Georg Philipp Telemann (1681 ? 1767) was a German
Baroque composer and multi-instrumentalist. Almost
completely self-taught in music, he became a composer
against his family's wishes. After studying in
Magdeburg, Zellerfeld, and Hildesheim, Telemann entered
the University of Leipzig to study law, but eventually
settled on a career in music. He held important
positions in Leipzig, Żary, Eisenach, and
Frankfurt before settling in Hamburg in 1721, where he
became musical director of the city's...(+)
Georg Philipp Telemann (1681 ? 1767) was a German
Baroque composer and multi-instrumentalist. Almost
completely self-taught in music, he became a composer
against his family's wishes. After studying in
Magdeburg, Zellerfeld, and Hildesheim, Telemann entered
the University of Leipzig to study law, but eventually
settled on a career in music. He held important
positions in Leipzig, Żary, Eisenach, and
Frankfurt before settling in Hamburg in 1721, where he
became musical director of the city's five main
churches. While Telemann's career prospered, his
personal life was always troubled: his first wife died
only a few months after their marriage, and his second
wife had extramarital affairs and accumulated a large
gambling debt before leaving Telemann.
First published in a German music periodical in 1728,
this work was originally written for bassoon and
continuo but was accompanied by a note from the
composer that the solo part could be played two octaves
higher on a recorder. In more modern performances the
flute has become the instrument of choice as the level
of difficulty makes the piece difficult to play on a
bassoon or recorder. In four short movements in the
traditional slow-fast-slow-fast pattern the work is
just over ten minutes in length. Beginning with a
somewhat lyrical triste, the first movement is sweet.
But the second movement explodes with exuberance and it
is indeed difficult to image the work played on a
recorder, much less a bassoon, at the tempo typically
selected by the modern flautist. Likewise, the third
movement andante leads to a similarly animated vivace
which seem barbarically difficult even for a modern
flute equipped with the Boehm key system. The work is
brilliant and animated and an excellent example of the
type of piece Telemann tossed off with little effort
and great effect.
Although this piece was written for period instruments,
I created this arrangement for the Concert (Pedal)
Harp.
PARTITION