 | Telemann, Georg Philipp - Partita II in G Majorfor Oboe & Strings TWV 41:G2 Hautbois, Quatuor à cordes |
VoirPDF : Partita II in G Major (TWV 41:G2) for Oboe & Strings (10 pages - 286.58 Ko)90x⬇ VoirPDF : Violoncelle (70.9 Ko) VoirPDF : Alto (70.35 Ko) VoirPDF : Violon 2 (75.04 Ko) VoirPDF : Violon 1 (74.99 Ko) VoirPDF : Hautbois (76.91 Ko) VoirPDF : Conducteur complet (173.93 Ko) MP3 : Partita II in G Major (TWV 41:G2) for Oboe & Strings 27x⬇ 186x
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| Compositeur : | Telemann, Georg Philipp (1681 - 1767) | ||||
| Instrumentation : | Hautbois, Quatuor à cordes | ||||
| Genre : | Baroque | ||||
| Tonalité : | Sol majeur | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 04 Avr 2021 Georg Philipp Telemann (1681 – 1767) was a German Baroque composer and multi-instrumentalist. Almost completely self-taught in music, he became a composer against his family's wishes. After studying in Magdeburg, Zellerfeld, and Hildesheim, Telemann entered the University of Leipzig to study law, but eventually settled on a career in music. He held important positions in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg in 1721, where he became musical director of that city's five main churches. While Telemann's career prospered, his personal life was always troubled: his first wife died less than two years after their marriage, and his second wife had extramarital affairs and accumulated a large gambling debt before leaving him. He is one of the most prolific composers in history, at least in terms of surviving oeuvre. He was considered by his contemporaries to be one of the leading German composers of the time, and he was compared favourably both to his friend Johann Sebastian Bach, who made Telemann the godfather and namesake of his son Carl Philipp Emanuel, and to George Frideric Handel, whom Telemann also knew personally. As part of his duties, he wrote a considerable amount of music for educating organists under his direction. This includes 48 chorale preludes and 20 small fugues (modal fugues) to accompany his chorale harmonisations for 500 hymns. His music incorporates French, Italian, and German national styles, and he was at times even influenced by Polish popular music. He remained at the forefront of all new musical tendencies, and his music stands as an important link between the late Baroque and early Classical styles. The Telemann Museum in Hamburg is dedicated to him. Telemann was one of the most prolific major composers of all time: his all-encompassing oeuvre comprises more than 3,000 compositions, half of which have been lost, and most of which have not been performed since the 18th century. From 1708 to 1750, Telemann composed 1,043 sacred cantatas and 600 overture-suites, and types of concertos for combinations of instruments that no other composer of the time employed. The first accurate estimate of the number of his works was provided by musicologists only during the 1980s and 1990s, when extensive thematic catalogues were published. During his lifetime and the latter half of the 18th century, Telemann was very highly regarded by colleagues and critics alike. Numerous theorists (Marpurg, Mattheson, Quantz, and Scheibe, among others) cited his works as models, and major composers such as J. S. Bach and Handel bought and studied his published works. He was immensely popular not only in Germany but also in the rest of Europe: orders for editions of Telemann's music came from France, Italy, the Netherlands, Belgium, Scandinavian countries, Switzerland, and Spain. Particularly striking examples of such judgements were produced by noted Bach biographers Philipp Spitta and Albert Schweitzer, who criticized Telemann's cantatas and then praised works they thought were composed by Bach, but which were composed by Telemann. The last performance of a substantial work by Telemann (Der Tod Jesu) occurred in 1832, and it was not until the 20th century that his music started being performed again. The revival of interest in Telemann began in the first decades of the 20th century and culminated in the Bärenreiter critical edition of the 1950s. Today each of Telemann's works is usually given a TWV number, which stands for Telemann-Werke-Verzeichnis (Telemann Works Catalogue). Telemann's music was one of the driving forces behind the late Baroque and the early Classical styles. Starting in the 1710s he became one of the creators and foremost exponents of the so-called German mixed style, an amalgam of German, French, Italian and Polish styles. Over the years, his music gradually changed and started incorporating more and more elements of the galant style, but he never completely adopted the ideals of the nascent Classical era: Telemann's style remained contrapuntally and harmonically complex, and already in 1751 he dismissed much contemporary music as too simplistic. Composers he influenced musically included pupils of J.S. Bach in Leipzig, such as Wilhelm Friedemann Bach, Carl Philipp Emmanuel Bach and Johann Friedrich Agricola, as well as those composers who performed under his direction in Leipzig (Christoph Graupner, Johann David Heinichen and Johann Georg Pisendel), composers of the Berlin lieder school, and finally, his numerous pupils, none of whom, however, became major composers. Source: Wikipedia (https://en.wikipedia.org/wiki/Georg_Philipp_Telemann). Although originally written for Oboe, Flute or Violin & Continuo, I created this Interpretation of the Partita II in G Major (TWV 41:G2) for Oboe & Strings (2 Violins, Viola & Cello). Partition centrale : | Partita No.2 (3 partitions) | | |||
