M502

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-2017.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.

Prerequisites. Proficiencies in music history (M501) and written music theory (T508).

Requirements. Reading, listening, score study; class attendance and participation; short written assignments.

Materials and assignments. Scores are available in the library and online. Recordings are available online on Naxos and Music Collections Online. Readings, scores, and recordings are online. Daily assignments are on the course Web page; please check each time for changes and revisions. Note that many online resources reside on Canvas but it is not necessary to log on there--everything is linked from the course page. Please have texts, scores and other materials available in class. Questions in the assignments are for study; you do not need to write them up.

Attendance. Every student is expected at each class meeting; exceptions are only for illness or personal emergency. Please inform the instructor in advance if you are forced to miss a class. You should come equipped with materials (scores, posted handouts) and fully prepared to take part in discussions. There's no point in being in the course otherwise.

Grading. The course grade will be based on the written assignments and on active, frequent and well-informed class participation. Expectations:

Written assignments: A--carefully prepared, edited, and proofread; substantively insightful.
B--fundamentally appropriate but with problems in presentation or substance.
C--poor presentation or substance

Class participation:     A--frequent, insightful, respectful of others
                                 B--fundamentally appropriate but less frequent
                                 C--infrequent, poorly prepared

Disability and Religious Observance. These will be accommodated according to University guidelines (http://www.iu.edu/~code/). Please speak with the instructor in advance of your need.

Academic conduct. You may consult and collaborate with classmates in preparing daily assignments. You may discuss paper topics and analyses with others, but all written work must be entirely your own. Every use of the work of others (rarely necessary in analytical assignments) must be fully documented. Violations of the standards of academic conduct will result in a failing grade for the course.

TEXT

Steven Zohn. Music for a Mixed Taste: Style, Genre, and Meaning in Telemann's Instrumental Works. New York: Oxford University Press, 2008. [http://site.ebrary.com.ezproxy.lib.indiana.edu/lib/iub/docDetail.action?docID=10254521]

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 Wednesday 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

Wednesday: 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

Friday: 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 Wednesday)

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 Wednesday

Please read on the opera: New Grove synopsis

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--what are the basic types?)

--organization of the text*

--affect/topic of the text

Solo arias

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.

Diagram of Aria 2.13 (Rodisette)

Aria texts--Pitho

Aria texts--Rodisette

*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.

For Friday

We will finish our examination of Rodisette's arias, then examine those of other characters, looking particularly at instrumental scoring and its significance.

Arias by scoring

Written assignment 3 (due Wednesday)

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

For Wednesday

Let's 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?

For Friday

Study the choruses and the staged ceremony that opens Act III.

After we examine this material, we'll turn to some special solo arias in Socrates, and to some examples from other operas to apply what we have learned about textual, musical and dramatic conventions.

Written assignment 4 (due Wednesday)

Write 250 words of carefully organized and edited prose in which you address one aria from Socrates 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 Wednesday)

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 on Wednesday and Friday.

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

Written assignment 6 (due Wednesday)

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

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 and 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 are 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 Wednesday)

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 from 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 Wednesday)

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 Wednesday)

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.

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 Wednesday, please study the Solo, Trio and Quatour of the first production in detail; for Friday, 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 Wednesday)

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.

Written assignment 11 (due Wednesday)

Write 350-500 words of carefully edited prose in which you discuss an analytical aspect of a movement from the Tafelmusik of your choice.

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: see above.]

11. Quadri (1730)

1. Study the first sonata in detail. How does Telemann use the resources of the quartet? What relationships to earlier sonatas are there?

2. Survey the movements of the six works in the first volume and make yourself outlines. What kinds of pieces are there, and what sort of movements make them up? In what dimensions do these pieces represent a systematic survey?

Quadri (Hamburg, 1730)                      Recording

Concerto 43:G1 [Concerto primo]         Score

Sonata 43:A1     [Sonata prima]             Score

Concerto 43:D1 [Concerto secondo]     Score

Suite 43:e1         [Première suite]            Score

Sonata 43:g1      [Sonata seconda]         Score

Suite 43:h1         [Deuxième suite]          Score

[no new written assignment this week]

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

Written assignment 12 (due Wednesday)

Write 500 words of carefully edited prose in which you discuss one fantasy from this assignment. Include a diagram if you want to communicate the order of events; make a point.

13. Poetic passion

Der für die Sünden der Welt gemarterte und sterbende Jesus ("Brockes-Passion") 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. Note that the score is long; it is not required that you print it.

Written assignment 13 (Due Friday)

Write 500 words of carefully edited prose in which you discuss one movement from the Brockes-Passion. Include a diagram if you want to communicate the order of events; make a point.