593 n. 175
666 Index of Telemanns Compositions
Collections (continued)
Helden-Music, oder 12 neue musicalische Marches, 337, 359,
41213, 534 n. 71, 576 n. 4, 586 n. 113
Die Kleine Cammer-Music, 127, 217, 269, 271, 27377, 279,
311, 337, 364, 374, 378, 585 n. 94, 592 n. 164
XX Kleine Fugen, 337, 352, 358, 378, 388
Lustige Arien aus der Opera Adelheid, 337, 36970, 378, 381,
516 n. 27, 586 n. 113, 591 n. 162
Lustiger Mischmasch oder scotlndische Stcke, 337, 586 n. 113
VI moralische Cantaten [I], 337, 351523
VI moralische Cantaten [II], 338, 349, 35152, 377, 592
n. 164
Musicalisch-Chorgraphisches Hochzeit-Divertissement. See under
Occasional vocal works
Musicalisches Lob Gottes, 338, 351, 357, 384, 386, 589 n. 135
Music vom Leiden und Sterben des Welt Erlsers. See under Sacred
cantatas, passions, and psalm settings
Musique de table, 44, 46, 5051, 56, 93, 172, 175, 212,
24243, 272, 274, 311, 313, 319, 321, 33738,
350, 352, 35560, 36366, 371, 372, 38889,
417, 43138, 440, 463, 503, 525 n. 83, 567 n.
18, 573 n. 79, 575 n. 92, 585 n. 99, 586 n. 101,
597 n. 6
Neue auserlesene Arien, Menueten und Mrche, so
mehrentheils von. . . Telemann, 410, 521 n. 47,
599 n. 27
Nouveaux quatuors, 213, 232, 239, 24243, 266, 311,
313, 319, 323, 326, 338, 351, 35354, 35766,
38889, 449, 45258, 503, 507, 524 n. 74, 573
n. 77, 576 n. 4, 586 n. 101, 586 n. 108, 600 n. 37
Nouvelles sonatines, 311, 319, 335, 367, 425, 576 n. 4,
581 n. 63, 585 n. 94
Ouvertre und Suite, 337, 358, 367, 586 n. 113
VI Ouverturen nebst zween Folgestzen, 28889, 338, 354, 386,
388, 45960, 522 n. 51, 595 n. 193, 611 n. 74
La petite musique de chamber. See Die Kleine Cammer-Music
Pimpinone, oder Die ungleiche Heirat. See under Operas, serenatas,
and other dramatic works
Quadri, 232, 239, 24243, 311, 313, 319, 337, 359,
364, 367, 38889, 41317, 433, 438, 44849,
45356, 503, 573 n. 77, 573 n. 79, 575 n. 92,
581 n. 63, 585 n. 99, 590 n. 145, 600 n. 37
Quatrime livre de quatuors, 234, 26669, 28082, 313,
454, 542 n. 67, 576 n. 5
Scherzi melodichi, 31112, 337, 389, 43841, 448, 522 n. 51
Sechs Cantaten, 337
Second livre de duo, 228, 338, 386, 460, 595 n. 194
Sei duetti, 228, 460, 46365
Sei suonatine per violino e cembalo, 269, 271, 27981, 311,
354, 406, 412, 425, 576 n. 4, 588 n. 126
Sept fois sept et un menuet, 337, 352, 379, 41012, 521 n.
47, 592 nn. 16364, 599 n. 27
Singe- Spiel- und General-Bass-bungen, 337, 350, 35253,
366, 36970, 390, 487, 581 n. 63, 594 n. 186
Six concerts et six suites, 31112, 319, 321, 337, 34950,
352, 359, 371, 373, 44349, 454, 505, 564 n.
87, 565 n. 99, 573 n. 79, 581 n. 63, 590 n. 150
Six ouvertures 4 ou 6, 338, 351, 358, 366, 38889,
43435, 520 n. 32, 584 n. 91, 586 n. 113
Six quatuors ou trios, 243, 24849, 257, 311, 337, 359,
43839, 443, 454
Six sonates violon seul, 9, 226, 269, 27174, 27980,
311, 314, 337, 374, 375, 37778, 380, 450, 591
n. 158
Six sonates en trio dans le goust italien, 228, 26567, 279,
28182, 408, 576 n. 5
Six trio, 266, 269, 271, 27779, 282, 31112, 314,
530 n. 32
XII Solos, violon ou traversire, 311, 319, 337, 365,
44143, 463, 573 n. 79, 585 n. 94
9 Sonatas for two utes (TWV 40:14149), 228,
46063
Sonate methodiche, 311, 337, 376, 377, 379, 388, 41719,
42224, 440, 585 n. 94, 601 n. 45
Sonates corellisantes, 312, 337, 366, 44952, 521 n. 47,
585 n. 94
Sonates en trio, 338, 386, 452, 45859
Sonates sans basse, 212, 228, 337, 354, 367, 388, 39194,
403, 458, 46061, 463, 503, 576 n. 4, 585 n.
94, 592 n. 167, 592 n. 169
6 Symphonien, 338
Symphonie zur Serenate auf die erste hundertjhrige Jubelfeyer der
Hamburgischen Lblichen Handlungs-Deputation. See under
Symphonies, divertimenti, and marches
Telemanns Canones 2, 3, 4, 337, 381, 409, 599 n. 24
III Trietti methodichi e III scherzi, 311, 337, 41822,
42425, 43839, 497, 585 n. 94, 588 n. 134,
601 n. 51
Vier und zwanzig theils ernsthafte, theils scherzende Oden, 338,
371, 386, 388, 487, 566 n. 9, 582 n. 72, 584 n.
88, 593 n. 180
Zweytes sieben mal sieben und ein Menuet, 5, 337, 352, 367,
377, 41012, 487, 521 n. 47, 540 n. 33, 590 n.
145, 592 n. 163
Zwo geistliche Cantaten, 337, 588 n. 134
Theoretical Writings
Beschreibung der Augen-Orgel, 383, 388
Musicalischer Practicus, 384, 386
Neues musicalisches System, 384
Theoretisch-practischer Tractat vom Componiren, 383
Trait du rcitatif, 383
 General Index
Page numbers given in italics refer to gures and musical examples.
Aalholm Manor collection, 371
Adelung, Johann Christoph, 611 n. 66
Adlung, Jacob, 339, 594 n. 185
Adorno, Theodor, 214
Agricola, Johann Friedrich, 213, 465, 525 n. 80
Anleitung zur Singkunst, 580 n. 55
Agricola, Martin, 476
Aiken-Sneath, Betsy, 531 n. 36, 535 n. 82
Ailhaud, Jean, 115
Albergati, Pirro
Concerti varii da camera, op. 8, 293
Alberti, Giuseppe Matteo
Concerti per chiesa, e per camera, op. 1, 144, 288
Albicastro, Henricus (Johann Heinrich von Weis-
senburg), 143, 145, 540 n. 34
XII Concerti a quattro, op. 7, 144, 150
Albinoni, Tomaso, 127, 143, 167, 206, 220, 284,
307, 449, 541 n. 47, 548 n. 5, 550 n. 37
Balletti a tre, op. 3, 555 n. 9
Concerti a cinque, op. 5, 121, 124
Concerti a cinque, op. 7, 538 n. 10, 543 n. 76, 554
n. 72
Concerti a cinque, op. 9, 182
Primislao primo r di Boemia, 76
Sinfonie e concerti a cinque, op. 2, 121, 14446, 150,
540 n. 42
sonatas, 272, 3034
Suonate a tre, op. 1, 555 n. 9
Trattenimenti armonici per camera, op. 6, 555 n. 9, 564
n. 90
Alexander, Dorothy, 606 n. 6
alla caccia style. See under Telemann, Georg Philipp
alla turca style. See Telemann, Georg Philipp; Turkish
style
Amsterdam, 145
Andreae, Johann, 271
Andreas Bach Book, 520 n. 39
Angeli, Gioseppe de (Josef dAngelo?), 280, 565 n.
102
Antonetto, Roberto, 580 n. 48
Anton Ulrich, Duke of Brunswick-Wolfenbttel,
16, 533 n. 58
Ariosti, Attilio, 347
Arne, Thomas Augustine, 340
Arolsen, court of, 439
Athena, 8990
Aubert, Jacques, 241, 326
Aufschnaiter, Benedikt Anton, 14, 17, 143
Concors discordia, amori e timori, 18
Augsbach, Horst, 570 n. 40
August Wilhelm, Duke of Brunswick-Wolfenbttel,
88
Aurich, court of, 35455, 358
Babel, Charles, 16
Bach, Carl Philipp Emanuel, 193, 213, 328, 395,
429, 525 n. 80, 571 n. 60, 590 n. 153
Auferstehung und Himmelfahrt Jesu, Wq. 240/H. 777,
347
at Berlin, 465
Claviersonaten mit einer Violine und einem Violoncell zur
Begleitung, Wq. 90 and 91/H. 52224 and
53134, 586 n. 112, 587 n. 123
Die Israeliten in der Wste, Wq. 238/H. 775, 586 n.
112
at Hamburg, 33536
Heilig, Wq. 217/H. 778, 587 n. 123
Herrn Doctor Cramers bersetzte Psalmen mit Melodien,
Wq. 196/H. 733, 587 n. 123
Klopstocks Morgengesang am Schpfungsfeste, Wq.
239/H. 779, 587 n. 123
Menuet pour le clavessin par C. P. E. B., 343
musical estate, 259, 261, 563 n. 80, 576 n. 4
Orchester-Sinfonien, Wq. 183/H. 66366, 581 n. 63
667
668 General Index
Bach, Carl Philipp Emanuel (continued)
as publisher of his own works, 336, 347, 357,
36365
Sonata in A major for keyboard, Wq. 55/4 (H.
186), 575 n. 100
Sonata in A minor for unaccompanied ute, Wq.
132/H. 562, 427
Sonata in G minor for ute or violin and harpsi-
chord, BWV 1020, 605 n. 114
Sonaten . . . fr Kenner und Liebhaber, 586 n. 106
trios for violin and obbligato harpsichord, Wq.
7172/H. 5023, 39495
Versuch ber die wahre Art das Clavier zu spielen, 525 n.
74, 576 n. 3, 580 n. 55
Bach, Johann Bernhard, 29, 31, 44, 50, 525 n. 80
Bach, Johann Christoph, 520 n. 39
Meine Freundin, du bist schn, 21
Bach, Johann Sebastian, 143, 182, 261, 285, 312,
380, 402, 409, 429, 5037, 566 n. 12, 571 n.
60, 576 n. 4, 586 n. 108
borrowing of music by others, 168, 19298,
2067, 21214
improvisations, 213, 250
and Johann Georg Pisendel, 124, 145
at Kthen, 165, 483
at Leipzig, 3, 5, 24, 180, 286, 29798, 336, 366
on the mixed taste, 3
and the Polish style (style polonais), 470
as publisher of his own works, 336, 342, 348,
353, 365, 380
Short but Most Necessary Draft, 3, 5
sonatas in concerto style (Sonaten auf Concertenart),
284, 310, 322
and Telemann, 12425, 193, 221
and tempo, 548 n. 10
at Weimar, 124, 14547, 165, 193, 199, 221
Bach, Johann Sebastian, works of
Brandenburg Concerto no. 1, BWV 1046, 38,
4547, 199, 489
Brandenburg Concerto no. 2, BWV 1047, 284,
293, 548 n. 10
Brandenburg Concerto no. 3, BWV 1048,
16467, 193, 199, 293
Brandenburg Concerto no. 4, BWV 1049,
24950, 284, 548 n. 10
Brandenburg Concerto no. 5, BWV 1050, 295
Brandenburg Concerto no. 6, BWV 1051,
16467, 249, 293
Brandenburg Concertos, 431
Clavier-bung, 348, 353, 365, 403, 454
Concerto in A minor for four harpsichords and
strings, BWV 1065, 207, 548 n. 10
Concerto in C major for two harpsichords, BWV
1061a, 293
Concerto in D minor for violin or harpsichord
and strings, BWV 1052, 199, 539 n. 29
Concerto in E major for violin and strings, BWV
1042, 168, 539 n. 29
Concerto in F minor for harpsichord and strings,
BWV 1056, 19293, 195, 199200, 2067,
212, 214, 548 nn. 910
Concerto nach italinischen Gusto (Italian Con-
certo), BWV 971, 286, 288, 403, 567 n. 20
Credo in unum Deum in F major, BWV 1081,
207
Fugue in A major on a theme by Albinoni, BWV
950, 206, 550 n. 37
Fugue in B minor on a theme by Albinoni, BWV
951, 206, 550 n. 37
Fugue in B minor on a theme by Corelli, BWV
579, 206
Fugue in C major on a theme by Albinoni, BWV
946, 206, 550 n. 37
Fugue in C minor on a theme by Legrenzi, BWV
574, 206
Geist und Seele wird verwirret, BWV 35, 192
Goldberg Variations, BWV 988, 428
Hudemann canon, BWV 1074, 407
Ich steh mit einem Fu im Grabe, BWV 156, 19295,
197200, 2067, 212, 214, 548 n. 10
Jesu, der du meine Seele, BWV 78, 21
keyboard arrangements and transcriptions of
music by others, BWV 59297, 954, 96567,
97287, 12425, 145, 199, 2067, 214,
28788, 302, 538 n. 11
Mass in B Minor, BWV 232, 21, 546 n. 132
Mein Herze schwimmt im Blut, BWV 199, 539
n. 26
Das musicalische Opfer, BWV 1079, 28485, 365,
380, 465, 581 n. 64, 590 n. 143
Ouvertre nach franzsischer Art, BWV 831,
403, 556 n. 26
overture-suites, 29, 68
Partita in A minor for unaccompanied ute,
BWV 1013, 427
Sanctus in D major, BWV 241, 207
Sonata in A major for ute and harpsichord,
BWV 1032, 284, 330
Sonata in A major for violin and harpsichord,
BWV 1015, 549 n. 17
Sonata in B minor for ute and harpsichord,
BWV 1030, 284
Sonata in C major for ute and continuo, BWV
1033, 446, 551 n. 40
Sonata in C major for two violins and continuo,
BWV 1037 (see Goldberg, Johann Gottlieb)
Sonata in E-at major for ute and harpsichord,
BWV 1031, 207, 284, 605 n. 114
Sonata in E major for ute and continuo, BWV
1035, 465
Sonata in E major for violin and harpsichord,
BWV 1016, 200, 284, 287, 395
 General Index 669

Sonata in E minor for ute and continuo, BWV Becker, Felix, 591 n. 156
1034, 200, 284, 304 Beer, Johann
Sonata in G major for violin and continuo, BWV Bellum musicum oder musicalischer Krieg, 480, 481,
1021, 200 482
Sonata in G minor for ute or violin and harpsi- Der berhmte Narren-Spittal, 3
chord, BWV 1020, 605 n. 114 on French suites, 17
Sonata in G minor for viola da gamba and harpsi- Die kurtzweiligen Sommer-Tge, 609 n. 45
chord, BWV 1029, 284, 572 n. 67 Musicalische Discurse, 48182
sonatas and partitas for unaccompanied violin, Teutsche Winternchte, 609 n. 45
BWV 10016, 427, 429, 568 n. 21 beer ddlers, 47879, 48184
sonatas for violin and harpsichord, BWV Beethoven, Ludwig van, 507
101419a, 395 Fifth Symphony, 61
Suite in A major for violin and harpsichord, Ninth Symphony, 469
BWV 1025, 207, 213 Sonata in E-at major for piano, op. 27, no. 1, 291
Suite in B minor for ute and strings, BWV Behr, Samuel Rudolph, 73, 7576, 81, 531 n. 39
1067, 4244, 51, 5356, 434, 489, 525 n. 85 Behrmann, George, 392
Suite in D major for strings, BWV 1068, 4244, Bellinzani, Paolo Benedetto, 449
5456 Bellman, Jonathan, 486, 493
Suite in F major for keyboard, BWV 820, 27 Benda, Franz, 465, 484
Suite in G minor for keyboard, BWV 808, 574 Benda, Georg, 328
n. 88 Bendler, Salomo, 19
suites for unaccompanied cello, BWV 100712, Benedict XIV (pope), 547 n. 134
427, 429 Benedikt, Erich, 526 n. 88
Suscepit Israel in E minor, BWV 1082, 207 Beneke, Rudolph, 345
Tilge, Hchster, meine Snden, BWV 1083, 207 Benoit, Marcelle, 604 n. 94
Weinen, klagen, sorgen, zagen, BWV 12, 21 Bentheim-Tecklenburg, Prince of, 524 n. 67
Bach, Wilhelm Friedemann, 461, 571 n. 60 Berardi, Angelo, 407
Bakhtin, Mikhail, 486, 497 Miscellanea musicale, 150
Balbi, Lorenzo Bergonzi, Giuseppe
trios, op. 3, 241 Sinfonie da chiesa, e concerti a quattro, op. 2, 144
Balch, George Christoph, 69 Berlin, court of, 183, 480
Baldinger, Ernst Gottfried Besozzi, Carlo, 546 n. 126
Artzeneien, 115 Best, Terence, 306, 558 n. 31
Ballard, Christophe, 17, 374 Bianchi, Giovanni, 145
ballet, 7379, 81. See also under overture-suite; Tele- Sei Concerto di chiesa a quatro, op. 2, 144
mann, Georg Philipp Biber, Heinrich Ignaz Franz von, 9091, 488
bandora, 480 Battalia, 105
Barnabas, Pre, 452 Harmonia articiosa-ariosa, 213, 234
Baron, Ernst Gottlieb, 402 Passacaglia for unaccompanied violin, 427
on characteristic titles, 71 Sonatae a Violino Solo, 21, 219, 280
as lutenist, 528 n. 11 Sonata Jucunda, 479
on lute transcriptions, 288 Sonata Representativa, 105
on the mixed taste, 34 Bill, Oswald, 543 n. 69, 578 n. 34
sonatas, 29697, 327 Billington, Thomas, 449
on Sylvius Leopold Weiss, 288 Birnbaum, C. S., 568 n. 23
Barre, Michel de La Blackmore, Richard, 114
Premier Livre des trio, 16 Blavet, Michel, 326, 360, 386, 414, 45253, 585 n.
Bartel, Dietrich, 560 n. 54 99, 586 n. 108
Baselt, Bernd, 548 n. 6, 558 n. 30, 573 n. 72 Blockwitz, Johann Martin, 140
Bassani, Giovanni Battista Bock, Michael Christian, 386, 465, 595 n. 194
Acroama missale, 207 Bodenehr, Moritz, 340
Batteaux, Charles Bodinus, Sebastian, 45, 54, 3001, 524 n. 71, 568
Les beaux arts rduits mme principe, 65 n. 28, 571 n. 57
Baussen, Henri di, 17 Bhm, Georg, 582 n. 70
Bavaria, Electoral court of, 142 Bhm, Johann Michael, 7, 51, 171, 269, 273, 515
Bayreuth, court of, 9, 344, 366, 516 n. 26 n. 19
670 General Index

Boismortier, Joseph Bodin de, 575 n. 95 Burney, Charles, 328, 335, 488
VI concertos, op. 15, 326, 574 n. 89 The Present State of Music in Germany, 56, 576 n. 1
Six concertos, op. 21, 326 Burrows, Donald, 572 n. 72, 572 n. 74
VI Sonates en trio, op. 37, 32627, 575 n. 92 Butler, Gregory, 284, 554 n. 72, 574 n. 88, 578 n.
Sonates en trio pour trois tes traversieres sans basse, op. 36, 589 n. 135, 595 n. 193
7, 459 Bttner, Horst, 6, 523 n. 65, 530 n. 26
Boivin, Franois, 26566, 360 Buxtehude, Dieterich
Bokemeyer, Heinrich, 353 VII Suonate due, 21
Bonin, Louis, 74, 531 n. 36
Bononcini, Giovanni, 232 Cadet, Jean, 140
Concerti da camera, op. 2, 293 Caldara, Antonio, 15, 449, 471
Bonporti, Francesco Antonio, 449 concertos, 294
Borkenstein, Hinrich Magnicat in C major, 207
Der Bookesbeutel, 535 n. 82 trios, op. 1, 241
borrowing, literary, 21112 Califano, Arcangelo, 24244, 25657, 559 n. 37,
borrowing, musical 559 n. 45, 563 n. 76
aesthetics of, 20614 Campion, Franois, 363, 586 n. 108
as plagiarism, 191, 20912, 552 n. 53 Campra, Andr, 20, 111
See also Bach, Johann Sebastian; Handel, George LEurope galante, 75
Frideric; imitation, musical; Telemann, Georg Hsione, 599 n. 27
Philipp minuets, 27
Boucon, Anne Jeanne, 453, 586 n. 108 overture-suites, 518 nn. 1718
Bourdelot, Pierre, 25253, 257 Carey, Henry, 342
Bourgeois, Thomas-Louis, 111 carillon (characteristic title), 90. See also sonnerie
Bowers, Jane, 574 n. 90 Carl XI, King of Sweden, 489
Bowles, Edmund, 544 n. 88 Carl August Friedrich, Prince of Waldeck, 440
Boyd, Malcolm, 543 n. 75 Carner, Mosco, 5056
Boydell, Barra R., 586 n. 108 carols, Christmas, 97
Boyle, John, Earl of Orrery, 32930 Castel, Louis-Bertrand, 383
Brandenburg (pastor in Lbeck), 346 Cervantes, Miguel de
Braun, Werner, 595 n. 192 Don Quijote, 70, 101, 1034, 116, 535 n. 84
Breig, Werner, 192, 525 n. 85 chamber concerto, 284, 29395. See also under
Breitkopf, Bernhard Christoph, 582 n. 72 Vivaldi, Antonio
Breitkopf, Johann Gottlob Immanuel, 335, 340, characteristic concerto, 66, 91. See also under Vivaldi,
354, 365, 38688, 568 n. 23, 570 n. 51, 581 Antonio
n. 63, 586 n. 106 characteristic sonata
Breitkopf & Hrtel, 556 n. 21 biblical sonatas of Johann Kuhnau, 6667
Breitkopf catalogs, 70, 227, 229, 38788, 524 n. in France, 71
69, 542 n. 62, 556 n. 21, 571 n. 53 characteristic suite
Brook, Barry S., 575 n. 93 representations of battles, 8184
Bressand, Friedrich Christian, 15 representations of commedia dellarte characters,
Brossard, Sbastian de, 241, 250, 559 n. 39 7475, 7780
Brown, Roger, 182, 545 n. 109 representations of courtly life, 9496
Broyles, Michael, 575 n. 100 representations of foreign and exotic peoples,
Brhl, Johann Benjamin, 342, 578 n. 36 7578
Brunswick-Wolfenbttel, court of, 1516, 490, 493 representations of medical conditions, 10817
Brusniak, Friedhelm, 592 n. 167 representations of the countryside, 90, 9699
Bruyre, Jean de La representations of the hunt, 9496
Caractres, 9 titles of movements and works, 6872
Bchler (composer), 292, 568 n. 28 See also carillon; combattans; commedia dellarte;
Buelow, George J., 566 n. 9 echo; harlequinade; melancholy, musical represen-
Buffardin, Pierre Gabriel, 8, 140, 414 tations of; motion, musical representations of;
Burke, Edmund, 477 sommeil; sonnerie; Telemann, Georg Philipp; tem-
burlesque. See under Telemann, Georg Philipp pte; time, musical representations of
Burmeister brothers, 365, 423, 587 n. 113 characteristic symphony, 6869
 General Index 671

Charles (musician in London), 362, 586 n. 108 trios, opp. 14, 217, 221, 223, 225, 241, 404,
Charlotta Dorothea, Duchess of Sachsen-Weimar, 44952, 554 n. 2, 555 n. 11
353 Corette, Michel, 326, 575 n. 95
Charpentier, Marc-Antoine, 403 Sonates pour le clavecin avec un accompagnement de violon,
Chdeville, Esprit-Philippe, 575 n. 95 op. 25, 327, 575 n. 94
chinoiserie, 96 Couperin, Franois, 36, 403
Chopin, Fryderyk Les agioteurs au dsepoir, 106
Polonaise-Fantasy in A-at major, op. 61, 291 Apothose. . . de lincomparable Monsieur de Lully, 84
chorales, Lutheran characteristic titles, 71
Ach Herr mich armen Snder, 67 Les Nations, 71, 24849, 253, 257, 415
Aus Tiefer Noth, 67 Le Parnasse, ou lApothose de Corelli, 450
Ich ruf zu dir, 493 Pices de clavecin, 522 n. 57
Christian Ludwig, Margrave of Brandenburg, 284 Coxe, William, 48586, 611 n. 67
Cicero, 208 Creake, Bezaleel, 347, 580 n. 53
Clark, Stephen L., 576 n. 8, 586 n. 107, 586 n. Croix, Franois Ptis de la
112, 587 n. 123 Histoire de la sultane de Perse et des viziers, 490
Clrambault, Nicolas, 403 Crousaz, Jean Pierre de
Clostermann, Annemarie, 579 n. 42, 591 n. 158, Trait du beau, 66
594 n. 186 Crowneld, Cornelius, 582 n. 70
Cluer, John, 347, 580 n. 53 Czekanowska, Anna, 610 n. 59
Cohen, Albert, 585 n. 99 Czornyj, Peter, 580 n. 55
colascione. See mandora
Collasse, Pascal DallAbaco, Evaristo Felice, 145
Thtis et Ple, 81 Concerti pi istrumenti, op. 5, 142, 144
combattans (scenic type and characteristic title), Concerti a quatro da chiesa, op. 2, 144
8184, 89, 104, 532 n. 47 Dandrieu, Jean-Franois, 71
commedia dellarte, 70, 7475, 7880, 117, 499, Sonates en trio, 241
531 n. 36 DAngelo, Josef (Gioseppe Angeli?), 280, 565,
concert en ouverture, 4145, 5056 n. 102
concerto Darmstadt, court of, 78, 180, 183, 273, 28182,
da camera (see chamber concerto) 292, 521 n. 44
en suite, 4150, 523 n. 66 French inuence at, 7
for one instrument alone (einstimmige Concert), hunting at, 9495
28690, 302, 566 n. 12 orchestra, 18485, 542 n. 67
for strings without soloists (ripieno concerto), Dart, Thurston, 5056
14267, 293, 310, 440 Daub, Peggy, 336, 587 n. 123
sacred, 21, 339, 520 n. 30 De Lusse, Madame, 590 n. 143
use of term in seventeenth and eighteenth cen- Denner, Jacob, 171
turies, 29293 Derr, Ellwood, 548 n. 6
Congress of Vienna, 507 Destouches, Andr Cardinal, 518 n. 18
Conti, Francesco Omphale, 213
Don Chisciotte in Sierra Morena, 103, 535 n. 83, 535 Dietel, Johann Caspar, 2324
n. 86 Dietel, Johann Ludwig, 24
continuo realization, 444, 446 Dirnslot (composer), 407
Corelli, Arcangelo, 15, 150, 152, 158, 168, 206, Dittersdorf, Carl Ditters von, 91, 488
217, 220, 222, 233, 239, 278, 284, 416, 456, Doemming, Johannes Martin, 4445, 50, 53, 524
465, 471, 546 n. 126, 574 n. 83 n. 67, 525 n. 84
Christmas concerto, 97 Dolskaya-Ackerly, Olga, 531 n. 44
concerti grossi, op. 6, 142, 365, 449, 450, Don Quijote. See Cervantes, Miguel de
521 n. 47 Doody, Margaret Anne, 330
inuence on other composers, 449 Dornel, Antoine
Sonata in G minor for two violins, violetta, and Concerts de simphonies, 459
continuo, 232 Sonates en trio, 459
Sonate a violino e violone o cimbalo, op. 5, 217, 220, DOrneval, Jacques-Philippe
272, 280, 365, 449, 554 n. 1, 555 n. 11 Le Monde renvers, 101
672 General Index

Dresden, court of, 183, 240, 242, 273, 285, 432,
559 n. 45, 571 n. 60
arrangements of French overture-suites, 17, 518
n. 17
as center for the sonata in concerto style (Sonaten
auf Concertenart), 30210
cultivation of mixed taste, 78
festivals, 76
Mass celebrated with instrumental music,
18690, 569 n. 37
orchestra, 18589
Polish Kapelle, 140
Polish music at, 483
scribes, 189, 303
Turkish mehter at, 489
Drese, J. W., 541 n. 47
Dreyfus, Laurence, 207, 284, 32123, 328, 568 n.
21, 574 n. 88
Dryden, John, 208, 330
Du Bos, Jean-Baptiste
Rexions critiques, 65
Dlon, Friedrich Ludwig, 392
Dupuits, Jean-Baptiste, 575 n. 95
Durante, Francesco
Sonate per cembalo, 439
Dussarat (Berlin bookseller), 145, 582 n. 70
Ebeling, Christoph Daniel, 504, 576 n. 1
Eberhard Ludwig, Duke of Wrttemberg-Stuttgart,
146
echo (characteristic title), 8990, 231, 434, 533 n.
63, 556 n. 26
Edouard (cellist), 45253, 586 n. 108, 604 n. 94
douard, Jacques, 604 n. 94
douard, Jean, 604 n. 94
Eisel, Johann Philipp, 43, 291
Eisenach, court of, 73, 12123, 180, 221, 257,
271, 354, 366. See also under Telemann, Georg
Philipp
empndsamer Stil. See under Telemann, Georg Philipp
emulation, musical, 208, 214. See also Bach, Johann
Sebastian; borrowing, musical; Handel, George
Frideric; imitation, musical; Telemann, Georg
Philipp
Enderle, Wilhelm Gottfried, 57
Endler, Johann Samuel, 5758
copyist and owner of works by Telemann, 7, 124,
17980, 259, 275, 282, 419, 522 n. 60, 542
n. 66, 543 n. 69, 558 n. 32
suites, 9495
Endter, Christoph, 339
Endter, Johann Friedrich, 343
Endter, Michael, 343
Endter, Wolfgang Moritz, 554 n. 1, 579 n. 41
Engel, Johann Jakob, 131
Eppstein, Hans, 569 n. 32
Erasmus, 208
Erbach, Count Friedrich Carl von, 5, 411, 600 n. 30
Erlebach, Philipp Heinrich, 14, 17, 518 n. 18
cantatas, 183
VI Ouvertures, 18, 21, 27, 68, 232
VI Sonate violino e viola da gamba, 21, 23
Ernst August, Elector of Hanover, 16
Ernst Ludwig, Landgrave of Hessen-Darmstadt, 7,
74, 9495, 521 n. 43, 534 n. 67, 600 n. 30
Erwein, Rudolf-Franz, Count of Schnborn-
Wiesentheid, 227, 556 n. 20
Everett, Paul, 303, 580 n. 48
exoticism, musical, 7577, 432, 472, 483, 48586,
49293. See also under Telemann, Georg Philipp
Falckenhagen, Adam, 297
Farinelly (Farinel), Jean-Baptiste, 16
Fasch, Carl Friedrich Christian, 458
Fasch, Johann Friedrich, 9, 143, 169, 179, 182,
422, 503, 524 n. 69, 525 n. 80, 529 n. 18,
545 n. 119, 571 n. 60, 586 n. 108
cantatas, 183
concertos, 295, 546 n. 127
concertos en suite, 4546
at Leipzig, 1920
overture-suites, 19, 29, 4344, 53, 55, 68
at Prague, 9
sonatas, 148, 24243, 245, 257, 292, 298,
409, 559 n. 37, 559 n. 44, 563 n. 76,
568 n. 28
Favier, Jean, 2728, 232, 412
Fechner, Manfred, 47, 422, 524 n. 70, 525 n. 81,
546 n. 127, 568 n. 23, 569 n. 37
Felginer, Theodor, 345, 579 n. 42
Ferrand, Joseph Hyacinthe, 362, 586 n. 108
Fert, Charles de la, 241
fte galante, 96, 485
Fichte, Johann Gottlieb, 478
Fick, Peter Johann, 9, 46
Filtz (Fils), Anton, 488
Finger, Gottfried, 449
Finscher, Ludwig, 450, 5045, 603 n. 90
Fischer, Gabriel, 582 n. 70
Fischer, Johann, 17, 122
Musicalische Frsten Lust, 18, 610 n. 57
Neu-verfertiges musicalisches Divertissement, 18
Polish dances, 483, 489
Tafel-Musik, 18, 610 n. 57
Fischer, Johann Caspar Ferdinand, 14, 17
Le Journal de printems, 18, 21, 27, 68
Fischer, Roman, 544 n. 100
Fischer, Wilfried, 192
Fitzpatrick, Horace, 533 n. 61
Fleischhauer, Gnter, 47, 525 n. 79, 589 n. 141
 General Index 673

te pastourelle (auto pastorale), 526 n. 88 Gasparini, Francesco, 558 n. 35

Forkel, Johann Nikolaus, 193, 213, 587 n. 113 Larmonico pratico al cimbalo, 25354
Forqueray, Jean-Baptiste, 45253, 586 n. 108 Cantate da camera a voce sola, 254
Frster, Christoph, 357, 539 n. 21, 551 n. 40, 586 Geck, Martin, 165
n. 108 Geisthirt, Johann Conrad, 180
Sei duetti a due violini e basso ad libitum, op. 1, 38283 Geminiani, Francesco, 449, 546 n. 126
Forster, William, 342 arrangement of Corellis op. 5, 365
France, economy of, 1056 The Art of Accompaniment, 562 n. 73
Francoeur, Franois, 241 Guida Armonica, 347
Francoeur, Louis, 241 Sonate, op. 4, 347
Frankfurt Gennagel (Hamburg publisher), 345
Barferkirche, 180 genre
Catharinenkirche, 180 aesthetics of mixing genres, 32731
collegium musicum, 106, 17980, 544 n. 100 generic contract, 28384, 296, 328
Frauenstein Society, 106, 180, 544 n. 100 literary, 32931
stock exchange, 106 as social phenomenon, 28384, 290, 293
trade fairs, 145, 341, 344, 358 titles as signiers, 29095
See also under Telemann, Georg Philipp Gentili, Giorgio
Frnzl, Ignaz, 537 n. 3 Concerti a quattro, op. 6, 145
Fraser, Peter Concerti a quattro e cinque, op. 5, 540 n. 41
Delightfull Musical Companion, 342 Georg Friedrich, Margrave of Brandenburg, 145
Frederick II (Frederick the Great), King of Prussia, George II, King of England, 57
296, 458, 465, 581 n. 64, 605 n. 108 Gera, court of, 516 n. 26
Frederik IV, King of Denmark, 76 Gerber, Ernst Ludwig, 387
Freeman, Daniel E., 549 n. 15 Gerstenberg, Heinrich Wilhelm von
Friedrich, Prince of Wrttemberg-Stuttgart, 472 Der Hypochondrist, 116, 536 n. 103
Friedrich II, Duke of Sachsen-Gotha, 269, 277 Gilbert, Kenneth, 248
Friedrich August I (August the Strong), Elector of Giosna (composer), 550 n. 31
Saxony, 7, 18, 74, 483, 489 Gleditsch, Johann Gottlieb, 354, 362
Friedrich August II, Elector of Saxony, 78, 140, Glsch, Peter, 269, 271
145, 302, 306, 432 Gluck, Christoph Willibald Ritter von
Friedrich Carl, Duke of Pln, 357 Le rencontre imprvue, 469
Friedrich Ludwig, Crown Prince of Wrttemberg- Goebel, Reinhard, 553 n. 66
Stuttgart Goeze, Johann Melchior, 595 n. 191
as composer, 148 Ghler, Albert, 518 n. 18, 564 n. 88, 582 n. 69,
as utist, 202, 549 n. 21 582 n. 72
music collection, 8, 146, 148, 160, 2002, 301, Goldberg, Johann Gottlieb
549 n. 20, 610 n. 56 Sonata in C major for two violins and continuo,
Friedrich, Wilhelm, 543 n. 69 BWV 1037, 410
Fritzsch, Christian, 37173, 379 Grner, Johann Valentin, 480
Fritzsch, Christian Friedrich, 371 Grtz, Johann, 357, 584 n. 81
fugue, concertante, 287, 311, 319 Gottsched, Johann Christoph, 4, 570 n. 47
Fuhrmann, Martin Heinrich, 26, 143, 479, 482, Vernnfftige Tadlerinnen, 400
601 n. 57 Gottsched, Luise Adelgunde Victorie, 570 n. 47
Fuller, David, 528 n. 12 gout satirized, 10810
Furies (scenic type and characteristic title), 8182 Graefe, Johann Friedrich, 386
Fux, Johann Joseph, 17, 242, 250, 409, 518 n. 18 Graeser, Hans, 6, 542 n. 67
Concentus musico-instrumentalis, 18, 518 n. 18 Graf, Johann, 586 n. 108
Gradus ad Parnassum, 383, 400, 594 n. 186 6 Soli, 355, 38283, 594 n. 183
VI sonata violino solo, op. 2, 577 n. 21
Gaf, Bernardo Graun, Carl Heinrich, 458, 571 n. 60, 595 n. 193
Cantate da cammera a voce sola, 254 at Berlin, 465
galant style. See under Telemann, Georg Philipp correspondence with Telemann, 14, 357, 384,
Galland, Antoine 386, 517 n. 5, 593 n. 179, 605 n. 112
Les mille et une nuits: Contes arabes, 490 sonatas, 302, 395
674 General Index

Graun, Johann Gottlieb, 395, 422, 546 n. 127, 571 Gnsemarkt Opera, 103, 18182, 335, 344,
n. 60 366, 382
Graupner, Christoph, 95, 143, 173, 292, 5035, Gymnasium, 182
530 n. 26, 541 n. 43, 544 n. 93, 560 nn. Heiliger-Geist-Kirche, 341
4849 Hof von Holland, 181
concertos, 174, 571 n. 60 Johanneum Latin school, 335
Kapellmeister at Darmstadt court, 7 Johanniskirche, 579 n. 42
Monatliche Clavir Frchte, 343 Katharinenkirche, 335
overture-suites, 29, 174, 521 n. 48, 529 n. 13 Niederbaumhaus, 86, 532 n. 52
and the Polish style (style polonais), 470 Nikolaikirche, 341
as publisher of his own music, 578 n. 34 Petrikirche, 4
sonatas, 148, 24244, 24648, 257, 409 Ratsbuchdrucker (city printer), 345
Vier Partien auf das Clavier, 578 n. 34 represented in sound, 90
Grave, Floyd K., 329 stock exchange, 353
Great Northern War, 106, 477 Teutsch-bende Gesellschaft, 401
Green, Robert, 565 n. 106, 575 n. 95 town musicians, 181, 183, 483
Gregori, Giovanni Lorenzo Zuchthaus, 181
Concerti grossi, op. 2, 144 hand crossing in keyboard music, 297, 603 n. 84
Greiz collegium musicum, 25657 Handel, George Frideric, 66, 160, 182, 233, 303,
Grtry, Andr Ernest Modest, 91 503, 5067, 546 n. 126, 553 n. 67, 576 n. 1,
Grimm, Jacob and Wilhelm, 611 n. 66 586 n. 108
Grimma, Frstenschule in, 2324 Alexanders Feast, HWV 75, 586 n. 105
Groschhuff, Friedrich, 344 Arminio, HWV 36, 586 n. 105
Gropietsch, Christoph, 521 n. 48 Atalanta, HWV 35, 347, 586 n. 105
Grund (Hamburg bookseller), 353, 588 n. 134 borrowing of music by others, 19193, 2068,
Grundig, Johann Gottfried, 303 212, 236, 553 n. 65
Guardian (London moral weekly), 400 Concerto in B-at major for organ, two oboes,
Guarene, Carlo Giacinto Roero di, 580 n. 48 and strings, HWV 290, 307
Guignon, Jean-Pierre, 45253, 586 n. 108 Concerto in F major for organ, two oboes, and
Guillemain, Louis-Gabriel strings, HWV 295, 573 n. 74
Six sonates en quatuors, ou conversations galantes et Concerto in G minor for oboe and strings,
amusantes, 454 HWV 287, 234, 237, 550 n. 31
Gullivers Travels. See Swift, Jonathan Esther, HWV 50, 306
Gypsy musicans, 479, 486 Farramondo, HWV 39, 586 n. 105
Gypsy style. See style hongrois French overtures, 13
Grand Concertos, op. 6, 143, 431, 489, 540
Haarb, Johann Martin, 580 n. 58 n. 37
Hachmeister, Carl Christoph publication of works in London, 340, 342, 347,
Clavirbung, 341 364
Haffner, Johann Ulrich, 34041, 570 n. 48 Radamisto, HWV 12, 342
Hfner, Klaus, 148, 523 n. 66, 571 n. 54 Rinaldo, HWV 7, 42, 45, 340
Hagen-Hohenlimburg, court of, 45 Rodelinda, HWV 19, 348, 586 n. 105
Haller, Albrecht von, 593 n. 180 Scipio, HWV 20, 347
Haltmeier, Carl Johann Suite de pices pour le clavecin, 553 n. 67
Anleitung, 38283, 593 n. 183 Suite in D minor for keyboard, HWV 428, 553
Hamann, Johann Georg, the elder, 595 n. 191 n. 67
Hamburg and Telemann, 212, 348
Admiralty, 86 Trio in B-at major for two violins and continuo,
Alster Lake, 8890, 117 HWV 388, 3047, 315, 330, 572 n. 70
Brgerkapitne, 181, 371, 373 Trio in F major for two violins and continuo,
city council, 345 HWV 392, 546 n. 127
collegium musicum. See under Telemann, Georg Il trionfo del Tempo e del Disinganno, HWV 46a, 573
Philipp n. 74
Drillhaus, 18183 Hanover, court of, 1416
Elbe River, 84 Hare, John, 36768, 564 n. 91

harlequinade (characteristic title), 81, 8788, 99
Hardie, Richard, 588 n. 132
Harmoniemusik, 432. See also Telemann, Georg Philipp
Harris, David C., 578 n. 40
Harris-Warrick, Rebecca, 521 n. 46, 530 n. 25
Hasse, Johann Adolf, 8, 212, 24243, 292, 453,
568 n. 28, 571 n. 60
Haur, Jakub Kazimierz
Musicians at a Polish Inn, 473
Hausswald, Gnter, 543 n. 69
Hawkins, John, 572 n. 72
Haydn, Joseph, 91, 546 n. 126
characteristic titles, 6869
combination of the comic and serious, 488
at London, 452
Seven Last Words of Our Saviour on the Cross, 342
string quartets, 329
Symphony no. 100 (Military), 469
Haym, Nocola, 449
Haynes, Bruce, 202, 547 n. 3
Hebenstreit, Pantaleon, 586 n. 108
at Dresden, 8, 535 n. 93
at Eisenach, 12223, 180
at Leipzig, 73
overture-suites, 183, 538 n. 9
as player of the pantaleon, 122
as violinist, 127, 221
Heck, John Casper
The Musical Library and Universal Magazine of Harmony,
605 n. 118
Heineken, Christian Heinrich, 371
Heinichen, Johann David, 143, 571 n. 60
on bass-line variation, 255, 257
concertos, 550 n. 31, 568 n. 23
concertos en suite, 4546, 524 n. 73
Der Generalbass in der Composition, 255
instrumental music for the Dresden Hofkirche, 187
as Kapellmeister at the Dresden court, 8, 366,
559 n. 45
on the mixed taste, 4
on musical borrowing, 208, 21011
Neu erfundene und grndliche Anweisung, 562 n. 69
sonatas, 24243, 292, 3023, 559 n. 44
Heinrich XI, Count of Reuss-Schleiz, 271, 278
Helbig, Johann Friedrich, 180
Helffmann, Anton Eberhard, 15051, 153, 227,
542 n. 65
Heller, Johann Bernhard
Wohlgemeynte Gedancken ber Fhrung einer Buchdruckerey,
368, 370
Heller, Karl, 148, 572 n. 67
Herold, Christian, 371, 383, 386, 582 n. 72
Herder, Johann Gottfried von, 484
Hertel, Johann Christian, 45, 290, 586 n. 108
Hesse, Ernst Christian, 292, 586 n. 108
General Index 675
Het Groote Tafereel der Dwaasheid (The Great Mirror of
Folly), 106
Hetling, Carl Nicolaus, 357
Hetsch, Caspar Heinrich, 549 n. 24
Heus, Jean Philip, 17
Heuss, Peter, 353, 579 n. 42, 582 n. 70, 588 n. 134
Heussner, Horst, 579 n. 41, 585 n. 93
Hicks, Anthony, 558 n. 30
Hiller, Johann Adam, 187, 488
Wchentliche Nachrichten und Anmerkungen die Musik
betreffend, 466
Hinnenthal, Johann Philipp, 590 n. 150
Hirschmann, Wolfgang, 124, 135, 170, 295, 428,
539 n. 19, 540 n. 33, 568 n. 22, 595 n. 193
Hobohm, Wolf, 47, 382, 522 n. 55, 526 n. 92, 534
n. 71, 535 n. 86, 535 n. 91, 543 n. 85, 593 n.
181, 594 n. 183, 594 n. 185
Hofer, Achim, 534 n. 71
Hfer, Konrad
Primitiae Chelicae, oder Musicalische Erstlinge, 210
Hoffmann, Adolf, 6, 106, 522 n. 55, 523 n. 65,
524 n. 68, 525 n. 81, 530 n. 35, 531 n. 43,
535 n. 89
Hoffmann, Melchior, 19, 183, 519 n. 24
Hofmann, Klaus, 284
Hogwood, Christopher, 586 n. 108
Hohenlimburg, court of, 524 n. 67
Holdsworth, Edward, 580 n. 48
Hollander, Johann Reinhold, 35658, 381, 431
Homer, 208
Iliad, 363
Horn, Wolfgang, 559 n. 47
Hotteterre, Jacques-Martin, 429
Lart de preluder, op. 7, 427
Premier livre de pieces pour la te-traversiere, op. 2, 427,
556 n. 26
Hvet, Johann
Musikalische Probe eines Concerts vors Clavier, 383, 594
n. 185
humor
compared to wit, 100
mixed with seriousness, 488
Hunold, Christian Friedrich (Menantes), 9
Hunter, David, 578 n. 30, 580 n. 53, 580 n. 60,
586 n. 105, 588 n. 132
Hunter, Mary, 493
hunting signals, 533 n. 61. See also characteristic
suite: representations of the hunt; Darmstadt,
court of: hunting at; Telemann, Georg Philipp:
and the alla caccia style
Hurlebusch, Conrad, 347, 606 n. 4
Compositioni musicali per il cembalo, 341, 371
on the Polish style (style polonais), 470, 472
Hutchings, Arthur, 163
hypochondria satirized, 10817, 536 n. 98
676 General Index
imitation, musical
theories of, 20812
transformative imitation, 191, 193, 2089,
21113
See also Bach, Johann Sebastian; borrowing, musi-
cal; emulation, musical; Handel, George Frid-
eric; Telemann, Georg Philipp
improvisation, 244, 248, 250, 25253, 25557,
288, 499
Jacchini, Giuseppe Maria
Sonate da camera, op. 2, 241
Jaenecke, Joachim, 526 n. 92, 545 n. 109, 605 n. 111
Janissary music. See Turkish style
Jenne, Natalie, 522 n. 57
Jennens, Charles, 580 n. 48
Jewish musicians (klezmorim), 480, 48284, 610 n. 59
Johann Ernst, Prince of Sachsen-Weimar, 207, 269,
271, 538 n. 16
Six concerts violon concertant, op. 1, 14547, 269,
271, 344, 353, 365, 564 n. 88
Johann Wilhelm, Duke of Sachsen-Eisenach, 593 n.
175
Jung, Hans Rudolf, 565 n. 99
Kallberg, Jeffrey, 328
Kaltenbrunner (bookseller in Jena), 582 n. 70
Karlsruhe, court of, 298, 524 n. 71
Karl-Wilhelm, Margrave of Baden-Durlach, 298
Kauffmann, Georg Friedrich, 342
Kehraus, 93
Keiser, Reinhard, 212, 335, 549 n. 24, 550 n. 26
Arcadia, oder Die knigliche Schferey, 16
Auserlesene Soliloquia, 577 n. 25
Kayserliche Friedens-Post, 577 n. 25
Musicalische Land-Lust, 577 n. 25
Orpheus, 16, 517 n. 9
as publisher of his own works, 341
Seelige Erlsungs-Gedancken, 577 n. 25
at Wrttemberg-Stuttgart court, 201
Kellner, David
Treulicher Unterricht im General-Bass, 383
Kenckel, Benjamin, 74, 271, 280, 530 n. 32, 564 n. 86
Kerll, Johann Caspar
Missa Superba, 207
Kirkendale, Warren, 547 n. 134
Kirnberger, Johann Philipp, 294, 458, 494, 558 n. 34
Kiner, Johann Christoph, 34243, 349, 579 n. 42
Klefeker, Johann, 181
Klein, Christine, 526 n. 93, 576 n. 1, 606 n. 118
Kleinknecht, Johannes, 529 n. 18
Klopstock, Friedrich Gottlieb
Die deutsche Gelehrtenrepublik, 336
Kloss, Johann Herbord, 271, 344, 564 n. 88,
582 n. 69
Koch, Heinrich Christoph, 294
Koch, Johann Christian, 180
Koch, Klaus-Peter, 201, 470, 494, 526 n. 98, 549 n.
21, 549 n. 24, 606 n. 9
Kollmann, Augustus Friedrich
Essay on Practical Musical Composition, 328, 575 n. 100
Kolneder, Walter, 166
Knig, Conrad, 345
Knig, Johann Balthasar, 15051, 292, 542 n. 65,
582 n. 70, 586 n. 108
Kthen, court of, 483
Kramer, Ursula, 559 n. 37
Krau, Johann Paul, 584 n. 88
Kremer, Joachim, 480, 584 n. 81
Kremmler, Johann Georg, 303
Kre, Johann Jakob, 148, 202, 549 n. 24
Kross, Siegfried, 6, 295, 550 n. 29, 550 nn. 3435
Krgner, Johann Gottfried, 342
Kuhnau, Johann, 380
Frische Clavier Frchte, 344, 578 n. 40
Der musicalische Quack-Salber, 6768, 191, 208,
211, 528 n. 11
Musicalische Vorstellung einiger biblischer Historien (bibli-
cal sonatas), 6667, 578 n. 40
on narrativity in music, 6668
Neuer Clavier bung, 344
on orchestral performance in Leipzig, 19
as publisher of his own works, 344, 578 n. 40,
579 n. 41
Kuhnert, Reinhold P., 603 n. 76
Kusser, Johann Sigismund, 14, 17, 503, 518 n. 18
Apollon enjo, 18, 68, 518 n. 18, 531 n. 39
La cicala della cetra dEunomio, 18
Composition de musique, 18
Festin de muses, 18, 518 n. 18
as Kapellmeister at the Brunswick-Wolfenbttel
court, 15
Lalande, Michel-Richard de, 27
Lambranzi, Gregorio
Neue und Curieuse Theatralische Tantz-Schul, 7476, 78,
79, 82, 499
lament. See plainte
Landmann, Ortrun, 187, 520 n. 33, 525 n. 81, 604
n. 108
La Riche, Franois, 269, 273, 362
Lasocki, David, 570 n. 45
Lau, Christoph Heinrich, 386, 582 n. 72
Laurel and Hardy, 482
Law, John, 1056
Le Cne, Michel-Charles, 280, 354, 365, 392, 580
n. 48, 582 n. 75, 588 n. 126
Leclair, Jean-Marie, 326
Sonates deux violons, op. 3, 327
Sonates en trio, op. 4, 327
 General Index 677

Le Clerc, Charles Nicolas, 266, 280, 360, 392, 452, minuets, 27

458, 603 n. 92 overture-suites, 17, 518 n. 17
Ledyard, John, 478, 608 n. 33 orchestral scoring, 21
Lefoth, Johann Matthias Perse, 17
Concerto per il cembalo concertando con violino, 29798, Proserpine, 15
327, 395 Psych, 15
Concerto per il cembalo oblig: con auto traversa violino, Thse, 15, 81
29798, 327, 395 tragdies lyriques, 499
VI Sonaten auf die Violin oder Flaute travers, 585 n. 93 trios, 226, 230
Legrenzi, Giovanni, 206 Ltteken, Laurenz, 382, 593 n. 179
Leipzig Lynar, Count Ulrich zu, 95
ballet performances, 73
civic musicians, 19 Maertens, Willi, 523 n. 65, 526 n. 93, 533 n. 58,
collegia musica, 1720, 24, 17980 533 n. 61, 594 n. 185
Neue Kirche, 1819, 24, 180 Mainz, court of, 559 n. 42
Opera, 73 Majer, Joseph Friedrich Bernhard Caspar, 601 n. 57
Pauliner-Collegio, 48182 Mancia, Luigi
Thomaskirche, 554 n. 2 La costanza nelle selve, 518 n. 10
Thomasschule, 24 mandora, 140, 519 n. 25
trade fairs, 145, 271, 298, 344, 354, 365, 518 n. Manfredini, Francesco Onofrio
18, 554 n. 1, 564 n. 88, 582 n. 69, 582 n. 72 Christmas concertos, 98
Leisinger, Ulrich, 547 n. 3, 548 n. 11, 576 n. 4, 590 Mangsen, Sandra, 298
n. 153 Mann, Alfred, 506
Lesage, Alain Ren Marais, Marin, 241, 528 n. 12
Le Monde renvers, 101 Alcyone, 81
Levy, Sarah, 460, 605 n. 110 Pices en trio, 16, 230
Lichtensteger, Georg, 589 n. 135 Second livre de pices de viole, 556 n. 26
Lindgren, Lowell, 567 n. 14 Marcello, Alessandro, 199, 214, 550 n. 31
Lindner, Johann Jacob, 547 n. 136 Marcello, Benedetto
Little, Meredith, 522 n. 57 Il teatro alla moda, 25455
Liszt, Franz, 48849 Marella (violinist), 453
Locatelli, Pietro Antonio Maria Josepha, Archduchess of Austria, 140, 306,
Christmas concerto, 98 432
Lhlein, Georg Simon, 494 Marissen, Michael, 165, 167, 28485, 590 n. 143
Six sonates pour le clavecin, op. 6, 343 Marpurg, Friedrich Wilhelm, 392, 402, 451, 458,
Longinus, 208 528 n. 11, 545 n. 119
Lotter, Johann Jakob, 584 n. 88 Abhandlung von der Fuge, 408, 453, 523 n. 63, 580
Lotti, Antonio, 8, 24244, 257, 559 n. 37, 559 n. n. 55
45, 563 n. 76 Kritische Briefe ber die Tonkunst, 599 n. 18
Louis XIV, King of France, 105 on the Polish style (style polonais), 494, 497
Lwe, Johann Heinrich, 577 n. 21 Marsh, Carol, 521 n. 46
Lbeck, Vincent Marshall, Robert, 548 n. 10
Clavier Uebung, 341, 371 Marx, Hans Joachim, 554 n. 1, 606 n. 4
Ludwig VIII, Landgrave of Hessen-Darmstadt, 7, Mascitti, Michele, 272
5657, 9495, 114 Sonate a violino solo, op. 1, 280, 564 n. 90
Lullists, 14, 1718, 26, 68 Mason, Rose M., 580 n. 53, 586 n. 105
Lully, Jean-Baptiste, 16, 20, 77, 229, 434, 471 Mattheson, Johann, 335, 470, 520 n. 41, 560 n. 48,
Alceste, ou Le triomphe dAlcide, 81 564 n. 87, 576 n. 1
Les amantes magniques, 232 Arie scelte dellopera dHenrico IV. Re di Castiglia, 341
Armide, 518 n. 17 on bass-line variation, 252, 255, 257
Atys, 81 Der brauchbare Virtuoso, 342, 585 n. 93
Le Bourgeois gentilhomme, 75, 111, 232, 469, 499 Die canonische Anatomie, 408
Cadmus et Hermione, 17, 81 on the concerto, 14344, 165
chaconnes, 21 critica musica, 208, 348, 408
French overtures, 13, 26 on the ute and oboe, 131
678 General Index
Mattheson, Johann (continued)
Groe General-Ba-Schule, 255
on the Hamburg collegium musicum, 181
on the hunting horn, 130
on the mixed taste, 3
on musical borrowing, 2089, 21112, 552 n. 53
on music and emotion, 66
as opera director, 103
on the overture-suite, 2627, 3032, 42, 122
on the Polish style (style polonais), 48788, 493
as publisher of his own works, 34143
on the sonata, 18788, 424, 546 n. 131
Sonate pour le clavecjn, 341
on the stylus phantasticus, 554 n. 4
on Telemanns French trios, 226
Der Vernnfftler, 400
Der vollkommene Capellmeister, 209
Die wol-klingende Finger-Sprache, 341
Maunder, Richard, 185, 546 n. 124, 602 n. 68
Mauro, Ortensio, 518 n. 10
Mayr, Rupert Ignaz, 14, 17
Pythagorische Schmids-Fncklein, 18
Mayr, Wolfgang Moritz, 582 n. 70
mazurka. See Poland: traditional music
McCredie, Andrew D., 560 n. 49
Meares, Richard, 342
Meder, Johann Valentin, 488
Der polnische Pracher, 47980
medicine
public fascination with, 11417
satirized (see gout satirized; hypochondria satirized)
Mehmet IV, Sultan of Turkey, 489
Meissen porcelain factory, 96
melancholy, musical representations of, 9596, 110
Melante (pseudonym). See under Telemann, Georg
Philipp
Meletaon. See Rost, Johann Leonard
Menantes. See Hunold, Christian Friedrich
Mendelssohn, Felix, 460
Menke, Werner, 370, 382, 594 n. 186, 595 n. 191
Meylan, Raymond, 558 n. 30
Michael, Samuel
Ander Theil newer Paduanen, 342, 587 n. 122
Mississippi Company (Compagnie des Indes),
1056
mixed taste, German, 35, 227, 411, 502
Mizler, Lorenz, 523 n. 63
Correspondirende Societt der Musikalischen
Wissenschaften, 384
Moffat, Alfred, 9
Moldenit, Joachim Erasmus von, 364, 41314, 427
Sei sonate da auto traverso e basso continuo, 341
Molire
Le Malade imaginaire, 115
La Princesse dElide, 486
Molter, Johann Melchior, 143, 571 n. 57, 571 n. 60
Concerto Pastorale, 148
concertos en suite, 4445, 291, 523 n. 66
Esercizio studioso, 394
sonatas, 24243, 292, 298300, 410, 569 n. 39
Mondonville, Jean-Joseph Cassana de, 586 n. 108
Pices de clavecin en sonates avec accompagnement de violon,
op. 3, 327, 395, 575 n. 93
Monteclair, Michel Pignolet de
Menuets tant anciens que nouveaux, 410
Monteverdi, Claudio, 82
Morgenstern, Johann Gottlieb, 303
Moritz Casimir I, Duke of Hohenlimburg, 524 n. 67
Moroney, Davitt, 248
Morris, Corbyn
Essay towards Fixing the True Standards of Wit, 100
Morzin, Count Wenzel von, 9
motion, musical representations of, 82, 90, 99
Motta, Artemio
Concerti a cinque, op. 1, 144
motto (Devise) aria. See under Telemann, Georg Philipp
Mouret, Jean-Joseph, 111
Mozart, Leopold, 537 n. 3, 599 n. 27
Grndliche Violinschule, 458
Sonate sei per chiesa e da camera, op. 1, 343
Mozart, Wolfgang Amadeus, 537 n. 3, 600 n. 27
Die Entfhrung aus dem Serail, K. 384, 469, 5012
Don Giovanni, K. 527, 432
Ein musikalischer Spa, K. 522, 90
Quintet in E-at major, K. 407, 328
Quintet in E-at major, K. 452, 329
Sonata in B-at major for piano, K. 333, 32829
Muffat, Georg, 14, 17, 142, 232, 281, 284, 503,
518 n. 18
Armonico tributo, 261
Auserlesene Instrumental-Music, 261
characteristic movement titles, 71
Florilegium primum, 3, 18, 2627, 71
Florilegium secundum, 18, 27, 68, 75
on the mixed taste, 3
scoring in overture-suites, 21
Muffat, Gottlieb, 358
music about music, 90, 101
music as intellectual property, 191. See also Bach,
Johann Sebastian; borrowing, musical; Handel,
George Frideric; imitation, musical; Telemann,
Georg Philipp
music publishing. See publishing industry
Mylius, Christlob
Die rzte, 115, 536 n. 105
narrativity in music, 6668, 77, 84, 9699
Naudot, Jacques-Christophe, 326, 362, 575 n. 95,
586 n. 108
Nemitz, Johann Christoph, 379
 General Index 679

Neruda, Georg, 546 n. 126 Peace of Stockholm, 106

Neuff, Augustin, 227 Peace of Westphalia, 183
Neuhof, Theodor von (Theodore I of Corsica), 47 Peckham, Mary, 545 n. 109
Neumann, Conrad, 345 Penzel, Christian Friedrich, 54
Neumann, Werner, 582 n. 70 Pepusch, Johann Christoph, 166, 183, 258, 409
Neumeister, Erdmann, 520 n. 30 Six concerts, op. 8, 570 n. 46
Newman, William S., 559 n. 38 perdia, 222, 438, 45455
Nichelmann, Christoph, 465 performance practice. See continuo realization;
Nicolai, Philipp, 595 n. 191 orchestras, size and performance practices of;
Niedt, Friedrich Erhardt, 143 ornamentation
on bass-line variation, 25152 Pergolesi, Giovanni Battista
Handleitung zur Variation, 26, 25152 La serva padrona, 453
Musicalischer Handleitung, 251 Stabat mater, 207
Noble, Richard D. C., 506 Petzold, Christian, 582 n. 70
nostalgia for the countryside, 96 Petzold, Martin, 19
Petzoldt, Richard, 533 n. 58
oboe damore, 137 Pez, Johann Christoph, 143, 183
Oleskiewicz, Mary, 549 n. 19, 558 n. 36, 571 n. 61, Philidor, Andr Danican, 27
572 nn. 6970 Philipp, Michel, 529 n. 20, 535 n. 86, 593 n. 179
Ongley, Laurie, 187 Philippe, duc dOrlans, 105
orchestras, size and performance practices of, 24, Piantanida, Giovanni, 362, 586 n. 108
17990, 29495, 520 n. 37, 602 n. 68 Pichler (composer), 292
ornamentation Pigman, G. W., 208, 551 n. 42
bass-line variation (diminution), 24457 Pingeling, Gottfried Christian, 374, 591 nn. 15657
See also under Pisendel, Johann Georg; Quantz, piracy, musical, 26566
Johann Joachim; Telemann, Georg Philipp Piscator, Jeremias Conrad, 345
overture-suite Pisendel, Johann Georg, 19, 69, 107, 143, 174,
arranged from Lullys operas, 1617 266, 402, 535 n. 93, 542 n. 66, 546 n. 128,
as ballet music, 7280 572 n. 73, 586 n. 108, 594 n. 185
characteristic movement titles, 68 as arranger of works by others, 46, 55, 169, 189,
conventions, 3031, 58, 104 524 n. 73, 570 n. 42
late history, 56, 61 concertos, 187, 294, 569 n. 37
stylistic development, 2629, 68 at Darmstadt, 227
See also characteristic suite; concert en ouverture; con- and Johann Sebastian Bach, 124, 145
certo: en suite as Konzertmeister at the Dresden court, 8, 145, 189
Owens, Samantha, 549 n. 24, 550 n. 27, 550 n. 31 at Leipzig, 145, 519 n. 24
and the mixed taste, 8, 50, 516 n. 20
Pachelbel, Johann ornamentation, 42224
Hexachordum Apollinis, 579 n. 41 Sonata in A minor for unaccompanied violin, 427
Musicalische Ergtzung, 21 and Telemann, 8, 47, 127, 145, 16869, 221,
pantaleon, 122 306, 360
Paris at Venice, 3024
Concert Spirituel, 45253, 575 n. 93 plainte (scenic type and characteristic title), 58,
Opra, 123, 453 8182, 84, 8990, 104
Opra-Comique, 453 Plath, Wolfgang, 600 n. 27
Parkinson, John A., 522 n. 59 Pln, court of, 357
parody (raillery) compared to satire, 100 Plumejon, Andreas, 410
Parrish, Carl, 567 n. 17 Poelchau, Georg, 527 n. 99
Parrott, Andrew, 544 n. 102 Poetzsch, Ute, 516 n. 25, 542 n. 67, 573 n. 75
Pasch, Johann, 73 Pointel, Antoine, 17
pastoral aesthetic, 485 Poland
pastorella, 9699 comic-serious associations, 48587, 497, 499,
Der Patriot (Hamburg moral weekly), 4001 5012, 611 n. 74
Payne, Ian, 518 n. 18, 538 n. 16, 547 n. 4, 555 n. 10 and the past, 47778
Peace of Frederiksborg, 106 traditional music, 47173, 476, 47885, 49394
680 General Index
Poland (continued)
Western conceptions of, 47682
See also Bach, Johann Sebastian; Dresden, court
of; Fischer, Johann; Graupner, Christoph;
Hurlebusch, Conrad; Marpurg, Friedrich Wil-
helm; Mattheson, Johann; Scheibe, Johann
Adolph; Telemann, Georg Philipp
Pollarolo, Carlo Francesco
Ottone, 16
Il Pastore dAnfriso, 16
polonaise. See Poland: traditional music
Poner (Cologne bookseller), 145
Pope, Alexander, 208, 330, 36364
Poppe, Gerhard, 549 n. 24, 550 n. 31
Porcherie, Dupuy de la, 115
Praetorius, Johann Philipp, 101, 527 n. 1
Praetorius, Michael, 340, 380
Preiler, Valentin Daniel, 38485
Printz, Wolfgang Caspar, 47879, 482
Batalus, 610 n. 47
Cotala, 610 n. 47
Pancalus, 610 n. 47
Pritius, Johann Georg, 595 n. 191
Promnitz, Count Balthasar Erdmann von, 1920
Przybyszewska-Jarminska, Barbara, 606 n. 6
Psalms, 20, 191, 217, 45253, 480
publishing industry
in Germany, 33944
in London, 340, 342, 34748, 367
Purcell, Henry
Dido and Aeneas, 521 n. 46
Fairy Queen, 39697
Sonnatas of III Parts, 241
Ten Sonatas in Four Parts, 241
Puschner, Johann Georg, 531 n. 41
Quantz, Johann Joachim, 8, 143, 207, 266, 281,
286, 296, 422, 458, 571 n. 60, 572 n. 70,
586 n. 108
on bass-line variation, 25557
at Berlin, 465, 605 n. 108
on the concerto, 144, 294
concertos for ute, 295
correspondence with Telemann, 1314, 22627,
23940
on duets, 392, 461
on the French overture, 1314, 30
on the French vs. Italian styles, 229
on the Lombardic taste, 278
at Merseburg, 220
on the mixed taste, 4
and Moldenit, 414, 427
on musical borrowing, 208, 21011
on ornamentation, 41819, 601 n. 46
as performer, 140, 483
as publisher of his own works, 340
on the quartet, 233, 24243, 249, 558 n. 34
Sei duetti a due auti traversi, 392, 516 n. 2
Sei sonate a auto traversiere solo, op. 1, 340
Solfeggi Pour La Flute Traversiere, 22729, 392,
460, 465
sonatas, 302, 304, 395, 410, 549 n. 19, 558 n.
35, 571 n. 61, 572 n. 69
on tempo, 548 n. 10
on the trio, 430
Versuch einer Anweisung die Flte traversiere zu spielen,
1314, 22627, 232, 255, 286, 414
quartet
generic identity of, 24057
scoring, 24049
querelle (French vs. Italian styles), 77, 84
Quintillian, 208
Quistorp, Theodor Johann
Der Hypochondrist, 11516
Rameau, Jean-Philippe, 521 n. 46, 553 n. 67, 574
n. 91
Les Indes galantes, 469
Nouvelles suites de pices de clavecin, 212, 455
Pieces de clavecin en concerts, 293
Ramler, Karl Wilhelm
Der May: Eine musicalische Idyll, 61
Rampe, Siegbert, 605 n. 114
Raphael, 576 n. 1
Rasch, Rudolf, 580 n. 48, 582 n. 75, 588 n. 134
Rathey, Markus, 580 n. 55
Ratner, Leonard, 328
Ravenscroft, John, 449
Rebel, Jean-Fry
Les Caractres de la danse: Fantaisie, 111
Sonates violon seul, 241
recitative, instrumental. See under Telemann, Georg
Philipp
Regatschnig, Matthias Ferdinand von, 144
Reich, Wolfgang, 559 n. 47
Reilly, Edward R., 556 n. 19
Reinken, Johann Adam
Hortus Musicus, 206
Reipsch, Ralph-Jrgen, 536 n. 105
Rendall, F. G., 586 n. 108
Reynolds, Joshua, 208
rhetoric, music as, 428
Richardson, Jonathan (the elder), 208
Richey, Johann, 35758
Richey, Michael, 86, 347, 358, 533 n. 58, 595 n.
191
Richter, Johann Christian, 8, 13537, 269, 273
Riemann, Hugo, 525 n. 83
Riemenschneider, Johann Gottfried, 19, 586
n. 108

Rifkin, Joshua, 19293, 199, 524 n. 67, 547 n. 3
Ripa, Cesare
Iconologia, 280
ripieno concerto. See concerto: for strings without
soloists
Rist, Johann, 595 n. 191
Ristori, Giovanni Alberto, 8
Roberts, John H., 548 n. 6, 553 n. 65
Robinson, F. J. G., 583 n. 78
Rochester, Lord, 330
Roger, Estienne, 17, 145, 296, 365, 36768, 540 n.
42, 554 n. 1, 572 n. 70
Roger, Jeanne, 354, 365, 580 n. 48
Rolf, Ares, 166
Rolle, Christian Ernst, 567 n. 12
Roman, Johan Helmich, 580 n. 55, 586 n. 108
Rose, Stephen, 339, 530 n. 33, 587 n. 117, 587 n.
122, 606 n. 6, 609 n. 45
Rosenmller, Johann, 15, 471
Sonate, 339
Rost, Johann Leonard (Meletaon), 9
Roth, Johann Michael, 582 n. 70
Rowen, Ruth Halle, 565 n. 2
Rudolstadt, court of, 355
Ruhnke, Martin, 5045, 526 n. 92, 548 n. 13, 576
n. 6, 576 n. 10, 589 n. 142, 591 n. 158, 603
n. 92, 606 n. 8
Russell, Tilden A., 600 n. 34
Russian court, 489
Saint Lambert, Monsieur de, 252
Saint-Svin, Pierre-Philippe (Labb lan), 453 Schmierer, Johann Abraham, 14, 17
Sandberger, Adolf, 565 n. 2
Santa, Gaspara Pietra, 554 n. 1
Sardelli, Federico Maria, 572 nn. 6567, 575 n. 93
satire compared to parody (raillery), 100
Scarlatti, Alessandro, 232
Scarlatti, Domenico
Essercizi per gravicembalo, 394
Schaefer, Hartmut, 565 n. 102, 589 n. 138
Schaefer-Schmuck, Kte, 567 n. 19
Scheibe, Johann Adolph, 328, 569 n. 34
on bass-line variation, 255
cantatas, 183
on characteristic titles, 71
on church symphonies, 188
Compendium Musices Theoretico-Practicum, 255
on the concerto, 144, 287
on the concerto for one instrument alone (einstim-
mige Concert), 28688, 565 n. 8, 566 n. 12
on the concert symphony, 144
Der critische Musikus, 283, 383, 557 n. 28, 566 n. 9
keyboard works and transcriptions, 28788
on the mixed taste, 4
on musical borrowing, 208, 212
General Index 681
on the overture-suite, 3031, 4243, 51, 55,
291, 525 n. 83
on the Polish style (style polonais), 470, 487,
49394, 612 n. 75
on the quartet, 4, 23233, 24243, 557 n. 28
on the quintet, 258
on the sonata in concerto style (Sonate auf Concerte-
nart), 28388, 290, 295, 304, 311, 315
on Tafelmusik, 432
and Telemann, 566 n. 9
on the trio, 4, 225
Ueber die musikalische Composition, 212
Schein, Hermann, 340, 343, 380
Schenk, Peter, 582 n. 70
Scherer, F. M., 587 n. 121
Schering, Arnold, 47, 542 n. 63, 543 n. 69
Schickhardt, Johann Christian, 145
concertos, opp. 13 and 19, 258, 296, 574 n. 89
Schiebler, Daniel, 101
Schiller, Benjamin, 341
Schlegel, Andreas, 570 n. 47
Schleuning, Peter, 165, 543 n. 84
Schmelzer, Johann Heinrich, 75, 488
Fechtschule, 105
Die Polnische Sackpfeiffe, 479
Schmid, Balthasar, 341, 343, 357, 368, 386, 459,
589 n. 135, 595 n. 193
Neu componirte Menuete, 585 n. 93
Schmidt, Jakob Friedrich
Der Hypochondrist, 116, 536 n. 103
Schmidt, Johann Christoph, 366, 4078
Zodiaci musici, 18, 27, 294, 518 n. 18
Schmittbauer, Joseph Aloys
Sinfonia hypochondrica, 536 n. 98
Schneider, Ludwig Michael, 38485
Schneider, Max, 548 n. 7
Schobert, Johann, 328
Scholz, Johann Christian
Une douzaine de tjerces musjcales, 341
Scholze, Johann Sigismund (Sperontes), 9
Singende Muse an der Pleisse und Sale, 593 n. 180
Schnborn, Johann Philipp Franz von, 144
Schnemann (Hamburg bookseller), 38687
Schott, Bernhard, 365
Schubart, Christian Friedrich Daniel, 48485
Schubart, Tobias Heinrich, 595 n. 191
Schubert, Franz, 507
Schulenberg, David, 284, 560 n. 54, 567 n. 20, 575
n. 100
Schultheiss, Benedikt
Muth- und Geistermunternde Clavier-Lust, 343
Schultze, Christoph
Collegium musicum charitativum, 587 n. 122
Schulz, Johann Abraham Peter, 18788, 558 n. 34
682 General Index
Schulze, Hans-Joachim, 146, 548 n. 8, 567 n. 12,
582 n. 70
Schnemann, Georg, 370
Schtz, Heinrich, 340, 343, 380
Schwanenberger, Georg Heinrich Ludwig, 582 n. 70
Schwarzburg, court of, 577 n. 21
Schwerin, court of, 89, 46
Schwickert, Engelhard Benjamin, 581 n. 63
scordatura, 21718
Seelmann, Petrus Theodor, 595 n. 191
Sgur, Count Louis-Philippe de, 477, 48586
Seiffert, Max, 36970, 548 n. 6, 581 n. 63,
589 n. 141
Selhof, Nicholas, 354, 529 n. 18, 582 n. 74
Sellius (bookseller in Halle), 145, 271, 582 n. 69
Senaill, Jean-Baptiste, 241
Seneca, 208
Shakespeare, William, 486
Sheldon, David, 571 n. 53
Shuttleworth, Obediah, 449
Sicul, Christoph Ernst, 19
Siegele, Ulrich, 192, 593 n. 174
Siege of Vienna, 489
Silbiger, Alexander, 506, 520 n. 31
Silvano, Marino, 554 n. 1
Simon, Alicja, 607 n. 17
Simpson, Christopher
The Division-Violist, 251
Simpson, John, 458
sinfonia
use of term in seventeenth and eighteenth cen-
turies, 293
Sing-Akademie zu Berlin, 9, 87, 258, 261, 374,
380, 460
Sisman, Elaine R., 560 n. 54
Smith, Frederik N., 329
sommeil (scenic type and characteristic title), 81,
8788, 104, 142, 231
sonata in concerto style (Sonate auf Concertenart)
aesthetic background, 32731
at the Dresden court, 30210, 571 n. 61
in France, 32627
in Germany, 295302
as postmodern construct, 284
titles as signifying genre, 29095
See also Bach, Johann Sebastian; genre; Telemann,
Georg Philipp
sonnerie, 77, 531 n. 44. See also carillon
Sophie Charlotte, Electress of Brandenburg, 145
Sorau, court of, 20, 179
Sorge, Georg Andreas, 594 n. 185
Anweisung zur Stimmung und Temperatur, 383
Grundliche Untersuchung, 383
Spectator (London moral weekly), 400
Speer, Daniel, 476
Sperontes. See Scholze, Johann Sigismund
Spitzer, John, 525 n. 78
Stal, Madame de, 454
Sthlin, Jacob von, 489
Stamitz, Johann, 546 n. 126
Steffani, Agostino, 15, 17, 408, 471
Henrico Leone, 15
La libert contenta, 16
Orlando generoso, 16
Sonate da camera tre, 18
La superbia dAlessandro, 16
Steltzner, Michael Gottlieb, 89
Steude, Wolfram, 520 n. 30
Stewart, Brian D., 525 n. 79, 601 n. 51
stile antico. See under Telemann, Georg Philipp
stilo alla turca. See Turkish style
Stockigt, Janice, 536 n. 98, 594 n. 185
Stlzel, Gottfried Heinrich, 19, 143, 24243, 292,
298, 410, 559 n. 44, 563 n. 76, 571 n. 60,
599 n. 26
Stone, Richard, 567 n. 16
Strauss, Walter L., 606 n. 6
Stromer, Philipp Ludwig, 588 n. 134
Stulyck, Mathias Nikolaus, 24144, 292, 559 n.
42, 560 n. 49, 568 n. 28
style dialogu, 454
style galant. See Telemann, Georg Philipp: and the galant
style
style hongrois, 469, 48485, 490, 49293
stylus phantasticus, 219, 554 n. 4
Swack, Jeanne, 272, 275, 284, 287, 291, 293, 295,
302, 307, 322, 397, 436, 525 n. 74, 551 n.
40, 555 n. 10, 564 nn. 9092, 566 n. 9, 568
nn. 2829, 573 n. 76, 591 n. 158, 603 n. 80,
605 n. 114
Swift, Jonathan, 208
Gullivers Travels, 101, 116, 32931, 405,
535 n. 84
Tafelmusik, 72, 95, 43132, 489
Taglietti, Giulio, 145, 541 n. 47
Concerti a quattro, op. 4, 144
Concerti sinfonie a tre, op. 2, 144
Taglietti, Luigi
Concerti a quattro. . . e sinfonie a tre, op. 6, 144
Taillart, Pierre-Evrard, 458
Talbot, Michael, 16566, 303, 550 n. 37, 569 n. 29,
572 n. 65, 572 n. 68, 575 n. 96, 580 n. 48
Talle, Andrew, 34041
Tartini, Giuseppe, 580 n. 55
Tatler (London moral weekly), 400
Taubert, Gottfried, 73
Telemann, August Bernhard, 382, 593 n. 181
Telemann, Georg Michael, 5657, 183, 526 n. 93,
527 n. 99

Telemann, Georg Philipp
and the Affettuoso style, 223, 225, 239, 266, 269,
274, 278, 282, 392, 397, 439, 441, 448, 451,
454
and the alla caccia style, 33, 46, 48, 9496, 117,
139, 163, 170, 396, 435, 460
aria style in instrumental works, 36, 51, 131,
13334, 139, 170, 172, 174, 234, 272, 278,
282, 31214, 393, 403, 41617, 425, 435,
448, 573 n. 79 (see also under Telemann: da capo
form in instrumental works; motto [Devise] aria
style in instrumental works)
as arranger of own works, 25, 5455, 72, 93,
27475, 530 n. 26
autobiography (1718), 1415, 1820, 220, 257,
470, 503, 527 n. 4, 527 n. 7, 538 n. 7
autobiography (1729), 122, 471
autobiography (1740), 20, 220, 265, 277, 382,
452, 47071, 519 n. 29, 528 n. 7, 576 n. 1,
585 n. 98, 593 n. 181
as autodidact, 380
and J. S. Bach, 124, 193, 221
ballet music, 70, 7377
as Bayreuth Kapellmeister in absentia, 9, 344,
366, 587 n. 117
at Berlin, 17, 73, 273, 465
and binary form, 36, 38
biography of ca. 1745, 36869, 382, 384, 388
borrowing from other composers, 168, 236, 455,
518 n. 18, 535 n. 86, 553 n. 67, 574 n. 91
borrowing from self, 172, 198, 272, 449, 466,
548 n. 13, 574 n. 83
and Breitkopf publishing rm, 38688
at Brunswick-Wolfenbttel court, 1416
and the burlesque, 70, 7475, 7880, 90, 99,
1048
cadenzas/capriccios, 48, 174, 321, 323
canonic writing, 40, 4648, 80, 90, 93, 127,
174, 202, 222, 261, 26364, 266, 322, 393,
406, 408, 412, 436, 449, 458, 461, 501, 522
n. 54
chaconnes and passacailles, 2023, 58, 45657,
499, 501, 520 n. 32
characteristic movement and work titles, 6872, 78
church sinfonias, 18790
and commedia dellarte, 70, 7475, 7880
composing scores, 6, 47, 5657, 7071, 140,
168, 525 n. 81, 526 n. 88, 526 n. 99
compositional models, 1415, 20, 471
compositional process, 34, 57, 61, 9394, 107,
109, 135, 168, 371, 373
compound forms, 38, 77, 397, 4023, 415
concertos alla francese, 13942
concertos at Eisenach, 12331, 193, 205
concertos at Frankfurt, 16774, 193, 205
General Index 683
concertos at Hamburg, 16778
concertos en suite, 4150
concertos for one instrument alone (einstimmige
Concerte), 28890, 429, 459
concertos for strings without soloists (ripieno
concertos), 14860, 177, 503, 507
concerts en ouverture, 4145, 5056, 433, 525 n. 82
as conductor or impressario, 184
correspondence with Carl Heinrich Graun, 14,
357, 384, 386, 517 n. 5, 593 n. 179, 605 n.
112
correspondence with Johann Joachim Quantz,
1314, 22627, 23940
da capo form in instrumental works, 36, 46, 51,
61, 1078, 126, 137, 139, 160, 163, 168,
264, 307, 31314, 397, 403, 412, 423,
43233, 43536, 441, 530 n. 26, 532 n. 50,
567 n. 19, 574 n. 80 (see also under Telemann:
aria style in instrumental works; motto [Devise]
aria style in instrumental works)
and the Darmstadt court, 7, 57
dissemination of works in manuscript, 59, 149,
159, 2002, 22729, 516 n. 26, 529 n. 18
distaste for concertos, 12122
doubtful works, 4445, 69, 91, 46061, 524 n.
68, 533 n. 64, 538 n. 16, 539 n. 19, 543 n.
69, 554 n. 3, 563 n. 78, 564 n. 91, 573 nn.
7677
and the Dresden court, 8, 17, 73, 107, 140,
18790
at Eisenach, 73, 12123, 180, 221, 257, 525 n.
80, 538 n. 7
as Eisenach corresponding agent, 354, 366, 593
n. 175
as Eisenach Kapellmeister in absentia, 271, 366,
587 n. 117
and the empndsamer Stil, 48, 58, 436, 45961, 463
and the English style, 38
as engraver of music, 36780
evocations of the musical past, 29, 58, 60, 77,
391, 450, 46667
and exoticism, 39, 105
nances, 366, 592 n. 174
at Frankfurt, 7, 106, 123, 180, 269, 271, 273,
277, 544 n. 100
on French recitative, 517 n. 5
and the French style, 1417, 2728, 43, 121
fugal writing, 27, 3132, 40, 126, 129, 172,
222, 23637, 261, 26667, 393, 4067, 425,
448, 451, 522 nn. 5354
and the galant style, 48, 50, 124, 170, 172,
17475, 189, 197, 239, 278, 28182, 391,
39396, 43436, 438, 44852, 461, 463
as gardener, 381
and the Gotha court, 277, 565 n. 99
684 General Index
Telemann, Georg Philipp (continued)
at Hamburg, 84, 8693, 115, 18084, 286,
33536, 338, 34445, 35253, 38182, 519
n. 29, 531 n. 43, 535 n. 82
and the Hamburg collegium musicum, 45,
18182, 190, 335, 344, 348
and Handel, 212, 348
at the Hanover court, 1416, 20
Harmoniemusik, 48, 58, 95, 534 n. 71
health, 440, 603 n. 76
at Hildesheim, 1417, 217
and humor in music, 40, 48, 61, 7475, 77, 88,
90, 99117, 174, 448, 502
inuence on other composers, 19, 50, 507, 529
n. 13
as instrumentalist, 15, 24, 123, 127, 180, 221
and the Italian style, 141, 22026, 540 n. 33
at Krakw, 471, 485
and Kuhnau, 66, 527 n. 7
at Leipzig, 1719, 24, 66, 73, 180, 183, 217,
344, 527 n. 7
as a Lutheran, 380, 401
marriages, 20, 381
and the mixed taste, 35, 41, 219, 225, 261, 267,
274, 28182, 391, 436, 450, 458, 459, 461
motto (Devise) aria style in instrumental works,
126, 129, 13435, 168, 2023, 272, 274,
278, 307, 31314, 319, 32122, 397, 403,
42324, 441, 532 n. 50, 574 n. 80 (see also
under Telemann: aria style in instrumental
works; da capo form in instrumental works)
musical estate, 6, 56, 366, 526 n. 93
on music and emotion, 6566
as music theorist, 38384
orchestras, 17990, 544 n. 100, 544 n. 102
ornamentation, 50, 22526, 231, 261, 405, 412,
41822, 424, 446, 448, 455, 460, 601 n. 45
at Paris, 14, 382, 45254, 538 n. 7, 553 n. 67
and parody, 31, 84, 1001, 174, 499, 535 n. 86
partitioning technique, 436
and the pastoral-rustic style, 33, 38, 48, 58, 88,
90, 9399, 104, 107, 110, 117, 14142, 172,
17475, 278, 396, 429, 43334, 451, 544 n.
92 (see also under Telemann: and the Polish style)
permutation technique, 397, 417, 436, 443, 452,
455
and Pisendel, 8, 47, 127, 145, 16869, 221, 306
at Pless, 471, 485
poetry, 4, 15, 183, 277, 411, 471, 538 n. 9, 565
n. 99
in Poland, 47172, 476
and the Polish style (style polonais), 50, 55, 58,
105, 14142, 15960, 17172, 396, 425,
433, 439, 455, 459, 466, 46971, 48590,
494502, 544 n. 92, 606 n. 9, 610 n. 56, 611
n. 74, 612 n. 75, 612 n. 77 (see also Polish
style; Telemann: and the pastoral-rustic style)
portraits, 384, 385, 38788, 589 n. 135, 595 n.
192
pseudonym Melante, 9, 15051, 516 n. 27,
542 n. 66, 542 n. 69, 563 n. 79
as publisher of his own works, 269, 271, 281
as publishing agent for others, 348, 580 n. 55
at Pyrmont, 43940
reception, 5047
recitative/arioso style in instrumental works, 125,
129, 13134, 137, 169, 17677, 26869,
280, 397, 400, 405, 539 n. 21
ripieno concertos (see under Telemann: concertos
for strings without soloists)
ritornello forms, 34, 46, 48, 12427, 13436,
138, 14041, 150, 152, 16869, 172, 175,
307, 31416, 319, 32123, 433, 435, 542 n.
67, 574 n. 82
rondeau forms, 38, 152, 171, 31516, 415, 433,
458, 574 n. 84
and satire, 61, 10117, 499, 502
and Scheibe, 566 n. 9
scherzos, 46, 48, 5860, 396, 487, 497, 501
scoring, 21, 27, 39, 46, 6061, 150, 173,
175, 359, 41112, 414, 440, 44344,
446, 448, 454, 504, 560 n. 52, 585 n. 94,
602 n. 68
as a singer, 123
sonata forms, 58, 239, 417, 425, 455
sonatas at Eisenach, 22026, 25765
sonatas at Frankfurt, 26981
sonatas in concerto style (Sonaten auf Concertenart),
160, 2023, 22122, 234, 240, 267, 278,
282, 285, 302, 31024, 32627, 395, 397,
413, 415, 425, 436, 441, 448, 454, 542 n.
67, 567 n. 19
sonatas in ve to seven parts, 25765
at Sorau, 1920, 179, 471
and the stile antico, 126, 160, 182, 259, 26263,
269, 274, 393, 400, 450
and the symphonic style, 58, 6061, 466
and ternary form, 38
and the theatrical style, 21, 34, 36, 70, 7284
as theorist, 38384, 386, 402, 594 n. 186
trios alla francese, 22632, 281, 404, 556 n. 26
and the Turkish style, 75, 77, 469, 490
variation forms, 2021, 175, 45556
water music, 8493
at Weimar, 193, 221
at Zellerfeld, 6
Telemann, Maria Catharina, 381, 593 n. 174
Telemannischer Bogen, 524 n. 74
tempte (scenic type and characteristic title), 57,
8182, 8788
 General Index 685

Tessarini, Carlo Venturini, Francesco, 16

Concerti a 5, op. 1, 182 Concerti da camera, 45
Theile, Johann, 15, 343 Veracini, Francesco, 8, 21011, 449
Theocritus, 486 Vial, Stephanie, 599 n. 18
Thvenard, Gabriel-Vincent, 585 n. 99 viola damore, 174
Thieme, Ulrich, 591 n. 156 violino piccolo, 476
Thiry, Franois, 115 Vivaldi, Antonio, 68, 144, 164, 167, 207, 220, 233,
Thirty YearsWar, 33940 285, 312, 422, 449, 452, 525 n. 82, 547 n. 5,
Tietz, Immanuel, 578 n. 40 568 n. 20
time, musical representations of, 9499 La cetra, op. 9, 580 n. 48
Tissot, Samuel chamber concertos, 165, 24244, 284, 29394,
Anleitung fr das Landvolk, 115 3023, 32627, 569 n. 29, 572 nn. 6567,
Toennies, Pierre Diteric, 392 575 nn. 9293
Topham, William, 449 characteristic concerto titles, 7172
topics, musical, 81, 107, 110, 141, 172, 268, 434, Il cimento dellarmonia e dellinventione, op. 8, 539 n.
5012, 603 n. 90 29, 580 n. 48
Torelli, Giuseppe, 127, 143, 307, 541 n. 47, 548 n. 5 Concerti a 5 strumenti, op. 7, 182, 539 n. 29
at the Ansbach court, 145, 541 n. 43 Concerto in C major con molti istromenti, RV 558, 46
Concerti musicali, op. 6, 121, 14445, 150 concertos for strings without soloists (ripieno con-
Concerto da camera, op. 2, 293 certos), 143, 148, 166, 540 n. 36, 542 n. 64
Sinfonie tre e concerti quattro, op. 5, 121, 144, 166, Lestro armonico, op. 3, 143, 207, 288, 3012, 307,
543 n. 76 539 n. 29, 548 n. 10
Treaty of Karlowitz, 489 ute concertos, 307
Treuheit, Albrecht, 541 n. 43 Four Seasons, 66
Trinkle, Karen, 520 n. 40, 525 n. 82, 546 n. 121 inuence at the Dresden court, 30210
Trio Veracini, 560 n. 57 inuence in France, 32627
Troyer, Philipp, 559 n. 47 and Lombardic taste, 278
Trk, Daniel Gottlob, 294, 494 publication of his concertos, 347, 365, 580 n. 48
Turkish style (stilo alla turca), 469, 48990, 49293. ritornello form, 126, 138, 142, 152, 170, 174,
See also under Telemann, Georg Philipp 272, 278, 285, 296, 435, 573 n. 74
Twining, Thomas La stravaganza, op. 4, 143, 539 n. 29
Two Dissertations, 66 solos, 272
Tysenhausen, Count, 611 n. 67 Sonate a violino, e basso per il cembalo, op. 2, 555 n. 9
Suonate da camera a tre, op. 1, 555 n. 9, 564 n. 90
Vogler, Johann Gottfried, 19, 17980, 524 n. 68
Uffenbach, Johann Friedrich Armand von, 335,
Voltaire, 477, 485
34546, 349, 35758, 36768, 535 n. 83,
Volumier, Jean-Baptiste, 79, 17, 73, 221, 366, 535
584 n. 87, 600 n. 30
n. 93
Uhlenhorst (Hamburg), 89
Ulisch, Johann, 2324
Waldeck, court of, 35455, 379
Ulm collegium musicum, 529 n. 18
Wallis, P. J., 583 n. 78
Unzer, Johann August
Walls, Peter, 90
Der Arzt, 11416
Walpurgis, Maria Antonio, Crown Princess of Sax-
Utrecht, 145
ony, 38687
Walsh, John, 272, 36768, 392, 449, 458, 554 n.
Vaillant, Francis, 540 n. 42 1, 564 n. 91, 572 n. 70, 588 n. 132
vainglory satirized, 10817 Walsh, John, Jr., 580 n. 43
Valentini, Giuseppe, 550 n. 31 Walther, Johann Gottfried, 36, 365, 439, 471, 566
Vallerius, Harald n. 12
Disputatio de tactu musico, 49394 Allein Gott in der Hh sei Herr variations, 342
Valoix, Stephan, 16 correspondence with Heinrich Bokemeyer, 353
Vanhal, Johann Baptist, 546 n. 126 keyboard transcriptions of music by others,
variation of the bass line. See ornamentation 12425, 14547, 214, 287, 520 n. 39, 538 n.
variation suite, 29, 46, 524 n. 72 11, 554 n. 71
Vater, Antoine, 360, 386 Musicalisches Lexicon, 122, 143, 368, 480, 567 n. 12
686 General Index
Walther, Johann Gottfried (continued)
on the overture-suite, 521 n. 43
owner of Telemanns publications, 390
Praecepta der Musicalischen Composition, 521 n. 43
publisher of his own works, 342
on publishing ones own works, 339, 343
on variation, 250
War of the Spanish Succession, 142
Wassenaer, Count Unico Wihelm van, 165
Watkin, David, 560 n. 57
Watteau, Jean-Antoine, 96
LAmour au thtre franais, 485 Wrzburg, court of, 180
Les Bergers, 485
Ftes vnitiennes, 485
Webster, James, 507
Weckmann, Matthias, 181
Weichmann, Christian Friedrich
Poesie der Niedersachsen, 533 n. 57
Weigel, Johann Christoph
Musicalisches Theatrum, 47475
Weimar, 14547
Weiss, Sylvius Leopold, 8, 207, 288, 402, 567 n. 16
Weiss, Wisso, 47
Weissenburg, Johann Heinrich von. See Albicastro,
Henricus
Wellhfer, Moritz, 606 n. 6
Wend, Christoph Gottlieb, 330
Werckmeister, Andreas
Cribrum musicum, 20810
Werner, Joseph Gregor, 91
Werner, Thomas W., 589 n. 141, 591 n. 162
Westhoff, Johann Paul von
works for unaccompanied violin, 427
Whaples, Miriam K., 549 n. 15
White, Andrew C., 550 n. 36
Wiedeburg, Matthias Christoph, 533 n. 58
Wiesentheid, court of, 288
Wilckens, Matthus Arnold, 347, 389, 596 n. 206
Willheim, Imanuel, 566 n. 9
Williams, Hermine Weige, 535 n. 83
Willner, Chanan, 548 n. 6
Winckler, Johann Dietrich, 593 n. 181
Winemiller, John T., 550 n. 36
wit compared to humor, 100
Wolf, Eugene K., 148, 150
Wolfenbttel, court of. See Brunswick-Wolfenbttel,
court of
Wolff, Christoph, 207, 548 n. 11, 590 n. 143
Wolff, Larry, 476
Wrttemberg-Stuttgart, court of, 78, 146, 148,
184, 2002, 205, 300, 432, 483, 549 n. 24.
See also Friedrich Ludwig, Crown Prince of
Wrttemberg-Stuttgart
Yearsley, David, 603 n. 84
Zachariae, Friedrich Wilhelm, 21112
Zartoriski, Prince Adam, 48586, 490
Zaslaw, Neal, 525 n. 78
Zedler, Johann Heinrich, 480, 611 n. 66
Zehnder, Jean-Claude, 548 n. 5
Zelenka, Jan Dismas, 242, 250, 402, 559 n. 43, 571
n. 60
canon, ZWV 179, 407
Hipocondrie 7 con[certanti], ZWV 189, 536 n. 98
Responsoria pro hebdomada sancta, ZWV 55, 594 n.
185
sonatas for two oboes and continuo, ZWV 181,
24246, 24849, 255, 257, 3023, 559 n.
37, 559 n. 44, 559 n. 47
Zellerino (composer), 550 n. 31
Zerbst, court of, 9, 70, 169, 524 n. 69, 525 n. 80,
529 n. 18, 542 n. 62, 545 n. 119
Ziani, Pietro Andrea
Lincostanza trionfante, overo Il Theseo, 76
Ziegler, Johann Gotthilf, 578 n. 36, 582 n. 70
Neu-erfundene musicalische Anfangs-Grnde, 343
Neu-erfundene Unterricht vom General-Bass, 343
Zimmermann, Joachim Johann Daniel, 595 n. 191
Zobeley, Fritz, 556 n. 20, 558 n. 30
Zohn, Steven, 525 n. 81, 534 n. 77, 538 n. 10,
544 n. 85, 550 n. 30, 558 n. 36, 559 n. 37,
572, n. 63