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Composers

Georg Philipp Telemann

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Compositions for: Orchestra

#Arrangements for: Orchestra
#Parts for: Orchestra
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43 Songs

A

Ach bleib mit deinem Worte, TWV 1:3Ach Gott! dein Zion klagt und weint, TWV 1:10Ach Gott! es geht gar übel zu, TWV 1:12Ach Gott, du bist gerecht, TWV 1:11Ach Gott, vom Himmel sieh darein, TWV 1:14Ach Gott, wie manches Herzeleid, TWV 1:21Ach reiner Geist, TWV 1:30aAch sagt mir nichts von Gold und Schätzen, TWV 1:31Ach wie nichtig ach wie flüchtig, TWV 4:6Ach, mein Herze schwimmt in Blute, TWV 1:29Ach, wo flieh' ich Armer hin, TWV 1:43Ach, wo kömmt doch das böse Ding her, TWV 1:45Alle eure Sorgen werfet auf den Herrn, TWV 1:71Alleluja singet dem Herrn ein neues Lied, TWV 7:4Aller Augen warten auf dich, TWV 1:65Also hat Gott die Welt geliebet, TWV 1:74Also hat Gott die Welt geliebet, TWV 1:76Also hoch und also sehr, TWV 1:87Auf, erwachet, meine Sinnen, TWV 1:98

B

Bittet, so wird euch gegeben, TWV 1:127

C

Christum lieb haben ist besser, TWV 1:137Christus der ist mein Leben, TWV 1:138Concerto for 2 Horns, TWV 52:D2Concerto for 2 Violins, TWV 52:A2Concerto for 2 Violins, TWV 52:D3Concerto for 2 Violins, TWV 52:e4Concerto for 2 Violins, TWV 52:G1Concerto for 3 Trumpets and Timpani, TWV 54:D3Concerto for 3 Trumpets and Timpani, TWV 54:D4Concerto for Violin and 3 Horns, TWV 54:D2Conclusion in D major, TWV 50:9Conclusion, TWV 50:10Conclusion, TWV 50:5

D

Danket dem Herrn, TWV 1:163Das ist ein köstlich Ding, TWV 1:180Das ist je gewißlich wahrDas Kreuz ist eine Liebesprobe, TWV 1:190Das macht Gottes Vaterherz, TWV 1:191Das Wort Jesus Christus ist das wahrhaftige Licht, TWV 1:200Dein gnädig Ohr, TWV 1:214Deiner Sanftmut Schild, TWV 1:211Dennoch bleib ich stets an dir, TWV 1:225Der Engel des Herrn lagert sich, TWV 1:232Der Geist gibt Zeugnis, TWV 1:243Der Herr lebet, TWV 1:284Der Herr regieret, TWV 1:285Der Herr wird ein neues im Lande schaffen, TWV 1:293Der jüngste Tag wird bald sein Ziel erreichen, TWV 1:301Der Messias, TWV 6:4Der mit Sünden beleidigte Heiland, TWV 1:306Der Segen des Herrn machet reich ohne Mühe, TWV 1:311Der Tag des GerichtsDer Tod JesuDie Auferstehung und Himmelfahrt Jesu, TWV 6:6Die Donnerode, TWV 6:3Die Gnadenthüre steht dir offen, TWV 1:339Die Tageszeiten, TWV 20:39Drei sind, die da zeugen im Himmel, TWV 1:374Du bist mein Vater, TWV 1:384Du Tochter Zion, freue dich, TWV 1:407Durch Christi Auferstehungskraft, TWV 1:397

E

Ehr und Dank sei dir gesungen, TWV 1:413Ei nun, mein liebster Jesu, TWV 1:432Ei, warum sollt ich dich lassen, TWV 1:437Ein Arzt ist uns gegeben, TWV 1:416Er ist mein und ich bin sein, TWV 1:461Er kennt die rechten Freudenstunden, TWV 1:464Erhalt mein Herz im Glauben, TWV 1:450Es ist das Heil uns kommen her, TWV 1:494Es ist ein köstlich Ding, TWV 1:504Es ist gewisslich an der Zeit, TWV 1:509Es sei fern von mir rühmen, TWV 1:526Es sind schon die letzten Zeiten, TWV 1:528Es spricht der Unweisen Mund, TWV 1:533Es wird ein unbarmherzig Gericht, TWV 1:542

G

Gebet dem Kaiser, was des Kaisers ist, TWV 1:578Geduld! Wenn Menschen sich zum Teufeln machen, TWV 1:589Gelobet sei der Herr, TWV 1:596Gelobet sei Gott und der Vater, TWV 1:607Gelobet sei Gott und der Vater, TWV 1:610Gelobet seist du, Jesus Christ, TWV 1:611Gelobet seist du, Jesus Christ, TWV 1:612Gen Himmel zu dem Vater mein, TWV 1:613Germania mit ihrem Chor, TWV 12:1cGesegnet ist die Zuversicht, TWV 1:616Gieb mildiglich dein' Segen, TWV 1:622Gieb uns Segen an die Hand, TWV 1:624Gieb, dass ich mich nicht erhebe, TWV 1:621Gleichwie der Regen und Schnee, TWV 1:630Gott der Hoffnung erfülle euchGott fähret auf mit Jauchzen, TWV 1:645Gottes Liebe gehet weit, TWV 1:640Grillen-Symphonie, TWV 50:1

H

Habt nicht lieb die Welt, TWV 1:709Halleluja! Lobet den Namen des Herrn, TWV 1:713Herr Christ, den rechten Samen, TWV 1:731Herr ich bin beide, TWV 1:753Herr Jesu Christ, ich schrei zu dir, TWV 1:758Herr, nun lass in Frieden, TWV 1:766Herr, segne meinen Tritt, TWV 1:768Herr, sei mir gnädig, denn mir ist Angst, TWV 1:769Herr, was muß ich tun, daß ich das ewige Leben erbe, TWV 1:775Hier hab ich manche Plage, TWV 1:794Hosianna dem Sohne David, TWV 1:808

I

Ich bin der Erste und der Letzte, TWV 1:816Ich bin der Herr dein Arzt, TWV 1:817Ich bin getrost im Leben, TWV 1:821Ich bin vergnügt an diesen Gütern, TWV 1:823Ich danke dir und preise, TWV 1:824Ich fahre auf zu meinem Vater, TWV 1:825Ich fürchte keinen Tod auf Erden, TWV 1:827Ich habe Lust abzuscheiden, TWV 1:833Ich halte aber dafür, TWV 1:840Ich hatte mich verirret, TWV 1:842Ich hoffe darauf, daß du so gnädig bist, TWV 1:847Ich trau auf Gott, TWV 1:868Ihr seid alle Gottes Kinder, TWV 1:915Ihr Völker, bringet her dem Herrn, TWV 1:919Ihr, die ihr Christi Namen nennt, TWV 1:898In Christo Jesu gilt weder Beschneidung, TWV 1:930In der Welt habt ihr Angst, TWV 1:936In dich wollst du mich kleiden ein, TWV 1:938Ino, TWV 20:41Ist Gott versöhnt, TWV 1:946

J

Jauchzet dem Herrn, alle Welt, TWV 7:20Jehova pascit me, TWV 7:23Jesu meine Freude, TWV 1:965Jesu, wirst du bald erscheinen, TWV 1:988Johannes Passion, TWV 5:30

K

Komm wieder Herr zu der Menge, TWV 2:12

L

La Tempesta, TWV 20:42Lass mich beizeit mein Haus bestellen, TWV 1:1034Lass mich, o mein Gott, TWV 1:1037Liebet eure Feinde segnet die euch fluchen, TWV 1:1046Lobe den Herrn meine Seele, TWV deestLobet den Herrn alle seine Heerscharen, TWV 1:1061Lobet den Herrn, alle Heiden, TWV 1:1059Lobt ihn mit Herz und Munde, TWV 1:1067Lukas Passion, TWV 5:33Lukas-Passion, TWV 5:45

M

Mach mir stets zuckersüss den Himmel, TWV 1:1080Machet die Tore weit, TWV 1:1074Man singet mit Freuden vom Sieg, TWV 1:1084Man singet mit Freuden vom Sieg, TWV 1:1087Man singet mit Freuden vom Sieg, TWV 1:1088Maria stund auf in den Tagen, TWV 1:1089Matthäus-Passion, TWV 5:15Mein Gott ich schäme mich, TWV 1:1114Mein Jesu, ist dirs denn verborgen, TWV 1:1119Mein Kind verwirf die Zucht des Herrn nicht, TWV 1:1128Mein Kind, willt du Gottes Diener sein, TWV 1:1130Mein Schutz und Hülfe kommt, TWV 1:1132Mein Sünd mich werden kränken sehr, TWV 1:1134Mein Sünd mich werden kränken sehr, TWV 1:deestMeine Schafe hören meine Stimme, TWV 1:1102Meine Seele erhebt den Herrn, TWV 9:18Mir hat die Welt trüglich gericht, TWV 1:1137Mir hat die Welt trüglich gericht't, TWV 1:1138Mit Gott im Gnadenbunde stehen, TWV 1:1141Musikalisches Lob Gottes

N

Nach dir will ich mich sehnen, TWV 1:1149Nichts, nichts kann mich verdammen, TWV 1:1153Nun aber gehe ich hin, TWV 1:1162Nun aber gehe ich hin, TWV 1:1163Nun freut euch, Gottes Kinder, TWV 1:1167Nun komm der Heiden Heiland, TWV 1:1174Nun komm der Heiden Heiland, TWV 1:1175Nun kommt die grosse Marterwoche, TWV 1:1179

O

O Gotteslamm, o Liebesflamm, TWV 1:1191O grosse Lieb, TWV 1:1195O grosser Gott von Macht, TWV 1:1196O Jesu Christ, dein Krippelein, TWV 1:1200O Jesu, treuer Hirte, TWV 1:1202O mein Gott, vor dem ich trete, TWV 1:1205O mein Gott, vor dem ich trete, TWV 1:1206Ouverture-Suite, TWV 55:a1Ouverture-Suite, TWV 55:a6Ouverture-Suite, TWV 55:B1Ouverture-Suite, TWV 55:B11 'La Bourse'Ouverture-Suite, TWV 55:B6Ouverture-Suite, TWV 55:B7Ouverture-Suite, TWV 55:B9Ouverture-Suite, TWV 55:C2Ouverture-Suite, TWV 55:C4Ouverture-Suite, TWV 55:C6Ouverture-Suite, TWV 55:C7Ouverture-Suite, TWV 55:D15Ouverture-Suite, TWV 55:D18Ouverture-Suite, TWV 55:D19Ouverture-Suite, TWV 55:D20Ouverture-Suite, TWV 55:D21Ouverture-Suite, TWV 55:D22Ouverture-Suite, TWV 55:D23Ouverture-Suite, TWV 55:D4Ouverture-Suite, TWV 55:e3Ouverture-Suite, TWV 55:e8Ouverture-Suite, TWV 55:e9Ouverture-Suite, TWV 55:Es1Ouverture-Suite, TWV 55:Es2Ouverture-Suite, TWV 55:Es5Ouverture-Suite, TWV 55:f1Ouverture-Suite, TWV 55:F12Ouverture-Suite, TWV 55:F16Ouverture-Suite, TWV 55:F3Ouverture-Suite, TWV 55:g4Ouverture-Suite, TWV 55:G5Ouverture-Suite, TWV 55:h1

P

Passions

R

Redet unter einander mit Psalmen, TWV 1:1225

S

Sage mir an du den meine Seele liebet, TWV 1:1231Sehet an die Exempel der Alten, TWV 1:1259Sehet, wir gehn hinauf gen Jerusalem, TWV 1:1263Seid getrost und hoch erfreut, TWV 1:1271Seid nüchtern und wachet, TWV 1:1275Selig sind, die zum Abendmahle des Lammes berufen sind, TWV 1:1304Seliges Erwägen des Leidens und Sterbens Jesu Christi, TWV 5:2Siehe, es hat überwunden der LöweSinfonia in E-flat major, TWV 50:21Sinfonia in F major, TWV 50:3Singet dem Herrn, TWV 1:1345Singet dem Herrn, TWV 1:1748So fahre hin, du tolle Schar, TWV 1:1354So gehst du nun mein Jesu hin, TWV 1:1744Sonata in D major, TWV 44:1Sonata in E minor, TWV 50:4Sprich nicht in Mangel, TWV 1:1392Sprich nur ein Wort, so werd ich leben, TWV 1:1393

U

Und alle Engel stunden um den Stuhl, TWV 1:1427Und als er nahe hinzu kam, TWV 1:1429Uns ist ein Kind geboren, TWV 1:1451Uns ist ein Kind geboren, TWV 1:1452Uns ist ein Kind geboren, TWV 1:1453Uns ist ein Kind geboren, TWV 1:1454Unverzagt und ohne Grauen, TWV 1:1457

V

Veni sancte spiritus reple, TWV 3:86Versuchet euch selbst, ob ihr im Glauben seid, TWV 1:1473Violin Concerto, TWV 51:C2Violin Concerto, TWV 51:F4Violin Concerto, TWV 51:G8

W

Wachet auf! ruft uns die Stimme, TWV 1:1487Wahrlich ich sage euch so ihr den Vater, TWV 1:1493Was betrübst du dich meine Seele, TWV 1:1505Was fehlt dir doch, TWV 1:1507Was hast du Mensch was du nicht empfangen hast, TWV 1:1513Was hat das Licht vor Gemeinschaft mit der Finsternis, TWV 1:1514Was ist schöner als Gott dienen, TWV 1:1522Was Jesus nur mit mir wird fügen, TWV 1:1523Was Jesus nur mit mir wird fügen, TWV 1:1525Was mein Gott will, das g'scheh allzeit, TWV 1:1529Water MusicWeichet fort aus meiner Seele, TWV 1:1537Weil ich denn rufe und ihr weigert euch, TWV 1:1540Welcher unter euch kann mich einer Sünde zeihen, TWV 1:1545Wenn bösen Zungen stechen, TWV 1:1555Wenn ich ein gut Gewissen habe, TWV 1:1561Wenn wir in höchsten Nöten sein, TWV 1:1568Wenn wir in höchsten Nöten sein, TWV 1:1569Wenn wir nicht Kreuz und Trübsal hätten, TWV 1:1570Wer bei Gott in Gnaden ist, TWV 1:1573Wer ist wohl wie du, Jesu, TWV 1:1587Wer sich rächet, an dem wird sich der Herr wieder rächen, TWV 1:1602Wer weiss, wie nahe mir mein Ende, TWV 1:1610Wer weiss, wie nahe mir mein Ende, TWV 1:1611Wie lieblich sind doch deine Hütten, TWV 2:13Wie schön wirds nicht im Himmel sein, TWV 1:1640Willkommen, segenvolles Fest, TWV 1:1652Wir glauben an den heiligen Geist, TWV 1:1660Wisset ihr nicht, daß euer Leib, TWV 1:1686Wo bleibt die brüderliche Lieb, TWV 1:1689Wohin ich nur die Augen wende, TWV 1:1692Wohl auf, mein Herze, TWV 1:1697Wünschet Jerusalem Glück, TWV 1:1726

Z

Zu dir flieh ich, verstoss mich nicht, TWV 1:1735

Arrangements for: Orchestra

Concerto à 4, TWV 43:e5Concerto for Violin, Cello, Trumpet and Strings, TWV 53:D5Concerto, TWV 54:F1Der Herr ist König, TWV 8:6Sinfonia à 4, TWV 43:A6Trio Sonata, TWV 42:B6

Parts for: Orchestra

A

Ach bleib mit deinem Worte, TWV 1:3Ach Gott! dein Zion klagt und weint, TWV 1:10Ach Gott! es geht gar übel zu, TWV 1:12Ach Gott, vom Himmel sieh darein, TWV 1:14Ach Gott, wie manches Herzeleid, TWV 1:21Ach sagt mir nichts von Gold und Schätzen, TWV 1:31Also hoch und also sehr, TWV 1:87Auf, erwachet, meine Sinnen, TWV 1:98

D

Das macht Gottes Vaterherz, TWV 1:191Dein gnädig Ohr, TWV 1:214Deiner Sanftmut Schild, TWV 1:211Dennoch bleib ich stets an dir, TWV 1:225Die Gnadenthüre steht dir offen, TWV 1:339Du bist mein Vater, TWV 1:384Durch Christi Auferstehungskraft, TWV 1:397

E

Ehr und Dank sei dir gesungen, TWV 1:413Ei nun, mein liebster Jesu, TWV 1:432Ei, warum sollt ich dich lassen, TWV 1:437Ein Arzt ist uns gegeben, TWV 1:416Er ist mein und ich bin sein, TWV 1:461Er kennt die rechten Freudenstunden, TWV 1:464Erhalt mein Herz im Glauben, TWV 1:450Es ist gewisslich an der Zeit, TWV 1:509Es sind schon die letzten Zeiten, TWV 1:528

G

Gieb mildiglich dein' Segen, TWV 1:622Gieb uns Segen an die Hand, TWV 1:624Gieb, dass ich mich nicht erhebe, TWV 1:621Gottes Liebe gehet weit, TWV 1:640

H

Herr Christ, den rechten Samen, TWV 1:731Herr, nun lass in Frieden, TWV 1:766Herr, segne meinen Tritt, TWV 1:768Hier hab ich manche Plage, TWV 1:794

I

Ich danke dir und preise, TWV 1:824Ich hatte mich verirret, TWV 1:842Ich trau auf Gott, TWV 1:868Ihr, die ihr Christi Namen nennt, TWV 1:898In dich wollst du mich kleiden ein, TWV 1:938Ist Gott versöhnt, TWV 1:946

L

Lass mich beizeit mein Haus bestellen, TWV 1:1034Lass mich, o mein Gott, TWV 1:1037Lobt ihn mit Herz und Munde, TWV 1:1067

M

Mach mir stets zuckersüss den Himmel, TWV 1:1080Mein Schutz und Hülfe kommt, TWV 1:1132Mir hat die Welt trüglich gericht't, TWV 1:1138

N

Nach dir will ich mich sehnen, TWV 1:1149Nichts, nichts kann mich verdammen, TWV 1:1153Nun freut euch, Gottes Kinder, TWV 1:1167

O

O Gotteslamm, o Liebesflamm, TWV 1:1191O grosse Lieb, TWV 1:1195O Jesu, treuer Hirte, TWV 1:1202

S

Seid getrost und hoch erfreut, TWV 1:1271So fahre hin, du tolle Schar, TWV 1:1354Sprich nicht in Mangel, TWV 1:1392Sprich nur ein Wort, so werd ich leben, TWV 1:1393

U

Unverzagt und ohne Grauen, TWV 1:1457

W

Wachet auf! ruft uns die Stimme, TWV 1:1487Was ist schöner als Gott dienen, TWV 1:1522Wenn bösen Zungen stechen, TWV 1:1555Wenn wir in höchsten Nöten sein, TWV 1:1569Wenn wir nicht Kreuz und Trübsal hätten, TWV 1:1570Wer ist wohl wie du, Jesu, TWV 1:1587Wer weiss, wie nahe mir mein Ende, TWV 1:1610Wer weiss, wie nahe mir mein Ende, TWV 1:1611Wo bleibt die brüderliche Lieb, TWV 1:1689Wohl auf, mein Herze, TWV 1:1697

Z

Zu dir flieh ich, verstoss mich nicht, TWV 1:1735
Wikipedia
Georg Philipp Telemann (24 March [O.S. 14 March] 1681 – 25 June 1767) (German pronunciation: [ˈteːləman]) 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.
Telemann 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 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 composed 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, viola da gamba, 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 wrote a great deal 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.
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 and St. Catherine's Church. 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. These works included his 6 Sonatas for solo violin, known as the Frankfurt Sonatas, published in 1715. 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.
The composer, however, was still ambitious and wishing for a better post, so in 1721 he accepted the invitation to work in Hamburg as Kantor of the Johanneum Lateinschule, and music director of the five largest churches. Soon after arrival, Telemann encountered some opposition from church officials who found his secular music and activities to be too much of a distraction for both Telemann himself and the townsfolk. The next year, when Johann Kuhnau died and the city of Leipzig was looking for a new Thomaskantor, Telemann applied for the job and was approved, yet declined after Hamburg authorities agreed to give him a suitable raise. After another candidate, Christoph Graupner, declined, the post went to Johann Sebastian Bach.
Telemann took a few small trips outside of Germany at this time. However, later in the Hamburg period he travelled to Paris and stayed for eight months, 1737 into 1738. He heard and was impressed by Castor et Pollux, an opera by French composer Jean-Philippe Rameau. From then on, he incorporated the French operatic style into his vocal works. Before then, his influence was primarily Italian and German. Apart from that, Telemann remained in Hamburg for the rest of his life. A vocal masterpiece of this period is his St Luke Passion from 1728, which is a prime example of his fully matured vocal style.
His first years there were plagued by marital troubles: his wife's infidelity, and her gambling debts, which amounted to a sum larger than Telemann's annual income. The composer was saved from bankruptcy by the efforts of his friends, and by the numerous successful music and poetry publications Telemann made during the years 1725 to 1740. By 1736 husband and wife were no longer living together because of their financial disagreements. Although still active and fulfilling the many duties of his job, Telemann became less productive in the 1740s, for he was in his 60s. He took up theoretical studies, as well as hobbies such as gardening and cultivating exotic plants, something of a fad in Hamburg at that time, and a hobby shared by Handel. Most of the music of the 1750s appears to have been parodied from earlier works. Telemann's eldest son Andreas died in 1755, and Andreas' son Georg Michael Telemann was raised by the aging composer. Troubled by health problems and failing eyesight in his last years, Telemann was still composing into the 1760s. He died on the evening of 25 June 1767 from what was recorded at the time as a "chest ailment." He was succeeded at his Hamburg post by his godson, Johann Sebastian Bach's second son Carl Philipp Emmanuel Bach.
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. 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.
Sonata da chiesa, TWV 41:g5 (for Melodic instrument – Violin, Flute or Oboe, from Der getreue Musikmeister)
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