Tue 14 Jan      Introduction

Thu 16 Jan      1.  Sonates sans basse

                                                                              Written assignment 1

Tue  21 Jan     2. Ouverture

Thu  23 Jan      

                                                                              Written assignment 2

Tue 28 Jan      3. Opera
Thu 30 Jan

                                                                              Written assignment 3

Tue    4 Feb    

Thu    6 Feb    4.       

                                                                             Written assignment 4

Tue  11 Feb    Church cantata    

Thu  13 Feb  no class      

                                                                              Written assignment 5

Tue  18 Feb   

Thu  20 Feb   5. Concerto  

Tue  25 Feb

Thu  27 Feb        

                                                                             Written assignment 6

Tue    3 Mar  6. Kapitänsmusik              

Thu    5 Mar

                                                                             Written assignment 7

Tue  10 Mar  7. Concert en suite/Ouverture en concert     

Thu  12 Mar

                                                                             Written assignment 8

Spring break

Tue  31 Mar  8. Oratorio

 Thu    2 Apr                                             

                                                                             Written assignment 9

Tue    7 Apr    9. Sonata

Thu    9 Apr  

                                                                             Written assignment 10

Tue  14 Apr  

Thu  16 Apr   10. Secular cantata  

                                                                              Written assignment 11

Tue  21 Apr   11. Poetic passion

Thu  23 Apr                                                            
                                                                             Written assignment 12

Tue  28 Apr   12. Solo instrumental music

Thu  30 Apr                                                         

GENERAL INFORMATION

Instructor: Prof. Daniel R. Melamed, dmelamed (AT) indiana.edu
Office: M325C, (85)5-8252. Office hours by appointment
Course Web page: http://telemann.melamed.org/  or  http://dmelamed.pages.iu.edu/M502-Telemann-2020.htm

Aims and methods: We will survey types and genres of music from the middle of the eighteenth century through the compositions of Georg Philipp Telemann.

This is largely an analysis course. We will spend much of our time in class and in written assignments on the close analysis of Telemann's music.

REPERTORY AND ASSIGNMENTS

Introduction

Reading: Steven Zohn. "Georg Philipp Telemann." New Grove Online. [Biographical overview, sections 1-4]

1. Sonates sans basse

Sonates sans basse a deux Flutes travers ou à deux Violons (Hamburg, 1727) TWV 40:101–6

Parts/score:    Original print (Hamburg, 1727)    Le Clerc reprint (Paris, c.1738)

 

Recordings:    Traverso        Recorder        Violin (modern, multi-tracked)

 

Diagrams 

Examine the original print from 1727. How is the music presented? Why did Telemann choose that format? What effect does that have on the way one reads or analyzes the compositions? By what technology were the notes printed? Compare the Paris reprint on these points. How does it differ? Why? With what effect?

How are the pieces organized in the print? What is the typical organization of a sonata? What is the significance of the title specifying "sans basse?" How does the composer use the two instruments? How does he realize characteristic musical features of sonatas using only two treble lines?

Written assignment 1 (due Tuesday of next week)

 

Write 250 words of carefully organized and edited prose in which you address one analytical aspect of one sonata movement we have not discussed in class.

 

Guidelines for writing analytical papers are here. Note that a few guidelines are less applicable to very short essays.

2. Ouverture

Tuesday  : Please read S. Zohn, Music for a Mixed Taste, chapter 1

Ouverture in C major TWV 55:C2          Parts(!)    Recording

Ouverture in B minor TWV 55:h1          Score        Recording

          Diagrams

Thursday: Please read S. Zohn, Music for a Mixed Taste, chapter 2

Ouverture in C major TWV 55:C6        Score        Recording

Ouverture in C major TWV 55:C3        Score        Recording

          Diagrams

Study each of the Ouvertures. What kind of movements make them up? How are the movements connected with each other? How are the movements organized internally? What role do dance meters play? What does the composer do with the basic formal and metrical framework provided by the dance types?

Written assignment 2 (due Tuesday)

 

Write 250 words of carefully organized and edited prose in which you address one analytical aspect of one suite movement.

3. Opera

Der geduldige Socrates (Johann Ulrich von König; Hamburg, 1721)       

        Original libretto    Text and translation    German/Italian text preserving verse forms   

        Score 1  2  3 [NB: Large files] It is not necessary for you to print the score or to bring a paper copy to class

        Recording

For Tuesday 

Please read on the opera: New Grove synopsis by Brian D. Stewart

Please read on the background of opera in Hamburg:  George J. Buelow. "Opera in Hamburg 300 Years Ago." Musical Times 119, no. 1619 (1978): 26-8.

Listen to the opera. (NB: It's long. You may decide that it is better heard an act at a time.) We will focus on the solo arias. As you listen, make yourself a list or table of the solo arias, noting for each:

    --character who sings

    --tempo/affect marking

    --meter

    --key/mode

    --instrumentation (what are the basic types?)

    --formal organization (musical organization--what are the basic types?)

    --organization of the text*

    --affect/topic of the text

*Important note: All 18th-century opera text is poetry--aria texts are short lyric poems. Most text-and-translation presentations of opera texts, particularly in recordings, make hamburger of the verse. This is true of the text and translation supplied above. The original printed libretto gets this right; the modern German/Italian text also linked above is mostly correct. You will need to consult these versions to understand the organization of the aria poetry.

Solo arias

Diagram of Aria 2.13 (Rodisette)  <--new version

Aria texts--Pitho 

Aria texts--Rodisette 

Arias by scoring

Examine the solo arias in the opera. Our principal goal will be to make sense of Telemann's musical choices among the various possibilities in setting a particular text, and to learn some of the basic organizational schemes of text, music, and the two together.

Written assignment 3 (due Tuesday)  

 

Choose a ritornello-form aria from Socrates and diagram it; include measure numbers, ritornellos, text lines, and principal key areas.

Examine the duets in Socrates. How do their texts, scoring, formal organization, use of instruments and other features compare to solo arias? Are the duets all fundamentally the same, or are there distinct types? If there are, does the organization of the text determine them? If we have time we will also look at the quintets and terzett; examine those as well. How do they compare to the solo arias and duets?

Written assignment 4 (due Tuesday)

 

Write 250 words of carefully organized and edited prose in which you address one aria or duet from Socrates that we have not discussed extensively in class. Attach a diagram; don't repeat the substance of the diagram in your text!

4. Church cantata

Examine the original printed editions of these two published collection and read Telemann's prefaces. How is the music presented in each? What kind of topics does Telemann address in the prefaces? What do the title pages and prefaces tell us about where and how these works were performed?

Harmonischer Gottes-Dienst (Hamburg, 1725-26)
    Original print        Telemann's preface

Fortsetzung des harmonischen Gottes-Dienstes (Hamburg, 1731-32)
    Original print        Telemann's preface

Study the following works, including one not from those publications. What kinds of texts make up each libretto? How are the texts constructed? What musical types does Telemann compose in response? What connection is there to operatic text and music? Make yourself outlines of each work, including text, movement type, key and meter, and scoring.

[1718]

“Der Jüngste Tag wird bald sein Ziel erreichen” TVWV 1:301 [Text: Erdmann Neumeister]
      Text and translation        Original text    Score            Recording

       

Harmonischer Gottes-Dienst      

"Weg mit Sodoms gift’gen Früchten” TVWV 1:1534  [Text: Matthäus Arnold Wilkens]
      Text and translation        Score            Modern score    Recording (trav.)    Recording (vn.)

“Lauter Wonne, lauter Freude” TVWV 1:1040    [Text: Matthäus Arnold Wilkens]
     Text and translation        Score            Modern score    Recording (trav.)    Recording (trav.)

“Zischet nur, stecht, ihr feurigen Zungen” TVWV 1:1732  [Text: Matthäus Arnold Wilkens]
     Text and translation        Score            Modern score    Recording

 

Fortsetzung des harmonischen Gottes-Dienstes

“Mein Glaube ringt in letzten Zügen” TVWV 1:184
     Text and translation        Original print            Modern score    Recording

 “Ein Jammerton” TVWV 1:424
     Text and translation        Original print            Modern score    Recording

Written assignment 5 (due Tuesday)

Write 250 words of carefully organized and edited prose in which you discuss one ritornello-form cantata movement from the assigned repertory. Include a diagram; don't repeat the contents of the diagram in your essay.

5. Concerto

Please read S. Zohn, Music for a Mixed Taste, chapter 3

Study the following works, organized here into Zohn's categories. Look at movement types, formal organization of movements, ritornello construction (where applicable), and ritornello form organization (ditto). We will deal with the pieces in approximately this order.

Eisenach
51:a1         Score        Recording            Recording
52:G2        Score        Recording

Oboe
51:e1         Score        Recording
51:c1         Score        Recording   

------------------

Alla francese
53:e1        Score        Recording
53:A1       Score        Recording

Ripieno
43:Es1     Score         Recording

Later
53:E1       Score        Recording            Recording
51:E2       Score        Recording

6. Kapitänsmusik

Please read this short essay on the Hamburg Bürgerkapitäne [leaders of the civic militia] and their annual festive gathering at which an oratorio and a serenata [the so-called Kapitänsmusik] were performed.

Study the text of the 1738 Kapitänsmusik (text by Jacob Friedrich Lamprecht, music by Telemann). Make yourself an outline of the works. How are the Oratorio and Serenata different? In what ways are they alike? What kinds of texts are present? Who sings (what characters)? How are the roles and pieces organized in the two texts? What kinds of topics do you recognize from the texts? What sort of musical treatment do they suggest?  [Note: "Hammonia" is Hamburg itself, either directly or allegorized as the patron goddess of the city.]

NB. The translation here is quite useable but the poetic texts are mostly printed as though they were prose. Of course they are not, and you will have to do some reconstruction to understand their poetic structure.

Then listen to Telemann's settings. (Note that there is no score available.) How does Telemann respond to the textual cues? What sorts of pieces does he compose? How does he choose and distribute choices of instrumentation, affect, topic, ritornello construction, aria construction, and the like? What other sorts of pieces are present? How does he respond to the few scriptural and hymn texts?

Recording

 

Written assignment 7 (due Tuesday )

Write 250-500 words of carefully edited prose in which you discuss one concerted number (i.e., not a recitative) from the 1738 Kapitänsmusik. Include a diagram, which you can now confidently make by listening to the piece.

7. Concert en ouverture

Review the two later concertos from assignment 5 (53:E1 and 51:E2).

Please read S. Zohn, Music for a Mixed Taste, chapter 1, pp. 41-56. Take particular note of his discussion at the top of p. 44, of the categories he calls "Concerto en suite" and "Concert en ouverture."

Please study the following works. You will probably find structural diagrams of the opening movements useful. How does the composer integrate the concerted element into a suite (and vice versa)?

Concerto 51:F4 [Concerto en suite]

    Score  [NB: probably too long to print]        Recording    Recording

Ouverture 55:a2    [Concert en ouverture]

    Score        Recording        Recording

J. S. Bach, Ouverture BWV 1067    [Concert en ouverture]
 

    Score        Recording

Written assignment 8 (due Tuesday)

Write 250-500 words of carefully edited prose in which you discuss one concerto movement from this assignment or from the second half of assignment 5. Include a diagram if you want to communicate the order of events.

8. Oratorio

For background, please read this short essay on the Donnerode.

Then listen to and study the work. Make yourself an outline. What kinds of texts are in the libretto? (Psalms 8, 29 and 45 are relevant and are available here.) What kinds of musical treatments do the texts suggest? What kinds of musical numbers are present? How is the work assembled as a whole?

"Wie ist dein Name so groß" [Die Donnerode] TVWV 6:3

Score        Text and translation        Recording       

[Score may be too long to print]

Written assignment 9 (due Tuesday)

Write 250-500 words of carefully edited prose in which you discuss one oratorio movement from this assignment. Include a diagram if you want to communicate the order of events.

 

Assignments can be submitted on Canvas as Word documents.

9. Sonata

We will sample sonatas from the 3-part publication of 1733 called the Musique de Table (ofen referred to in German as the Tafelmusik).

Please read the overview in S. Zohn, Music for a Mixed Taste, chapter 8, pp. 431-8. Please also survey chapter 5 (on sonatas); there is more there than we can possibly deal with, but you should look over this section to see what kinds of issues come up in the study of Telemann's sonatas. We can then apply some of them to the sonatas in the Tafelmusik.

Pemiere Production    Seconde Production    Trois^me Production

Examine the entire contents of the publication. What kinds of pieces are in it?

Get an overview of the nine sonatas. Which pieces are they, given that not called "sonata?" What other labels are there, and what do they signify? What kinds of movements are present? What instruments are called for in the various sonatas? (Making yourself a table of all this will be helpful).

For Tuesday, please study the Solo, Trio and Quatour of the first production in detail; for Thursday, the remaining six sonatas (in overview). Scores of just those pieces are extracted below, for saving/printing.

Solo-Trio-Quatour 1        Solo-Trio-Quatour 2        Solo-Trio-Quatour 3

Recordings:  Freiburger Barockorchester   

Written assignment 10 (due Tuesday)

Write 350-500 words of carefully edited prose in which you discuss an analytical aspect of one sonata movement from this assignment. Include a diagram if you want to communicate the order of events.

10. Secular cantata

VI moralische Cantaten TVWV 20:23-28 (D. Stoppe; Hamburg, 1735-6)

    Score        Text and translation 1-3    Text and translation 4-6    Recording        Recording      

Die Tageszeiten TVWV 20:39 (F.W. Zachariä; 1757)

    Score        Text and translation    Recording        Recording

Study these cantatas. What sort of texts are these? How do they lend themselves to the conventions of mid-18th century musical settings? What is the role of instruments? How are they and the chorus incorporated?

Written assignment 11 (due Tuesday)
Write 350-500 words of carefully edited prose in which you discuss an analytical aspect of a movement of your choice from the Tafelmusik assignment.

OR

Written assignment 11 (due Tuesday)
Write 350-500 words of carefully edited prose in which you discuss an analytical aspect of a movement of your choice from the secular cantata assignment.

11. Poetic passion  

Der für die Sünden der Welt gemarterte und sterbende Jesus ("Brockes-Passion") TVWV 5:1

Please read this introductory essay by Carsten Lange. (Note that the second half of the essay becomes somewhat descriptive and might be less useful.)

Study Telemann's setting of this famous text. Like other concerted passion settings from the first half of the 18th century, the libretto frames and comments on the narrative with interpolated free poetry and hymn stanzas. It is distinguished by its presentation of the passion narrative in poetry as well. How does Telemann use various musical types to make the role and function of each kind of text clear to the listener?

There are two kinds of "characters" here--participants in the scriptural narrative, and allegorical figures. What kind of music is each given? What musical types and techniques does he draw on? What do you make of the groups of numbers marked "SOLILOQUIO?" Who sings them?

    Score  1-46    47-85            Recording            Text and translation*           Outline of the Brockes text        1716 Frankfurt libretto

*The English translation here is from the 19th century.

Written assignment 12 (due Tuesday)
Write 500 words of carefully edited prose in which you discuss one aria from the Brockes-Passion. Include a diagram if you want to communicate the order of events; make a point.

12. Solo instrumental music

Please read S. Zohn, Music for a Mixed Taste, chapter 8, pp. 427-31.

Study the following collections in overview. What is a fantasy? What issues arise in composing for solo instruments other than the keyboard? Examine the first three pieces in each collection in more analytical detail.

12 fantaisies [traverso] (Hamburg, 1723-33) 40:2-13                    Score        Recording    Recording (modern fl)    Recording (modern fl)

[12] Fantaisie [violin] (Hamburg, 1735) 40:14-25                        Score        Recording    Recording

[36] Fantaisies pour le clavessin (Hamburg, 1732–3) 33:1–36    Score        Recording    Recording