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Concerto in G Major for Flute, Oboe & Strings
MP3 (5.43 Mo) : (by MAGATAGAN, MICHAEL)8x⬇ 6x
| Composer : | Telemann, Georg Philipp (1681 - 1767) | ||
| Instrumentation : | flute, oboe and strings | ||
| Style : | Baroque | ||
| Key : | G major | ||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Copyright : | Public Domain | ||
| Added by magataganm, 02 Dec 2023 Georg Philipp Telemann was born in Magdeburg, the son of a Lutheran deacon who died in 1685, leaving the mother to raise their three children alone. The youth showed remarkable talent in music, but was temporarily discouraged in his chosen pursuit by Puritan Lutherans, who told Telemann's mother that he would turn out no better than "a clown, a tightrope walker or a marmot-trainer." In opposition to his mother's wishes, Telemann continued to study in secrecy until she relented, allowing him to train under the highly respected Kantor Benedict Christiani, at the Old City School. Outside of some early lessons in reading tablature, Telemann was self-taught and was capable of playing the flute, violin, viola da gamba, oboe, trombone, double bass, and several keyboard instruments. Telemann began to write music from childhood, producing an opera, Sigismundus, by age 12. His "Essercizii Musici" (The full title of this collection is "Musical Diversions) consists of 12 Solo and 12 Trio Sonatas for Various Instruments. It's practical music in more ways than one; Telemann self-published the Essercizii Musici to help pay off his wife's debts. Beyond that, it's music aimed at the lucrative market of bourgeois, amateur musicians, who passed their evenings playing music in their homes. For this set, Telemann wrote something for each instrument commonly found in the eighteenth century German household: keyboard (harpsichord works better than its softer-voiced cousins in the ensemble pieces), violin, recorder, transverse flute, oboe, and viola da gamba. Each of those instruments is provided a pair of solo sonatas, which in most cases means that it is the featured melody instrument against continuo accompaniment (at least harpsichord and sometimes gamba as well). Only the harpsichord truly plays alone in its two sonatas, which are actually suites: a slow, singing introduction followed by a handful of dance movements, such as bourée, sarabande, gavotte, passepied, and gigue. The other solo sonatas are generally cast in the four-movement church sonata format, a series of movements with only tempo designations rather than dance titles. The first and third movements are slow and often sweet; the second and fourth movements are fast, but not virtuosic. No fewer than twenty-five violin concertos by Georg Philipp Telemann (1681-1767) have come down to us over the years - presumably only a fraction of his total output in this genre. But even this corpus, though reduced by time, reveals that Telemann, like other composers of his day, regarded the violin as the most important and most versatile of all solo instruments. Two of his operas - Der neumodische Liebhaber Damon (1719, TWV 21:8) and Die last-tragende Liebe oder Emma und Eginhard (1728, TWY 27:25) - open with introductory violin concertos; there are eight concertos for two violins; and the violin plays an important role in virtually all his concertos for two or more solo instruments. They hold their own musically alongside the violin concertos of Johann Sebastian Bach, although they are less technically demanding and can be mastered by amateur orchestras. Source: Wikipedia (https://imslp.org/wiki/Category:Telemann,_Georg_Philip p). Although originally created for Flute, Harpsichord & Continuo, I created this Arrangement of the Concerto in G Major (TWV 51:G8) for Flute, Oboe & Strings (2 Violins, Viola & Cello). | |||
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