M502. G. P. Telemann
Daniel R. Melamed
Jacobs School of Music, Indiana University
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.
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
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
Written assignment 12
Tue 28 Apr 12. Solo instrumental music
Thu 30 Apr
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.
Prerequisites. Proficiency requirements in music history (M501) and written music theory (T508).
Requirements. Reading, listening, score study; class attendance and participation; weekly short written assignments.
Materials and assignments. 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 resources reside on Canvas but it is not necessary to log on there—everything is linked from the course page. Please print texts, diagrams and other handouts and bring them to class or have them available in electronic form. 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.
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—insightful but less frequent
C—infrequent, poorly prepared
Disability and Religious Observance. These will be accommodated according to University guidelines (http://www.iu.edu/~code/ and http://enrollmentbulletin.indiana.edu/pages/relo.php). 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 written assignment topics and analyses with others, but all written work must be entirely your own. Every use of the work of others must be fully documented. If you violate the standards of academic conduct you will fail the course.
Steven Zohn. Music for a Mixed Taste: Style, Genre, and Meaning in Telemann's Instrumental Works. New York: Oxford University Press, 2008. [https://ebookcentral.proquest.com/lib/iub-ebooks/detail.action?docID=415563]
REPERTORY AND ASSIGNMENTS
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)
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?
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.
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
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
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?
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
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
--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.
Diagram of Aria 2.13 (Rodisette) <--new version
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.
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?
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.
“Der Jüngste Tag wird bald sein Ziel erreichen” TVWV 1:301 [Text: Erdmann Neumeister]
Text and translation Original text Score Recording
"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
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.
51:a1 Score Recording Recording
52:G2 Score Recording
51:e1 Score Recording
51:c1 Score Recording
53:e1 Score Recording
53:A1 Score Recording
43:Es1 Score Recording
53:E1 Score Recording Recording
51:E2 Score Recording
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.
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?
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]
Ouverture 55:a2 [Concert en ouverture]
Score Recording Recording
J. S. Bach, Ouverture BWV 1067 [Concert en ouverture]
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]
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 Troisme 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
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.
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)
 Fantaisie [violin] (Hamburg, 1735) 40:14-25 Score Recording Recording
 Fantaisies pour le clavessin (Hamburg, 1732–3) 33:1–36 Score Recording Recording