Table of Contents

Abbreviations
List of Musical Examples
List of Tables
List of Figures
Prologue: Styles and Sources
Telemann and the German Mixed Taste
Genius in the Closet
Part I: The Overture-Suites
1:
Acquiring a Mixed Taste: Telemann as "grand partisan de la musique Francaise"
Telemann as Lullist
Tradition versus Innovation
The Concert en ouverture and Concerto en suite
The Overture-Suite in Retrospect
2:
Telemann's Mimetic Art: The Characteristic Overture-Suites
Characteristic Titles/Staging the Overture-Suite
The Civic Water Music/Images of Court and Country
Telemann's Wit: Burlesque, Parody, and Satire
Part II: The Concertos
3:
"Niemals recht von Herzen gegangen"?: Telemann's Concertos
The Eisenach Concertos
Concertos for the Eloquent Oboe
Concertos alla francese
Telemann and the German Ripieno Concerto
The Late Frankfurt and Hamburg Concertos
Telemann's Orchestras
4:
Bach's Debt Repaid with Interest: A Case Study of Transformative Imitation
Bach's Borrowing, Telemann's Model
Bach, Telemann, and the Eighteenth-Century Aesthetics of Musical Borrowing
Part III: The Sonatas
5:
"Something for Everyone's Taste": Telemann's Sonatas to 1725
Solos and Trios in the Italian Style
Trios alla francese
The "True Touchtone of a Genuine Contrapuntist": Quartets for Strings and Winds
When is a Quartet Not a Quartet?
Sonatas in Five to Seven Parts
Two Parisian Piracies
The Frankfurt Sonata Publications
6:
Telemann and the Sonate auf Concertenart
Defining the Sonate auf Concertenart
Titles as Signifiers of Genre
Reimagining the Sonata (Concerto)
The Vivaldi Cult at Dresden and the Origins of the Sonate auf Concertenart
Telemann's Sonaten auf Concertenart
The "Sonate en concert" and French Vivaldisme
The Aesthetics of Mixed Genres
Part IV: The Hamburg Publications
7:
Telemann in the Marketplace: The Composer as Self-Publisher
Setting up Shop
Telemann's Subscribers
Production Methods
Closing Shop
8:
Telemann fur Kenner und Liebhaber: The Music of the Hamburg Publications
Sonates sans basse
Essercizii musici
Reading the Faithful Music Master
Menuets and Marches
Quadri
Methodical Sonatas and Nouvelles sonatines
The Fantastic Style
Musique de table and Six ouvertures à 4 ou 6
Divertimenti
XII Solos à violin ou traverseère
Six concerts et six suites
An Omaggio a Corelli?
Parisian Sonatas
Galanterien
9: Telemann's Polish Style and the "True Barbaric Beauty" of the Musical Other
"Gedancken fur ein gantzes Leben": Telemann in Poland
"A Country in the Moon": Poland, Pastoral, and the Past
Representing Poland Musically
Afterward
Glossary
Bibliography
Index of Telemann's Compositions
General Index

About the Author

Steven Zohn is Associate Professor of Music Studies at Temple University. The recipient of grants and awards from the National Endowment for the Humanities, the American Philosophical Society, the American Musicological Society, and the German Academic Exchange Service, he has published widely on the music of the German late baroque. He is also a noted performer on historical flutes.

Reviews

"If any music-lovers, performers, or scholars still doubt the beauty and richness of Telemann's music or the importance of his industrious life for the course of music history, let them now read this new study by Steven Zohn, which is extraordinarily well researched, meticulously argued, and original in both content and approach. In one bound, Zohn sets new standards not only for literature in English on Telemann, but also for Telemann scholarship
worldwide."--Michael Talbot, Emeritus Professor of Music, University of Liverpool
"Steven Zohn's excellent and engaging study should put to rest, once and for all, any view that Telemann was a habitual composer of wallpaper music. Zohn gives us a comprehensive, nuanced, and discerning picture of the Telemann whose music Bach and Handel so greatly admired."--Michael Marissen, Professor of Music, Swarthmore College, and author of The Social and Religious Designs of Bach's Brandenburg Concertos
"Zohn takes Telemann well beyond Bach's shadow, revealing not only Telemann's original voice and uncanny fluency in any number of national styles, but also transforming our basic conceptions about music in eighteenth-century Germany. An invaluable contribution."-- Wendy Heller, Professor of Music, Princeton University
"If any music-lovers, performers, or scholars still doubt the beauty and richness of Telemann's music or the importance of his industrious life for the course of music history, let them now read this new study by Steven Zohn, which is extraordinarily well researched, meticulously argued, and original in both content and approach. In one bound, Zohn sets new standards not only for literature in English on Telemann, but also for Telemann scholarship
worldwide."--Michael Talbot, Emeritus Professor of Music, University of Liverpool
"Zohn takes Telemann well beyond Bach's shadow, revealing not only Telemann's original voice and uncanny fluency in any number of national styles, but also transforming our basic conceptions about music in eighteenth-century Germany. An invaluable contribution."-- Wendy Heller, Professor of Music, Princeton University
"Steven Zohn's excellent and engaging study should put to rest, once and for all, any view that Telemann was a habitual composer of wallpaper music. Zohn gives us a comprehensive, nuanced, and discerning picture of the Telemann whose music Bach and Handel so greatly admired."--Michael Marissen, Professor of Music, Swarthmore College, and author of The Social and Religious Designs of Bach's Brandenburg Concertos