Telemann, Georg Philipp (1681 - 1767)
MAGATAGAN, MICHAEL (1960 - )
|Added by magataganm, 05 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.
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. 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.
While Telemann is, today, considered among the very greatest of Baroque composers, he was one of the last of the period to be reappraised by later generations, and his music had to be ‘rediscovered’, just as that of J.S. Bach and Vivaldi was. Despite this, he enjoyed a great deal of fame during his lifetime, and his long career resulted in a vast output. He was, in fact, one of the most prolific composers of any age, and travelled widely, assimilating different styles into his own compositions. This allowed him to produce music of such individuality and quality, with a noticeable sense of ease, that it must have astonished his colleagues and patrons, as it does us today.
The 36 Fantasias for harpsichord were published in 1732/3, and are divided into three groups of 12 – the second set is in the French style, while the outer sets are in the Italian style.
Source: Wikipedia (https://en.wikipedia.org/wiki/Georg_Philipp_Telemann).
Although originally created for Harpsichord, I created this Arrangement of the Fantasia in G Minor (TWV 33:8) for String Quartet (2 Violins, Viola & Cello).
|Sheet central :
|36 Fantaisies pour le clavessin (111 sheet music)