Music for a Mixed Taste

Erscheinungsjahr 2016
ISBN: 978-0-19-516977-5
Verlag: ACADEMIC

Buch, Englisch, 720 Seiten, Format (B × H): 161 mm x 240 mm, Gewicht: 1236 g

Georg Philipp Telemann gave us one of the richest legacies of instrumental music from the eighteenth century. Though considered a definitive contribution to the genre during his lifetime, his concertos, sonatas, and suites were then virtually ignored for nearly two centuries following his death. Yet these works are now among the most popular in the baroque repertory. In Music for a Mixed Taste, Steven Zohn considers Telemann's music from stylistic, generic, and cultural perspectives. He investigates the composer's cosmopolitan "mixed taste"-a blending of the French, Italian, English, and Polish national styles-and his imaginative expansion of this concept to embrace mixtures of the old (late baroque) and new (galant) styles. Telemann had an equally remarkable penchant for generic amalgamation, exemplified by his pioneering role in developing hybrid types such as the sonata in concerto style ("Sonate auf Concertenart") and overture-suite with solo instrument ("Concert en ouverture"). Zohn examines the extramusical meanings of Telemann's "characteristic" overture-suites, which bear descriptive texts associating them with literature, medicine, politics, religion, and the natural world, and which acted as vehicles for the composer's keen sense of musical humor. Zohn then explores Telemann's unprecedented self-publishing enterprise at Hamburg, and sheds light on the previously unrecognized borrowing by J.S. Bach from a Telemann concerto. Music for a Mixed Taste further reveals how Telemann's style polonaise generates musical and social meanings through the timeless oppositions of Orient-Occident, urban-rural, and serious-comic.

Autoren/Hrsg.

Zohn

Zohn, Steven

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein Einzelne Komponisten und Musiker
• Geisteswissenschaften Musikwissenschaft Geschichte der Musik Geschichte der Musik: Klassik (ca. 1750-1830)
• Geisteswissenschaften Musikwissenschaft Geschichte der Musik Geschichte der Musik: Barock (ca. 1600-1750)

Inhaltsverzeichnis

- Abbreviations

- List of Musical Examples

- List of Tables

- List of Figures

- Prologue: Styles and Sources

- Telemann and the German Mixed Taste

- Genius in the Closet

- Part I: The Overture-Suites

-

- Acquiring a Mixed Taste: Telemann as "grand partisan de la musique Francaise"

- Telemann as Lullist

- Tradition versus Innovation

- The Concert en ouverture and Concerto en suite

- The Overture-Suite in Retrospect

-

- Telemann's Mimetic Art: The Characteristic Overture-Suites

- Characteristic Titles/Staging the Overture-Suite

- The Civic Water Music/Images of Court and Country

- Telemann's Wit: Burlesque, Parody, and Satire

- Part II: The Concertos

-

- "Niemals recht von Herzen gegangen"?: Telemann's Concertos

- The Eisenach Concertos

- Concertos for the Eloquent Oboe

- Concertos alla francese

- Telemann and the German Ripieno Concerto

- The Late Frankfurt and Hamburg Concertos

- Telemann's Orchestras

-

- Bach's Debt Repaid with Interest: A Case Study of Transformative Imitation

- Bach's Borrowing, Telemann's Model

- Bach, Telemann, and the Eighteenth-Century Aesthetics of Musical Borrowing

- Part III: The Sonatas

-

- "Something for Everyone's Taste": Telemann's Sonatas to 1725

- Solos and Trios in the Italian Style

- Trios alla francese

- The "True Touchtone of a Genuine Contrapuntist": Quartets for Strings and Winds

- When is a Quartet Not a Quartet?

- Sonatas in Five to Seven Parts

- Two Parisian Piracies

- The Frankfurt Sonata Publications

-

- Telemann and the Sonate auf Concertenart

- Defining the Sonate auf Concertenart

- Titles as Signifiers of Genre

- Reimagining the Sonata (Concerto)

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

- Telemann's Sonaten auf Concertenart

- The "Sonate en concert" and French Vivaldisme

- The Aesthetics of Mixed Genres

- Part IV: The Hamburg Publications

-

- Telemann in the Marketplace: The Composer as Self-Publisher

- Setting up Shop

- Telemann's Subscribers

- Production Methods

- Closing Shop

-

- Telemann f:ur Kenner und Liebhaber: The Music of the Hamburg Publications

- Sonates sans basse

- Essercizii musici

- Reading the Faithful Music Master

- Menuets and Marches

- Quadri

- Methodical Sonatas and Nouvelles sonatines

- The Fantastic Style

- Musique de table and Six ouvertures à 4 ou 6

- Divertimenti

- XII Solos à violin ou traverseère

- Six concerts et six suites

- An Omaggio a Corelli?

- Parisian Sonatas

- Galanterien

- 9: Telemann's Polish Style and the "True Barbaric Beauty" of the Musical Other

- "Gedancken f:ur ein gantzes Leben": Telemann in Poland

- "A Country in the Moon": Poland, Pastoral, and the Past

- Representing Poland Musically

- Afterward

- Glossary

- Bibliography

- Index of Telemann's Compositions

- General Index

Über Autor(innen)

About the Author: Steven Zohn is Associate Professor of Music Studies at Temple University. The recipient of grants and awards from the National Endowment for the Humanities, the American Philosophical Society, the American Musicological Society, and the German Academic Exchange Service, he has published widely on the music of the German late baroque. He is also a noted performer on historical flutes.