Description
Book SynopsisThis first full-length study of Telemann's concertos, sonatas, and suites focuses on his imaginative mixing of styles and genres. Special attention is also devoted to the extra musical meanings and humor of his programmatic overture-suites, his unprecedented self-publishing enterprise, and the social resonances of his Polish-style works.
Trade ReviewIf any music-lovers, performers, or scholars still doubt the beauty and richness of Telemann's music or the importance of his industrious life for the course of music history, let them now read this new study by Steven Zohn, which is extraordinarily well researched, meticulously argued, and original in both content and approach. In one bound, Zohn sets new standards not only for literature in English on Telemann, but also for Telemann scholarship worldwide. * Michael Talbot, Emeritus Professor of Music, University of Liverpool *
Steven Zohn's excellent and engaging study should put to rest, once and for all, any view that Telemann was a habitual composer of wallpaper music. Zohn gives us a comprehensive, nuanced, and discerning picture of the Telemann whose music Bach and Handel so greatly admired. * Michael Marissen, Professor of Music, Swarthmore College, and author of The Social and Religious Designs of Bach's Brandenburg Concertos *
Zohn takes Telemann well beyond Bach's shadow, revealing not only Telemann's original voice and uncanny fluency in any number of national styles, but also transforming our basic conceptions about music in eighteenth-century Germany. An invaluable contribution. * Wendy Heller, Professor of Music, Princeton University *
If any music-lovers, performers, or scholars still doubt the beauty and richness of Telemann's music or the importance of his industrious life for the course of music history, let them now read this new study by Steven Zohn, which is extraordinarily well researched, meticulously argued, and original in both content and approach. In one bound, Zohn sets new standards not only for literature in English on Telemann, but also for Telemann scholarship worldwide. * Michael Talbot, Emeritus Professor of Music, University of Liverpool *
Zohn takes Telemann well beyond Bach's shadow, revealing not only Telemann's original voice and uncanny fluency in any number of national styles, but also transforming our basic conceptions about music in eighteenth-century Germany. An invaluable contribution. * Wendy Heller, Professor of Music, Princeton University *
Steven Zohn's excellent and engaging study should put to rest, once and for all, any view that Telemann was a habitual composer of wallpaper music. Zohn gives us a comprehensive, nuanced, and discerning picture of the Telemann whose music Bach and Handel so greatly admired. * Michael Marissen, Professor of Music, Swarthmore College, and author of The Social and Religious Designs of Bach's Brandenburg Concertos *
Table of ContentsList of Abbreviations ; List of Music Examples ; List of Tables ; List of Figures ; Prologue: Styles and Sources ; Part I: The Overture-Suites ; One: Acquiring a Mixed Taste: Telemann as "Great Partisan of French Music" ; Two: Telemann's Mimetic Art: The Characteristic Overture-Suites ; Part II: The Concertos ; Three: Never from the Heart? Telemann's Concertos ; Four: Bach's Debt Repaid with Interest: A Cast Study of Transformative Imitation ; Part III: The Sonatas ; Five: "Something for Everyone's Taste": Telemann's Sonatas to 1725 ; Six: Telemann and the Sonata auf Concertenart ; Part IV: The Hamburg Publications ; Seven: Telemann in the Marketplace: The Composer as Self-Publisher ; Eight: Telemann fur Kenner und Liebhaber: The Music of the Hamburg Publications ; Nine: Telemann's Polish Style and the "True Barbaric Beauty" of the Musical Other ; Afterword ; Glossay ; Notes ; Bibliography ; Index of Telemann's Compositions ; General Index
