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Music for a mixed taste : style, genre, and meaning in Telemann's instrumental works / Steven Zohn

Av:

Zohn, Steven David

Utgivning: New York, NY : Oxford University Press, 2008Beskrivning: 686 as. : ill., musiknoterISBN:

978-0-19-516977-5

Ämne:

Telemann, Georg Philipp, 1681-1767

DDK-klassifikation:

780.92 22 (machine generated)

SAB-klassifikation:

Ijz Telemann, Georg Philipp

Innehåll:

PROLOGUE: STYLES AND SOURCES : TELEMANN AND THE GERMAN MIXED TASTE ; GENIUS IN THE CLOSET -- PART I: THE OVERTURE-SUITES: Acquiring a Mixed Taste : Telemann as "Great Partisam of French Music" ; Telemann's Mimetic Art : The Characteristic Overture-Suites -- PART II: THE CONCERTOS: Never from the heart? Telemann's Concertos ; Bach's Debt Repaid with Interest : A Case Study of Transformative Imitation -- PART III: THE SONATAS: "Something for Everyone's Taste" : Telemann's Sonatas to 1725 ; Telemann and the Sonate auf Concertenart -- PART IV: THE HAMBURG PUBLICATIONS: Telemann in the Marketplace ; Telemann für Kenner und Liebhaber : The Music of the Hamburg Publicatiosn ; Telemann's style and the "True Barbaric Beauty" of the musical Other

Sammanfattning: Georg Philipp Telemann gave us one of the richest legacies of instrumental music from the eighteenth century. Though considered a definitive contribution to the genre during his lifetime, his concertos, sonatas, and suites were then virtually ignored for nearly two centuries following his death. Yet these works are now among the most popular in the baroque repertory. In this book, Zohn considers Telemann's music from stylistic, generic, and cultural perspectives. He investigates the composer's cosmopolitan mixed taste-a blending of the French, Italian, English, and Polish national styles-and his imaginative expansion of this concept to embrace mixtures of the old (late baroque) and new (galant) styles. Telemann had an equally remarkable penchant for generic amalgamation, exemplified by his pioneering role in developing hybrid types such as the sonata in concerto style (Sonate auf Concertenart) and overture-suite with solo instrument (Concert en ouverture). Zohn examines the extramusical meanings of Telemann's characteristic overture-suites, which bear descriptive texts associating them with literature, medicine, politics, religion, and the natural world, and which acted as vehicles for the composer's keen sense of musical humor. He then explores Telemann's unprecedented self-publishing enterprise at Hamburg, and sheds light on the previously unrecognized borrowing by J.S. Bach from a Telemann concerto. The book further reveals how Telemann's style polonaise generates musical and social meanings through the timeless oppositions of Orient-Occident, urban-rural, and serious-comic.

Holdings ( 1 )
Title notes ( 2 )

Holdings
Cover image	Item type	Current library	Home library	Collection	Shelving location	Call number	Materials specified	Vol info	URL	Copy number	Status	Notes	Date due	Barcode	Item holds	Item hold queue priority	Course reserves
	Book	Musik- och teaterbiblioteket Magasin A				B25.733				1	Checked out		2026-02-25	26201811878

Total holds: 0

Georg Philipp Telemann gave us one of the richest legacies of instrumental music from the eighteenth century. Though considered a definitive contribution to the genre during his lifetime, his concertos, sonatas, and suites were then virtually ignored for nearly two centuries following his death. Yet these works are now among the most popular in the baroque repertory. In this book, Zohn considers Telemann's music from stylistic, generic, and cultural perspectives. He investigates the composer's cosmopolitan mixed taste-a blending of the French, Italian, English, and Polish national styles-and his imaginative expansion of this concept to embrace mixtures of the old (late baroque) and new (galant) styles. Telemann had an equally remarkable penchant for generic amalgamation, exemplified by his pioneering role in developing hybrid types such as the sonata in concerto style (Sonate auf Concertenart) and overture-suite with solo instrument (Concert en ouverture). Zohn examines the extramusical meanings of Telemann's characteristic overture-suites, which bear descriptive texts associating them with literature, medicine, politics, religion, and the natural world, and which acted as vehicles for the composer's keen sense of musical humor. He then explores Telemann's unprecedented self-publishing enterprise at Hamburg, and sheds light on the previously unrecognized borrowing by J.S. Bach from a Telemann concerto. The book further reveals how Telemann's style polonaise generates musical and social meanings through the timeless oppositions of Orient-Occident, urban-rural, and serious-comic.