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Music for a Mixed Taste
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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 a 4 ou 6 Divertimenti XII Solos a violin ou traverseere 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

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