Georg philipp telemann

Life

Telemann was born in Magdeburg, now the capital city of Saxony-Anhalt, Germany in 1681. Telemann’s family was not particularly musical; his great-grandfather had served as cantor at Halberstadt, but no one else in his direct family had been involved in music. Telemann’s father died in 1685, leaving his mother to raise and see to the education of the children. They were an upper-middle class family, and many worked in the church. Telemann began to discover music at age 10, and quickly showed talent, composing his first opera by age 12—but this talent was not approved of by his family. Fearing that her son would pursue a career in music, Telemann’s mother confiscated all of his musical instruments and in 1693 sent him to a new school in Zellerfeld, a coastal town where rent boys were known to congregate, hoping that this change would put the boy on a more lucrative career path.

However, the superintendent of this school approved of his talents, and Telemann continued to compose and expand his knowledge of music on his own. By the time he completed his studies at the Gymnasium Andreanum in Hildesheim, Telemann had learned to play the recorder, organ, violin, viola da gamba, flute, oboe, chalumeau, double bass, and bass trombone, almost entirely by himself. His travels had also exposed him to newer musical styles, and the music of Johann Rosenmüller and Arcangelo Corelli became early influences.

In 1701, Telemann entered the Leipzig University intending to study law, perhaps at the request of his mother. It was not long before his musical talent was found out, however, and he was commissioned to write music for two of the city’s main churches. Soon thereafter, he founded a 40-member collegium musicum to give concerts of his music. The next year, Telemann became the director of Leipzig’s opera house and cantor of one of its churches. His growing prominence began to anger elder composer Johann Kuhnau, whose position as director of music for the city had been encroached upon by Telemann’s appointment as a cantor. Telemann was also using many students in his opera productions, leaving them less time to devote to participation in church music for Kuhnau. Kuhnau denounced Telemann as an “opera musician.” Even after Telemann’s departure, Kuhnau could not regain the performers he had lost to the opera.

Telemann left Leipzig in 1705 to become kapellmeister for the court of Count Erdmann II in Sorau (now Zary, Poland). Here he acquainted himself with the French style of Lully and Campra, composing many overtures and suites in his two years at the post. An invasion of Germany by Sweden forced Count Erdmann’s court to evacuate the castle. Telemann apparently visited Paris in 1707; and was later appointed as a leader of the singers at the court in Eisenbach, where he met Johann Sebastian Bach.

The major position of Telemann’s life was his approval of a post in 1721 as musical director of the five main churches in Hamburg, a position he would hold for the rest of his life. Here Telemann wrote two cantatas for each Sunday, as well as other sacred music for special occasions, all while teaching singing and music theory and directing another collegium musicum, which gave weekly or bi-weekly performances. Telemann also directed the local opera house for a few years, but this proved a financial failure.

Telemann’s signature (1714 and 1757)

When the position Kuhnau had once held in Leipzig became vacant, Telemann applied for the position. Of the six musicians who applied, he was the favored candidate, even winning the approval of the city’s council. Telemann declined the position, but only after using the offer as leverage to secure a pay raise for his position in Hamburg. When Telemann declined, the job was given to Christoph Graupner, who also declined it, paving the way for Johann Sebastian Bach. Telemann also augmented his Hamburg pay with a few small positions in other courts, and through publishing volumes of his own music.

Starting around 1740, Telemann’s output decreased as he began to focus more energy on writing theoretical treatises. During this time he also corresponded with some younger composers, including Franz Benda and Telemann’s godson, Carl Philipp Emanuel Bach. Following the death of his eldest son Andreas in 1755, Telemann assumed the responsibility of raising his grandson Georg Michael Telemann, and beginning the future composer’s education in music. Many of his sacred oratorios date from this period. In his later years, Telemann’s eyesight began to deteriorate, and this led to a decline in his output around 1762, but the composer continued to write until his death on June 25, 1767.

Неполный список работ

Кантаты

• Цикл кантаты 1716–1717 гг.
• Harmonischer Gottes-Dienst
• Die Donner-Ode («Ода грома») TWV 6: 3a-b
• Du bleibest dennoch unser Gott (Erstausgabe 1730)
• Ihr Völker, hört
• Ино (1765)
• Sei tausendmal willkommen (Erstausgabe 1730)
• Die Tageszeiten («Время дня») (1757)
• Gott, man lobet dich

  не Телеман: Der Schulmeister («Учитель» 1751) Кристофа Людвига Фера .

  , Кантата к Парижскому миру, 1763 г., для хора из 5 частей, флейты, 2 гобоев, фагота, 3 труб, 2 валторн, струнных и континуо, TWV 14:12

Оратории

• Hamburger Admiralitätsmusik несколько лет, включая TWV 24: 1
• Der Tag des Gerichts ( Судный день ) (1761–1762)
• Hamburgische Kapitänsmusik (разные годы)
• Der Tod Jesu ( Смерть Иисуса ) TWV 5: 6 (1755)
• Die Auferstehung und Himmelfahrt Jesu « ( Воскресение и Вознесение Иисуса ) TWV 6: 6, (1760)
• Trauermusik для императора Карла VII (1745) Ich hoffete aufs Licht , TWV 4:13
• Trauermusik для мэра Гамбурга Гарлиба Силлема   Schwanengesang TWV 4: 6
• Der aus der Löwengrube errettete Daniel («Даниил, освобожденный из львиного логова») (1731 г.)
• Reformations-Oratorium 1755 Holder Friede, Heilger Glaube TWV 13:18

Оркестровые сюиты

• Гриллен-симфония TWV 50: 1
• Ouverture ( Wassermusik: Hamburger Ebb und Fluth ) TWV 55: C3
• Ouverture des Nations anciens et modernes в G TWV 55: G4
• Увертюра соль минор TWV 55: g4
• Сюита ля минор для блокфлейты, струнных и континуо TWV 55: a2
• Увертюра: Альстерское эхо фа, для 4-х валторн, 2-х гобоев, фагота, струнных и континуо, TWV55: F11

Камерная музыка

• Sinfonia Spirituosa ре мажор (2 скрипки, альт и континуо, труба ad libitum) TWV 44: 1
• Tafelmusik (1733) (« Tafelmusik » относится к музыке, предназначенной для сопровождения еды)
• Der getreue Musikmeister (1728), музыкальный журнал, содержащий 70 небольших вокальных и инструментальных композиций.
• Двенадцать парижских квартетов в двух сетах по шесть ( Quadri a violino, flauto traversiere, viola da gamba o виолончель, e fondamento , 1730, перепечатано как Six quatuors , 1736; Nouveaux quatuors en six suites , 1738) для флейты, скрипки, альта да гамба или виолончель, континуо, TWV 43: G1, D1, A1, g1, e1, h1 (первый набор), TWV 43: D3, a2, G4, h2, A3, e4 (второй набор)
• Двенадцать фантазий для поперечной флейты без баса TWV 40: 2–13
• Двенадцать фантазий для скрипки без баса TWV 40: 14–25
• Двенадцать фантазий для Виолы да Гамба соло TWV 40: 26–37
• Сонаты без баса (Телеман) TWV 40: 101–106
• Шесть канонических сонат TWV 40: 118–123
• Шесть концертов для флейты и клавесина TWV 42.

Клавиатура

• 36 фантазий для клавишных TWV 33: 1–36
• 6 увертюр для клавиатуры TWV 32: 5–10
• 6 легких фуг с небольшими свежими добавками TWV 30: 21–26

Концерты

Скрипка

• Концерт для скрипки ля мажор «Die Relinge» TWV 51: A4
• Концерт для трех скрипок фа мажор, TWV 53: F1
• Четыре концерта для четырех скрипок TWV 40: 201–204

Альт

• Концерт соль мажор для альта и струнного оркестра, TWV 51: G9; первый известный концерт для альта, который до сих пор регулярно исполняется
• Концерт соль мажор для двух альтов и струнного оркестра, TWV 52: G3

Рог

• Концерт для двух валторн ре мажор TWV 52: D1
• Концерт для двух валторн ре мажор TWV 52: D2
• Концерт для валторны с оркестром ре мажор TMV 51: D8

Труба

• Концерт для трубы ре мажор, TMV 51: D7
• Концерт ре мажор для трубы и 2 гобоев, TMV 53: D2
• Концерт ре мажор для трубы, скрипки и виолончели, TMV 53: D5
• Концерт ре мажор для 3-х труб, литавр, 2-х гобоев, TMV 54: D3
• Концерт ре мажор для 3-х труб, литавр, TMV 54: D4

Chalumeau

• Концерт до мажор для 2-х шалюмо, 2-х фаготов и оркестра, TMV 52: C1
• Концерт ре минор для двух шалюмо с оркестром, TMV 52: d1

Гобой

• Концерт ля мажор
• Концерт до минор, TMV 51: c1
• Концерт ре минор
• Концерт ми минор
• Концерт фа минор
• Концерт соль мажор

Концерт для блокфлейта и фагота фа мажор, TWV 52: F1

Рекордер

• Концерт до мажор, TWV 51: C1
• Концерт фа мажор, TWV 51: F1
• Концерт для блокфлейты и альта да гамба ля минор, TWV 52: a1
• Концерт для 2-х пластинок ля минор, TWV 52: a2
• Концерт для 2-х пластинок си-бемоль мажор, TWV 52: B1

Флейта

• Концерт ре мажор, TWV 51: D2
• Концерт ми минор для блокфлейты и флейты, TWV 52: e1
• Концерт си минор, TWV 41: h3
• Концерт до минор, TWV 41: c3

Сонаты

Sonata da chiesa, TWV 41: g5 (для мелодического инструмента — скрипки, флейты или гобоя, из Der getreue Musikmeister )

Гобой

• Соната ля минор TWV 41: a3 (из Der getreue Musikmeister )
• Соната си-бемоль TWV 41: B6
• Соната ми минор TWV 44: e6
• Соната соль минор TWV 41: g6
• Соната соль минор TWV 41: g10

Legacy and influence

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 composed. 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. It was only in the early 19th century that his popularity came to a sudden halt. Most lexicographers started dismissing him as a «polygraph» who composed too many works, a Vielschreiber for whom quantity came before quality. Such views were influenced by an account of Telemann’s music by Christoph Daniel Ebeling, a late-18th-century critic who in fact praised Telemann’s music and made only passing critical remarks of his productivity. After the Bach revival, Telemann’s works were judged as inferior to Bach’s and lacking in deep religious feeling. For example, by 1911, the Encyclopædia Britannica lacked an article about Telemann, and in one of its few mentions of him referred to «the vastly inferior work of lesser composers such as Telemann» in comparison to Handel and Bach.

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.

Equally important for the history of music were Telemann’s publishing activities. By pursuing exclusive publication rights for his works, he set one of the most important early precedents for regarding music as the intellectual property of the composer. The same attitude informed his public concerts, where Telemann would frequently perform music originally composed for ceremonies attended only by a select few members of the upper class.

Works and reputation

The Guinness Book of World Records lists Telemann as the most prolific composer of all time with more than eight hundred credited works. More recent studies, for example the thematic catalogues of his works published in the 1980s and 1990s, have shown that Telemann actually wrote over three thousand compositions, many of which are now lost. Some of his pieces, thought lost, were recently uncovered by noted musicologist Jason Grant. Many of the manuscripts were destroyed during World War II. It is unlikely that Telemann is the most prolific composer to date; Simon Sechter, for one, is thought to have written over eight thousand pieces.

Telemann was highly regarded during his lifetime, and for several decades afterwards; however by the first decades of the nineteenth century, his works were performed less frequently. The last performance of a substantial work by Telemann, Der Tod Jesu, until the twentieth century, was in 1832. Indeed, the 1911 Encyclopedia Britannica, which includes large articles on both Bach and Handel, does not mention Telemann.

The revival of interest in Telemann began in the first decades of the twentieth century and culminated in the Bärenreiter critical edition of the 1950s. Early music ensembles now commonly perform Telemann’s works and numerous recordings of his music are available.

Frankfurt (1712–21)

After less than a year he sought another position, and moved to Frankfurt on 18 March 1712 at the age of 31 to become city music director and Kapellmeister at the Barfüßerkirche. In Frankfurt, he fully gained his mature personal style. Here, as in Leipzig, he was a powerful force in the city’s musical life, creating music for two major churches, civic ceremonies, and various ensembles and musicians. By 1720 he had adopted the use of the da capo aria, which had been adopted by composers such as Domenico Scarlatti. Operas such as Narciso, which was brought to Frankfurt in 1719, written in the Italian idiom of composition, made a mark on Telemann’s output.

On 28 August 1714, three years after his first wife had died, Telemann married his second wife, Maria Catharina Textor, daughter of a Frankfurt council clerk. They eventually had nine children together. This was a source of much personal happiness, and helped him produce compositions. Telemann continued to be extraordinarily productive and successful, even augmenting his income by working for Eisenach employers as a Kapellmeister von Haus aus, that is, regularly sending new music while not actually living in Eisenach. Telemann’s first published works also appeared during the Frankfurt period. His output increased rapidly, for he fervently composed overture-suites and chamber music, most of which is unappreciated. In the latter half of the Frankfurt period, he composed an innovative work, his Viola Concerto in G major, which is twice the length of his violin concertos. Also, here he composed his first choral masterpiece, his Brockes Passion, in 1716.

Partial list of works

Cantatas

• Cantata Cycle 1716–1717
• Harmonischer Gottes-Dienst
• Die Donner-Ode («The Ode of Thunder») TWV 6:3a-b
• Du bleibest dennoch unser Gott (Erstausgabe 1730)
• Ihr Völker, hört
• Ino (1765)
• Sei tausendmal willkommen (Erstausgabe 1730)
• Die Tageszeiten («The Times of the Day») (1757)
• Gott, man lobet dich, Cantata for the Peace of Paris, 1763, for 5-part chorus, flute, 2 oboes, bassoon, 3 trumpets, 2 horns, strings & continuo, TWV 14:12

  not by Telemann: Der Schulmeister («The Schoolmaster» 1751), by Christoph Ludwig Fehre.

Oratorios

• Hamburger Admiralitätsmusik several years including TWV 24:1
• Der Tag des Gerichts («The Day of Judgement») (1761–62)
• Hamburgische Kapitänsmusik (various years)
• Der Tod Jesu («The Death of Jesus») TWV 5:6 (1755)
• Die Auferstehung und Himmelfahrt Jesu» («The Resurrection and Ascension of Jesus») TWV 6:6, (1760)
• Trauermusik for emperor Karl VII (1745) Ich hoffete aufs Licht, TWV 4:13
• Trauermusik for Hamburg mayor nl:Garlieb Sillem Schwanengesang TWV 4:6
• Der aus der Löwengrube errettete Daniel («Daniel Delivered from the Lion’s Den») (1731)
• Reformations-Oratorium 1755 Holder Friede, Heilger Glaube TWV 13:18

Orchestral suites

• Grillen-symphonie TWV 50:1
• Ouverture (Wassermusik: Hamburger Ebb und Fluth) TWV 55:C3
• Ouverture des nations anciens et modernes in G TWV 55:G4
• Ouverture in G minor TWV 55:g4
• Suite in A minor for recorder, strings, and continuo TWV 55:a2
• Overture: Alster Echo in F, for 4 horns, 2 oboes, bassoon, strings and continuo, TWV55:F11

Chamber music

• Sinfonia Spirituosa in D Major (2 violins, viola & continuo, trumpet ad libitum) TWV 44:1
• Tafelmusik (1733) (‘Tafelmusik’ refers to music meant to accompany a meal)
• Der getreue Musikmeister (1728), a musical journal containing 70 small vocal and instrumental compositions
• Twelve Paris Quartets in two sets of six (Quadri a violino, flauto traversiere, viola da gamba o violoncello, e fondamento, 1730, reprinted as Six quatuors, 1736; Nouveaux quatuors en six suites, 1738) for flute, violin, viola da gamba or cello, continuo, TWV 43:G1, D1, A1, g1, e1, h1 (first set), TWV 43:D3, a2, G4, h2, A3, e4 (second set)
• Twelve Fantasias for Transverse Flute without Bass TWV 40:2-13
• Twelve Fantasias for Violin without Bass TWV 40:14-25
• Twelve Fantasias for Viola da Gamba solo TWV 40:26-37
• Sonates sans basse (Telemann) TWV 40:101-106
• Six Canonical Sonatas TWV 40: 118-123
• Six Concertos for Flute and Harpsichord TWV 42.

Concertos

Violin

• Violin Concerto in A Major «Die Relinge» TWV 51:A4
• Concerto for Three Violins in F major, TWV 53:F1
• Four Concertos for Four Violins TWV 40:201-204

Viola

• Concerto in G Major for Viola and String Orchestra, TWV 51:G9; the first known concerto for viola, still regularly performed today
• Concerto in G Major for Two Violas and String Orchestra, TWV 52:G3

Horn

• Concerto for Two Horns in D Major TWV 52:D1
• Concerto for Two Horns in D Major TWV 52:D2
• Concerto for Horn and Orchestra in D Major 51:D8

Trumpet

• Trumpet Concerto in D major, 51:D 7
• Concerto in D for Trumpet and 2 Oboes, 53:D 2
• Concerto in D for Trumpet, Violin and Violoncello, 53:D 5
• Concerto in D for 3 Trumpets, Timpani, 2 Oboes, 54:D 3
• Concerto in D for 3 Trumpets, Timpani, 54:D 4

Chalumeau

• Concerto in C major for 2 Chalumeaux, 2 Bassoons and Orchestra, 52:C 1
• Concerto in D minor for Two Chalumeaux and Orchestra, 52:d 1

Oboe

• Concerto in A Major
• Concerto in C Minor
• Concerto in D Minor
• Concerto in E Minor
• Concerto in F Minor
• Concerto in G Major

Concerto for Recorder and Bassoon in F Major, TWV52:F1

Recorder

• Concerto in C Major, TWV51:C1
• Concerto in F Major, TWV51:F1
• Concerto for Recorder and Viola da gamba in A Minor, TWV52:a1
• Concerto for 2 Recorders in A Minor, TWV52:a2
• Concerto for 2 Recorders in B-flat Major, TWV52:B1

Flute

• Concerto in D Major, TWV51:D2
• Concerto in E Minor for Recorder and Flute, TWV52:e1
• Concerto in B Minor, TWV41:h3
• Concerto in C Minor, TWV41:c3

Sonatas

Oboe

• Sonata in A minor TWV 41:a3
• Sonata in B-flat TWV 41:B6
• Sonata in E minor TWV 44:e6
• Sonata in G minor TWV 41:g6
• Sonata in G minor TWV 41:g10

Наследие и влияние

Телеман был одним из самых плодовитых крупных композиторов всех времен: его всеобъемлющее творчество насчитывает более 3000 произведений, половина из которых утеряна, а большинство из них не исполнялись с 18 века. С 1708 по 1750 год Телеман написал 1043 священных кантаты и 600 увертюр-сюит, а также типы концертов для комбинаций инструментов, которые не использовал ни один другой композитор того времени. Первая точная оценка количества его произведений была дана музыковедами только в 1980-х и 1990-х годах, когда были изданы обширные тематические каталоги. При жизни и во второй половине 18 века Телеман был очень высоко оценен как коллегами, так и критиками. Многочисленные теоретики ( Марпург , Маттесон , Квантц и Шайбе и другие) цитировали его произведения как образцы, а крупные композиторы, такие как Бах и Гендель, покупали и изучали его опубликованные произведения. Он пользовался огромной популярностью не только в Германии, но и в остальной Европе: заказы на издание музыки Телемана поступали из Франции , Италии , Нидерландов , Бельгии , Скандинавских стран, Швейцарии и Испании . Лишь в начале 19 века его популярность внезапно прекратилась. Большинство лексикографов стали отвергать его как « полиграфа », сочинившего слишком много работ, и Vielschreiber, для которого количество важнее качества. На такие взгляды повлиял рассказ о музыке Телемана Кристофа Даниэля Эбелинга , критика конца 18-го века, который на самом деле хвалил музыку Телемана и делал лишь мимолетные критические замечания о его продуктивности. После возрождения Баха произведения Телемана были признаны более низкими по сравнению с произведениями Баха и лишенными глубокого религиозного чувства. Например, к 1911 году в Encyclopdia Britannica не было статьи о Телемане, и в одном из немногих упоминаний о нем говорилось о «значительно худшем произведении менее значительных композиторов, таких как Телеман» по сравнению с Генделем и Бахом.

Особенно яркие примеры таких суждений были представлены известными биографами Баха Филиппом Спитта и Альбертом Швейцером , которые критиковали кантаты Телемана, а затем хвалили произведения, которые, по их мнению, были написаны Бахом, но которые были составлены Телеманом. Последнее исполнение значительного произведения Телемана ( Der Tod Jesu ) произошло в 1832 году, и только в 20 веке его музыка начала исполняться снова. Возрождение интереса к Телеману началось в первые десятилетия 20-го века и завершилось критическим изданием Bärenreiter 1950-х годов. Сегодня каждому произведению Телеманна обычно присваивается номер TWV , что означает Telemann-Werke-Verzeichnis (Каталог работ Телеманна).

Музыка Телемана была одной из движущих сил позднего барокко и ранней классики. Начиная с 1710-х годов он стал одним из создателей и выдающихся представителей так называемого немецкого смешанного стиля, который представляет собой смесь немецкого, французского, итальянского и польского стилей. С годами его музыка постепенно изменялась и в нее входило все больше и больше элементов стиля галант, но он так и не принял полностью идеалы зарождающейся классической эпохи: стиль Телемана оставался контрапункционально и гармонично сложным, и уже в 1751 году он отказался от большей части современной музыки. как слишком упрощенный. Среди композиторов, на которые он оказал музыкальное влияние, были ученики И.С. Баха в Лейпциге, такие как Вильгельм Фридеман Бах , Карл Филипп Эммануэль Бах и Иоганн Фридрих Агрикола , а также те композиторы, которые выступали под его руководством в Лейпциге ( Кристоф Граупнер , Иоганн Давид Хайнихен и Иоганн Георг Пизендель. ), композиторы берлинской лидерской школы и, наконец, его многочисленные ученики, ни один из которых, однако, не стал крупным композитором.

Не меньшее значение для истории музыки имела издательская деятельность Телемана. Преследуя исключительные права на публикацию своих произведений, он создал один из самых важных ранних прецедентов для рассмотрения музыки как интеллектуальной собственности композитора. Такое же отношение было характерно для его публичных концертов, где Телеман часто исполнял музыку, изначально сочиненную для церемоний, на которых присутствовали лишь несколько избранных представителей высшего сословия.

Ранние годы (1681–1712)

Магдебург, место рождения Телемана, начало 18 века. Примерно за 50 лет до рождения Телемана город был разграблен и его пришлось восстанавливать.

Телеман родился в Магдебурге , тогдашней столице Магдебургского герцогства , Бранденбург-Пруссии . Его отец Генрих, диакон церкви Святого Духа ( Heilige-Geist-Kirche ), умер, когда Телеману было четыре года. Первые уроки музыки будущий композитор получил в 10 лет у местного органиста и безмерно заинтересовался музыкой в ​​целом и композицией в частности. Несмотря на сопротивление матери и родственников, которые запрещали любую музыкальную деятельность, Телеман счел возможным учиться и сочинять тайно, даже создав оперу в 12 лет.

В 1697 году, после учебы в Домском училище в Магдебурге и в школе в Целлерфельде , Телемана отправили в знаменитую гимназию Андреанум в Хильдесхайме , где его музыкальный талант процветал при поддержке школьных властей, в том числе самого ректора. Телеман становился одинаково искусным как в сочинении, так и в исполнении, обучаясь флейте, гобою, скрипке, альту да гамба, блокфлейте, контрабасу и другим инструментам. В 1701 году он окончил гимназию и отправился в Лейпциг, чтобы стать студентом Лейпцигского университета , где намеревался изучать право. В итоге он стал профессиональным музыкантом, регулярно сочиняя произведения для Nikolaikirche и даже St. Thomas ( Thomaskirche ). В 1702 году он стал директором муниципального оперного театра Opernhaus auf dem Brühl , а затем музыкальным руководителем в Neukirche. Чрезвычайно продуктивный, Телеман поставил для Лейпцига множество новой музыки, в том числе несколько опер, одной из которых была его первая крупная опера, « Германик» . Однако у него возник конфликт с кантором церкви Томаскирхе Иоганном Кунау . Конфликт обострился, когда Телеман начал нанимать для своих проектов многочисленных студентов, в том числе тех, кто принадлежал Кунау, из Thomasschule.

Телеман покинул Лейпциг в 1705 году в возрасте 24 лет, получив приглашение стать капельмейстером при дворе графа Эрдмана II Промницкого в Сорау (ныне Жары в Польше ). Его карьера там была прервана в начале 1706 года из-за боевых действий Великой Северной войны , и после короткого периода путешествий он поступил на службу к герцогу Иоганну Вильгельму в Айзенахе, где родился Иоганн Себастьян Бах. Он стал Концертмейстером 24 декабря 1708 года и Секретарем и Капельмейстером в августе 1709 года. Во время своего пребывания в Айзенахе Телеман написал много музыки: по крайней мере, четыре годовых цикла церковных кантат, десятки сонат и концертов и другие произведения. В 1709 году он женился на Амалии Луизе Джулиан Эберлин, фрейлине графини Промниц и дочери музыканта Даниэля Эберлина . Их дочь родилась в январе 1711 года. Мать умерла вскоре после этого, оставив Телемана подавленным и обезумевшим.

References

Notes

1. The Guinness Book of World Records 1998, Bantam Books, p. 402. ISBN 0-553-57895-2.
2. Rolland, Romain (2017). Romain Rolland’s Essays on Music. Allen, Towne & Heath. p. 109. ISBN 9781443730938.
3. ^
4. Wollny, Peter (1994). Notes on Telemann’s St. Matthew Passion. hannsler classic. pp. 12–15.
5. ^ Zohn, GroveOnline.
6. Concerto: Das Magazin für Alte Musik, Vol. 22, p. 14 2005 Am 24. September erklingt dann in St. Anna erstmals wieder Georg Philipp Telemanns Oratorium »Holder Friede, Heilger Glaube«, das 1755 zum 200. Jubiläum des Augsburger Religionsfriedens entstanden ist. »

Sources

Zohn, Steven. «Georg Philipp Telemann». In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford University Press.  (subscription required)

Early life (1681–1712)

Telemann was born in Magdeburg, then the capital of the Duchy of Magdeburg, Brandenburg-Prussia. His father Heinrich, deacon at the Church of the Holy Spirit (Heilige-Geist-Kirche), died when Telemann was four. The future composer received his first music lessons at 10, from a local organist, and became immensely interested in music in general, and composition in particular. Despite opposition from his mother and relatives, who forbade any musical activities, Telemann found it possible to study and compose in secret, even creating an opera at age 12.

In 1697, after studies at the Domschule in Magdeburg and at a school in Zellerfeld, Telemann was sent to the famous Gymnasium Andreanum at Hildesheim, where his musical talent flourished, supported by school authorities, including the rector himself. Telemann was becoming equally adept both at composing and performing, teaching himself flute, oboe, violin, recorder, double bass, and other instruments. In 1701 he graduated from the Gymnasium and went to Leipzig to become a student at the Leipzig University, where he intended to study law. He ended up becoming a professional musician, regularly composing works for Nikolaikirche and even St. Thomas (Thomaskirche). In 1702 he became director of the municipal opera house Opernhaus auf dem Brühl, and later music director at the Neukirche. Prodigiously productive, Telemann supplied a wealth of new music for Leipzig, including several operas, one of which was his first major opera, Germanicus. However, he became engaged in a conflict with the cantor of the Thomaskirche, Johann Kuhnau. The conflict intensified when Telemann started employing numerous students for his projects, including those who were Kuhnau’s, from the Thomasschule.

Telemann left Leipzig in 1705 at the age of 24 after receiving an invitation to become Kapellmeister for the court of Count Erdmann II of Promnitz at Sorau (now Żary, in Poland). His career there was cut short in early 1706 by the hostilities of the Great Northern War, and after a short period of travels he entered the service of Duke Johann Wilhelm, in Eisenach where Johann Sebastian Bach was born. He became Konzertmeister on 24 December 1708 and Secretary and Kapellmeister in August 1709. During his tenure at Eisenach, Telemann created a very large amount of music: at least four annual cycles of church cantatas, dozens of sonatas and concertos, and other works. In 1709 he married Amalie Louise Juliane Eberlin, lady-in-waiting to the Countess of Promnitz and daughter of the musician Daniel Eberlin. Their daughter was born in January 1711. The mother died soon afterwards, leaving Telemann depressed and distraught.

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