Acta Musicologica Volume 64 Issue 2 1992 [Doi 10.2307%2F932913] Jeanne Swack -- Telemann Research Since 1975

Telemann Research Since 1975Author(s): Jeanne SwackSource: Acta Musicologica, Vol. 64, Fasc. 2 (Jul. - Dec., 1992), pp. 139-164Published by: International Musicological SocietyStable URL: http://www.jstor.org/stable/932913 .Accessed: 13/06/2014 11:52

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139

Telemann Research since 1975

JEANNE SWACK (MADISON/WISCONSIN)

The past fifteen years have witnessed a long-overdue surge of interest in the music of Georg Philipp Telemann, a composer who must certainly rank as one of the most influential figures in the first half of the eighteenth century. Largely overshadowed in modern historiography by his close friend and contemporary J. S. Bach, Telemann had been subject to disdain caused by an unjust comparison between two composers of different styles and compositional outlooks, a disdain colored by values that eschewed the melodic, uncomplicated style of the style galant in favor of contrapuntal complexity and stylistic difficulty. Spit- ta's infamous comparison of what he thought were settings of Neumeister cantata libretti by Bach and Telemann exemplifies the ways in which the prestige invoked by a composer's name can summon preconceived notions of excellence or deficiency in composition.1

One of the most crucial catalysts behind the recent burgeoning of scholarly interest in Telemann is certainly the Early Music movement. While Telemann's chamber music has long been the backbone of the repertoire of original instrument ensembles, the past decade, and especially the last five years, have witnessed a plethora of excellent recordings of major works, both instrumental and vocal. To cite only a few outstanding examples, one must mention Musica An- tiqua K61n's recent recordings of the complete Musique de Table (1733) and the dramatic solo cantata Ino (1765)2 as well as numerous concertos and ouvertures, the Freiburger Vokalenensemble's recording of the Passion oratorio Das selige Erwdgen des bittern Leidens und Sterbens Jesu Christi (1722)," and Capella Savaria's recordings of the full-length comic opera Der geduldige Socrates (1721) and the Brockes-Passion (1716).4

Another important catalyst has been the activities of the Zentrum ffir Tele- mann-Pflege und -Forschung in Magdeburg, Germany. Under the auspices of the government of the former German Democratic Republic, the Zentrum has sponsored since 1963 an approximately triennial Telemann festival (the Tele- mann-Festtage) and international musicological conference, and has published

PHILIPP SPITTA, Johann Sebastian Bach, trans. Clara Bell and J. A./Fuller Maitland (London 1951), I, p. 486-94. Compare, for example, his condescending assessment of Telemann's "Uns ist ein Kind geboren," TVWV 1: 1451: "This piece, probably written in half-an-hour--to judge from the swiftness of the writing--shows us the worst side of the church music of the time; it has all the meagreness of the older cantata with all the pretension to filling a broader form" (p. 488), with his laudatory account of BWV 160, "Ich weiiB, dai mein Erloser lebt," a work now known to be a composition of Telemann (BWV 160=TVWV 1: 877).

Musique de Table: Musica Antiqua K61n, Reinhard Goebel, director (Deutsche Grammophon, 427 619-2, 1989); Ino: Musica Antiqua K61n, Reinhard Goebel, director (Deutsche Grammophon 429 772-2, 1990). Concentus Musicus Wien, under Nikolaus Harnoncourt, has also released an excellent new recording of Ino (Teldec 2292-44633-2, 1990).

Das selige Erwdgen, Wolfgang Schifer, director: Amati SRR 8905/2 (1989). Der geduldige Socrates, Capella Savaria, Nicholas McGegan, director: Hungaroton HCD 12957-60 (1987); Brockes-

Passion, Capella Savaria, Nicholas McGegan, director: Hungaroton HCD 31130-32 (1991).


140 Jeanne Swack: Telemann Research since 1975

conference reports and individual monographs on Telemann's life and works, most importantly the series Magdeburger Telemann-Studien. Indeed, most of the articles on Telemann's music have been published through the Zentrum. They have also been active in preparing scholarly transcriptions of the works performed during the Festtage, many of which receive their first modern performance during the festivals. Closely related to the activities at the Zentrum in Magdeburg has been the series of conferences and monographs on the performance of eighteenth-century music, especially that of Telemann (Studien zur Auffiihrungspraxis und Interpretation von Instrumentalmusik des 18. Jahrhunderts, Blankenburg/Harz 1975-) under the editorship of the conductor of the Tele- mann Kammerorchester, E. Thom.

The year 1981, the three-hundredth anniversary of the composer's birth, saw an unprecedented quantity of Telemann research published. Much of that work was, however, introductory in nature, with the exception of some of the work presented at the 1981 Telemann-Festtage. In addition, numerous general articles appeared in practical journals such as those for choral directors and music edu- cators.5

Despite the increase in the amount of Telemann-related research in the last few years, significant lacunae remain. One of the most pressing tasks is the completion of the Telemann-Werke Verzeichnis (TWV), a series of volumes de- signed as a companion to the selected edition of Telemann's works (Georg Philipp Telemann: Musikalische Werke [TA], Kassel 1953-). To date, only one volume, comprising Telemann's keyboard works, chamber works without basso continuo, lute pieces, and chamber works in one or two parts, has appeared (ed. M. Ruhnke, Kassel 1984). Several dissertations that include thematic catalogues of various genres have filled some of this gap, but most are in need of updating. It is crucial, in addition, that scholarly editions of a wider representation of Telemann's vocal works be undertaken, since relatively few works are available at present.

Two volumes of Georg Philipp Telemann: Musikalische Werke have appeared since 1975: Vol. XXV, Sechs Quartette oder Trios (1733), ed. M. Ruhnke, 1981; and Vol. XXVI, Konzerte ffir mehrere Instrumente, ed. S. Kross, 1989 (comprising nine concertos from manuscript sources). Two additional volumes have not yet appeared: Vol. XVI, Johannes-Passion 1745, ed. H. Horner and M. Ruhnke; and Vol. XVII, Seliges Erwdgen, ed. W. Menke. At present, BWirenreiter's focus is on the publication of the thematic catalogues. The second volume, comprising the rest of the chamber music, should prove to be especially useful, since most of the chamber music in three or more parts is transmitted in manuscript sources and the shear volume of material makes the identification of individual works diffi- cult.

The long-awaited appearance of W. Menke's thematic catalogue of the vocal works (Thematisches Verzeichnis der Vokalwerke von Georg Philipp Telemann, Frankfurt am Main 1982) should enable systematic studies of Telemann's vocal

Such articles have not been included in this study.


Jeanne Swack: Telemann Research since 1975 141

oeuvre, especially the cantatas, which comprise the bulk of his output with around 1500 surviving works. The user should be apprised, however, that the catalogue represents to a large extent work undertaken a half-century ago, and that it should be used with the understanding that all sources for a work may not be listed or that the material may be incomplete. Researchers interested in the Kapitdnsmusik, the pairs of oratorios and serenatas composed for the annual banquets of the Hamburg city militia, will find W. Maerten's splendid combination of extended essay and thematic catalogue [Georg Philipp Telemanns sogenannte Hamburgische Kapitainsmusiken (1723-1765) = Quellenkataloge zur Musik- geschichte, vol. 21, ed. R. Schaal (Wilhelmshaven 1988)] indispensible not only for the complete incipits and treatment of texts, but also for its extensive cover- age of the context and background of the works, including the political, intellectual, and artistic life in the city of Hamburg during Telemann's tenure.

One of the most important tools for Telemann researchers, especially those specializing in instrumental music, is O. Landmann's Die Telemann-Quellen der Sdchsischen Landesbibliothek (Dresden 1983). The catalogue gives no incipits, although this shortcoming will be ameliorated with the publication of Volume 2 of TWV. It provides invaluable material on the principal copyists and their approximate dates, but unfortunately the author was unable to undertake a study of watermarks. Such a study would be crucial to arriving at a closer chronology of the Dresden sources, allowing contemporaneous copies by different scribes to be chronologically linked.6 In addition to the Sdichsische Landesbibliothek, two other major repositories of Telemann sources have unpublished catalogues which may be consulted on-site. They are J. Jaenecke's catalogue of the Tele- mann holdings in the Staatsbibliothek Preu1Bischer Kulturbesitz, Berlin (largely sacred vocal music) and 0. Bill's (in conjunction with B. Stewart) catalogue of the holdings in the Hessische Landes- und Hochschulbibliothek, Darmstadt (largely chamber music and orchestral works). Both catalogues contain extensive information on copyists and watermarks. Publication of the Darmstadt catalogue is foreseen.

One of the most puzzling aspects of the current state of Telemann research is the almost total lack of interest in the subject on the part of English-speaking scholars. The field has been concentrated in the hands of German scholars, especially East German scholars whose work was subject to political scrutiny. There are no book-length studies on Telemann in English, aside from a translation of R. Petzoldt's outdated biography,' very few articles, and only a handful of Ph.D. dissertations.

The only ongoing project concerning Telemann's music in the United States is the International Telemann Data Base project at the Center for Computer Assisted Research in the Humanities (CCARH) in Menlo Park, California.8 The project was begun in 1987 under the directorship of B. Stewart and is under-

The present author has had some success with this with regard to dating the solo sonatas in the Dresden collection. R. PETZOLDT, Georg Philipp Telemann, trans. H. Fitzpatrick (London 1974). I am indebted to Eleanor Selfridge-Field of the Center for Computer Assisted Research in the Humanities for

supplying me with information concerning the Telemann Data Base project.



taken in conjunction with the Magdeburg Zentrum. C. Lange (Magdeburg) is currently the director of the project.

The electronic transcriptions prepared by the CCARH and the Telemann Zentrum may be used for the purposes of editing, printing, performance, and analysis. Works that have already been encoded include the operas Orpheus (ed. P. Huth), Miriways (ed. B. Reipsch), the serenata Teutschland griint und bliiht in Friede (ed. W. Hirschmann), Fortsetzung des harmonischen Gottes-Dienstes (1731/2), selected songs from the Singe-, Spiel-, und General-Baf-Ulbungen (1733/4), Musique de Table (1733), XII solos a' violon ou traversikre (1734), selec- tions from Sept fois sept et un menuet (1728), and various sacred cantatas.

The scholarly series Recent Researches in the Music of the Baroque Era, C. Wolff, ed. (A-R Editions, Madison, Wisconsin) will soon be publishing two new volumes of Telemann's works with accompanying essays. These are B. Baselt's edition of the one-act opera-serenade Don Quichotte auf der Hochzeit des Comacho (1761) (Recent Researches/Baroque, Vol. 64-65, 1991) and J. Swack's edition of the XII solos a violon ou traversi're (1734).

Because of the sweeping political changes in Germany in the past two years and the resulting financial instability, the Konferenzbericht for the 1987 Tele- mann-Festtage has not yet appeared. The theme for the conference was "Probleme der quellenmidtigen Uberlieferung der Werke Telemanns im Hin- blick auf die Erschlietung fiir die Musikpraxis." The most recent Telemann- Festtage took place in March, 1990, with the theme "Telemanns Auftrags- und Gelegenheitswerke - Funktion, Wert und Bedeutung." Although the Telemann- Festtage were sponsored by the former GDR government with the financial support of the city of Magdeburg, the staff of the Zentrum fiir Telemann-Pflege und

-Forschung remains optimistic about their continuation. On 4 May, 1991 an international Telemann society (the Telemann-Gesellschaft e.V.) was founded in Magdeburg.

As will be clear from the following bibliography, Telemann research has fo- cused on biographical studies and genre studies. Studies of his style have tend- ed to stress his ties to Eastern Europe, especially to Polish folk music. Of the vocal works, some of the Passions and the late oratorios and secular cantatas have been treated in the dissertations of H. Frederichs, B. Stewart and P. Czornyj, as well as smaller studies by M. Ruhnke, although much work is still to be done.9 The works of R. Lynch, B. Baselt, and M. Ruhnke, and an earlier dissertation by M. Peckham ("The Operas of Georg Philipp Telemann," Ph.D. diss. Columbia University, 1972) have treated the operas in detail, and the most pressing need is for editions, since only three of the operas have appeared in print (Der Geduldige Socrates, Der neumodische Liebhaber Damon, Pimpinone). Edi- tions have been prepared for the remaining operas for performance at the Tele- mann-Festtage, and it is now a matter of bringing those editions to print. The Passions and Passion Oratorios likewise suffer from a lack of modern editions.

9 An earlier dissertation, H. HORNER's Telemanns Passionsmusiken (Leipzig 1933), provides a basic study of

Telemann's surviving Passions. In-depth studies of individual works would be welcome.



It is the sacred cantatas that are the most in need of specialized studies. Since the series Georg Philipp Telemann: Musikalische Werke includes only the solo cantatas of the Harmonischer Gottesdienst, the casual user is left with the erro- neous impression that most of Telemann's cantatas are solo works. The secular cantatas have been treated in C. Miihne, Die weltlichen Solokantaten Georg Philipp Telemanns, Ph.D. diss., Martin-Luther-Universitdit Halle, 1981, and related articles, and H. R. Jung, Georg Philipp Telemann als Eisenacher Kapellmeister und seine weltlichen Festmusiken fiir den Eisenacher Hof: Ein Beitrag zur Biographie des Komponisten und zur Geschichte der Eisenacher Hofkapelle, Habilitationsschrift, Martin-Luther-Universitit Halle, 1975. But the around 1500 sacred cantatas for multiple voices have been sadly neglected, due probably to the only recent appearance of a thematic catalogue, although the conference "Telemann und seine Dichter" (Konferenzbericht der 6. Magdeburger Telemann-Festtage von 9. bis 12. Juni 1977, Magdeburg 1978) brought important insights into some of Tele- mann's cantata librettists."' Very few of the cantatas have appeared in modern edition. Studies of the cantatas might include selected Jahrgdnge, single librettists, or a broad but selective chronological survey. A study of Telemann's compositional process using autograph composing scores, for example, the collection in the Staatsbibliothek Preutgischer Kulturbesitz, Berlin, would be especially welcome.

The current general interest in Vivaldi reception in Germany, sparked by research on Bach's concertos and an increasing appreciation for Vivaldi's music, has lead to several studies of Telemann's concertos, most notably those of W. Hirschmann [Studien zum Konzertschaffen von Georg Philipp Telemann, 2 vols. (Kassel 1986)] and P. Drummond [The German Concerto: Five Eighteenth-Century Studies, (Oxford 1980)], as well as numerous smaller studies by G. Fleischhauer. The ouvertures have remained relatively neglected; the earlier dissertation by A. Hoffmann [Die Orchestersuiten Georg Philipp Telemanns: TWV 55 (Ziirich 1969)] is largely a thematic catalogue and there remains much work to be done regarding chronology and stylistic development.

The chamber music, certainly Telemann's most performed works and the works most represented in modern edition, have been the most neglected by modern scholars. The publication of TWV, vol. 1 in 1984 enabled the first study of all the works for solo instrument and basso continuo (J. Swack, The Solo Sonatas of Georg Philipp Telemann: A Study of the Sources and Musical Style, Ph.D. diss. Yale University, 1988). Since the publication of TWV, vol. 1, the present author has discovered additional sources for a number of the works and some attributions to other composers; these additions will be published in volume 2 of TWV. The appearance of the next volume of TWV, which will include a complete catalogue of the trios and quartets, should enable similar studies of the rest of the chamber music."

TVWV lists 1750 cantatas for church use, including lost works. Both the present writer and W. HIRSCHMANN have been engaged in studies of Telemann's chamber concertos.



ABBREVIATIONS

Bach Bach. The Quarterly Journal of the Riemen- schneider Institute

Die Bedeutung Telemanns Die Bedeutung Georg Philipp Telemanns fiir die Entwicklung der europaiischen Musikkultur im 18. Jahrhundert. Bericht iiber die Inter- nationale Wissenschaftliche Konferenz an- l1i5lich der Georg-Philipp-Telemann-Ehr- ung der DDR, Magdeburg 12. bis 18. Mdirz 1981. 3 vols., Magdeburg 1983.

BJb Bach-Jahrbuch EM Early Music HJb Hiindel-Jahrbuch HJfM Hamburger Jahrbuch fiir Musikwissenschaft JM Journal of Musicology MTS Magdeburger Telemann-Studien Mf Die Musikforschung StzA Studien zur Auffiihrungspraxis und Interpre-

tation von Instrumentalmusik des 18. Jahrhun- derts

TA Georg Philipp Telemann: Musikalische Werke. Kassel 1953-

Telemann: Leben - Werk - Wirkung Georg Philipp Telemann: Leben - Werk - Wir- kung. Konferenz der Zentralen Kommission Musik des Prisidialrates des Kulturbundes der DDR am 17. und 18. Oktober 1980 in Erfurt. Berlin 1980.

Telemann und seine Dichter Telemann und seine Dichter. Konferenzbe- richt der 6. Magdeburger Telemann-Fest- tage von 9. bis 12. Juni 1977. 2 vols., Mag- deburg 1978.

Telemann und seine Freunde Telemann und seine Freunde: Kontakte - Ein- fliisse - Auswirkungen. Bericht iiber die In- ternationale Wissenschaftliche Konferenz anlkiiflich der Georg-Philipp-Telemann-Eh- rung der DDR, Magdeburg 15. und 16. Mirz 1984. 2 vols., Magdeburg 1986.

TVWV MENKE, W. Thematisches Verzeichnis der Vo- kalwerke von Georg Philipp Telemann. 2 vols., Frankfurt am Main 1982.

Zur Auffiihrungspraxis Zur Auffiihrungspraxis und Interpretation der Instrumentalmusik von G. Ph. Telemann: Ein Beitrag zum 300. Geburtstag = StzA 17 (Blankenburg/Harz 1982).



General Studies, Life and Works

ACQUAFREDDA, P., Georg Philipp Telemann: Trecento anni dopo, in: Nuova Rivista Musicale Italiana 16 (1982), p. 182-206.

Brief account of the Telemann revival and Telemann Festtage; includes Italian translation of Telemann's 1739 autobiography.

ANDERSON, N., Georg Philipp Telemann: A Tercentenary Reassessment, in: EM 9 (1981), p. 499-505.

Account of the Telemann revival and an overview of his life and works. JUNG, H. R., Einffihrung in Telemanns Leben und Werk, in: Telemann: Leben - Werk - Wirkung, p. 7-22.

General biography from a Marxist perspective. KLESSMANN, E., Telemann in Hamburg. Hamburg 1980.

Non-technical study of Telemann's career in Hamburg by a Hamburg poet and his- torian. Includes chronology of Telemann's Hamburg works.

MARIAS, A., Telemann el progresivo, in: Musica Antiqua 6 (1986-87), p. 38-41. Not available for this study.

MENKE, W., Georg Philipp Telemann: Leben, Werk und Umwelt in Bilddokumenten. Wilhelmshaven 1987.

Brief account of life and works, followed by three chapters of illustrations: documents, persons, and places; manuscripts of texts and music; and plates of engravings and prints.

RUHNKE, M., Telemann, Georg Philipp, in: The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, London 1980.

The standard English-language account of Telemann's life and works, with a section on his influence and reputation. Work List is abbreviated. Reprinted, with greatly expanded Work List, in The New Grove North European Masters (New York-London 1985).

RUHNKE, M., Zum Schaffen Telemanns, in: Musica 35 (1981), p. 11-18. Shows Telemann as an harbinger of the early Classic style, not to be compared with J. S. Bach. Brief overview of works.

SCHULTZE, H., Telemann und seine kirchliche Umwelt in Hamburg, in: Die Bedeutung Telemanns III, p. 46-60.

Discussion of theological issues in Hamburg churches in the 18th century, the effects of the Enlightenment, and the role of Hamburg church officials in the cultural life of the city. Treats performances of church music in public concerts.

SIEGMUND-SCHULTZE, W., Georg Philipp Telemann. Leipzig 1980. Brief monograph on Telemann revival, life and works.

SIEGMUND-SCHULTZE, W., Liebenswiirdig belehrend und unterhaltend zu wirken: Stil und Charakter der Musik Georg Philipp Telemanns, in: Musik und Gesellschaft 31 (1981), p. 135-137.

General discussion of Telemann's style as typical of the Enlightenment. SWOL, E. v., Telemann-Renaissance, in: Mens en Melodie 36 (1981), p. 107-109.

Brief account of the Telemann revival. THOM, E., ed., Georg Philipp Telemann: Autobiographien 1718, 1729, 1739 = StzA 3 (1977).

Facsimile reprints of Telemann's three autobiographies published in Mattheson's Grope General-Bafi-Schule (1731) and Grundlage einer Ehrenpforte (1740), and Walther's


146 Jeanne Swack: Telemann Research since 1975 Musikalisches Lexikon (1732).

WOLFF, H. CH., G. Ph. Telemann: 300 Jahre. Eleganz und Grazie - Symmetrie und Witz, in: Mf 34 (1981), p. 40-49.

Characterizes aesthetics of Telemann's style, using selected works from the Ham- burg period.

Specialized Biographical Studies, Reception History BASELT, B., G. Ph. Telemann und G. F. Haindel: eine Kiinstlerfreundschaft, in: Tele- mann und seine Freunde I, p. 27-33.

Discusses early association of Telemann and Handel during Telemann's Leipzig period. Cites some of Handel's borrowings from Telemann.

BASELT, B., Schdpferische Beziehungen zwischen G. Ph. Telemann und G. F. Htindel: G. Ph. Telemanns 'Harmonischer Gottesdienst' als Quelle ffir Hiindel, in: Die Bedeu- tung Telemanns II, p. 4-14.

Traces Telemann's friendship with Handel; lists Handel's borrowings from Tele- mann in operas and oratorios, then focuses on borrowings from Harmonischer Got- tesdienst.

BILL, O., Telemann und Graupner, in: Telemann und seine Freunde II, p. 27-35. Discusses Telemann's connections to various members of the Darmstadt court. Dis- pells idea that most of the Darmstadt copies are from Telemann's Frankfurt period, and stresses lack of friendship between Graupner and Telemann.

BIRCHER, M., Ein unbekanntes Stammbuchblatt von Georg Philipp Telemann, in: Mf 31 (1978), p. 185-186.

Concerns entry in Stammbuch of Bartholomius Hagemann (1721) by Telemann that includes a quotation from Horace.

BRUSNIAK, F., Georg Philipp Telemann und die Musikgeschichte Waldecks, in: Ge- schichtsblftter fir Waldeck 70 (1982), p. 163-171.

Telemann's connections to the court of Waldeck at Arolsen. BULA, K., Zur Frage der Rezeption Georg Philipp Telemanns in Polen, in: Telemann und seine Freunde II, p. 99-103.

Describes importation of German music to Poland through the Electors of Saxony, although Telemann's music seems to have been little performed in Poland.

CLARK, S. L., The Letters from Carl Philipp Emanuel Bach to Georg Michael Tele- mann, in: JM 3 (1984), p. 177-195.

Concerns 11 letters C. P. E. Bach wrote to Telemann's grandson Georg Michael Te- lemann regarding Bach's preparation for taking over G. Ph. Telemann's position in Hamburg and requesting music during the first few years of his tenure. Includes an English translation of the correspondence.

CZORNYJ, P., Georg Philipp Telemann (1681-1767): His Relationship to Carl Heinrich Graun and the Berlin Circle. Ph.D. diss., University of Hull, 1988.

Association between Telemann and composers around Frederick II, emphasizing Telemann's lieder and late vocal works. Compares settings of Ramler's Der Tod Jesu by Telemann and Graun.

DADELSEN, G. v., Bach - Htindel - Telemann, in: Musica 35 (1981), p. 29-32. Compares reputations of the three composers during their lifetimes in comparison with after their deaths.

DERR, E., Handel's Procedures for Composing with Material's from Telemann's



"Harmonischer Gottesdienst" in "Solomon," in: Gdttinger Hiindel-Beitrdige 1 (1984), p. 116-146.

Discusses Handel's borrowings from Telemann in Solomon (1748). EDLER, A., Telemann und Johann Friedrich Hertel: Eine Musikerfreundschaft?, in: Telemann und seine Freunde I, p. 87-94.

Discusses concept of "friendship" in the 18th century and considers possibility of friendship between Telemann and Schwerin court composer Hertel, whom Tele- mann met in 1765.

FLEISCHHAUER, G., Die "galante" und die kontrapunktische Schreibart Telemanns im Urteil Friedrich Wilhelm Marpurgs, in: Telemann und seine Freunde II, p. 71-81.

Cites Marpurg's dedication of Abhandlung von der Fuge (1753) to Telemann and shows Telemann's combining of counterpoint and galant style. Discusses examples cited by Marpurg.

FLEISCHHAUER, G., ed., Der getreue Music-Meister. Leipzig 1981. Facsimile of Telemann's 1728-29 musical journal, with an afterword by G. Fleischauer.

GLOCKNER, A., Johann Kuhnau und Georg Philipp Telemann, in: Telemann und seine Freunde I, p. 21-26.

Discusses relationship of the university student Telemann to the Thomaskantor Kuhnau and Telemann's musical activities in Leipzig. Cites Kuhnau's criticism of Telemann's church music as "operatic."

GUDEL, J., Telemanninterpretation damals und heute, in: Zur Auffiihrungspraxis der Instrumentalmusik von Telemann = StzA 17 (1982), p. 16-21.

Includes signatures of Telemann manuscripts in the St. Johann-Bibliothek, Gdansk. HOBOHM, W., Telemann und Marcello, in: Telemann und seine Freunde I, p. 57-73.

Stresses that Telemann had little contact with musicians in Italy, but dedicated XX Kleine Fugen of 1731 to Benedetto Marcello. Cites a letter of Telemann's in a Marcello print praising Marcello.

HOBOHM, W., Ein unbekannter Brief aus dem Alltag des Kapellmeisters Telemann, in: Kleine

Beitra'ge zur Telemann Forschung = MTS 7 (1983), p. 29-35.

Newly discovered letter in the Deutsche Staatsbibliothek dated 24 August, 1757 to an unknown recipient concerning the composition of Die Tageszeiten.

HOBOHM, W., Eine unbekannte zeitgendssische Anmerkung fiber Telemanns Sorauer Aufenthalt, in: Telemann-Beitriige, 1. Folge = MTS 9 (1987), p. 21-22.

Printed source to Telemann's memorial poem on death of his first wife mentions Telemann's journey to Sorau through Frankfurt/Oder.

HOBOHM, W., ed., Aus diesem Ursprung... Dokumente, Materialien, Kommentare zur Familiengeschichte Georg Philipp Telemanns = MTS 11 (1988).

Collection of 10 short essays, some reprinted from other sources, concerning Tele- mann's ancestry, children, wives, and other relatives.

HOBOHM, W., Zwei Biographien aus dem Umkreis Telemanns, in: Telemann-Beitrdige, 1. Folge = MTS 9 (1987), p. 11-20.

Biographies of Telemann's gymnasium teacher Benedictus Christiani, with whom Telemann studied singing, and his Riga correspondent Johann Reinhold Hollander.

HOBOHM, W., Zwei Gedichte zur Hamburgischen Musikgeschichte aus der Saltykow- Stschedrin-Bibliothek Leningrad, in: Kleine Beitriige zur Telemann Forschung = MTS 7 (1983), p. 21-28.


148 Jeanne Swack: Telemann Research since 1975 Discusses the Hamburg pastor Petrus Theodorus Seelmann, the dedicatee of a birth- day cantata whose text is now in Leningrad, and a poem by the Hamburg soprano Margaretha Susanna Kayser urging the Hamburg city council to attend the failing Hamburg Opera.

HOFFMANN-ERBRECHT, L., Telemann und Frankfurt am Main, in: Telemann und seine Freunde I, p. 41-45.

Account of Telemann's duties in Frankfurt. JUNG, H. R., Georg Philipp Telemann als Eisenacher Kapellmeister und seine weltlichen Festmusiken ffir den Eisenacher Hof: Ein Beitrag zur Biographie des Komponisten und zur Geschichte der Eisenacher Hofkapelle. Habilitationsschrift, Martin-Luther- Universitat Halle, 1975.

Treats the history of Eisenach court, discusses Telemann's activities as Konzertmeister and Kapellmeister, his later relationship to the court, and the surviving works.

JUNG, H. R., Telemanns Wirkung und Ausstrahlung auf Musiker und das Musikleben in Thiiringen, in: Die Bedeutung Telemanns I, p. 30-44.

Concerns Telemann's influence and relationship to musicians in Leipzig, Eisenach, Weimar, Gotha, Rudolstadt, and Schleiz.

KLESSMANN, E., Materialien zum Hamburger Konzertleben in der Zeit Telemanns, in: Die Bedeutung Telemanns III, p. 61-70.

Discusses two cases showing Telemann's problems with the Hamburg town council, one concerning a performance of Seliges Erwligen and one concerning a scandal caused by the text of the 1743 serenata "Das Vergniigen."

KLESSMANN, E., Telemann und Melchior Goeze, in: Telemann und seine Freunde II, 53-60.

Treats Telemann's relationship with the Hauptpastor at the Hamburg Katharinen- Kirche.

KOCH, K.-P., Telemann und die Konsumenten seiner Werke, in: Telemann und seine Freunde I, p. 105-116.

Discusses subscribers to those works that Telemann sold by subscription and his dedicatees.

LACHMANN, L., Das Hamburger Musikleben nach Telemanns Tod im Urteil Carl Philipp Emanuel Bachs, in: Kleine Beitrdge zur Telemann Forschung = MTS 7 (1983), p. 36-40.

Treats a previously unknown letter from C. P. E. Bach to the Dessau flutist Georg Wilhelm Kottowsky dated 6 December 1769 concerning the poor musical taste in Hamburg.

MAERTENS, W., Georg Philipp Telemann und Jan Dismas Zelenka, in: Telemann und seine Freunde I, p. 46-56.

Cites sources confirming Telemann's knowledge of Zelenka's music and postulates meeting in Dresden in 1719.

MAHLING, CH.-H., Telemann und Paris, in: Telemann und seine Freunde II, p. 61-70. Discusses the works of Telemann performed and published in Paris.

MARX, H. J., Telemann aus der Sicht Matthesons, in: Telemann und seine Freunde II, p. 36-42.

Treats Mattheson's discussion of Telemann's music in his critical writings. MATTHES, E., Eisenach zur Zeit von Telemanns dortigem Wirken 1708-1712, in: Tele- mann und Eisenach: Drei Studien = MTS 5 (1976), p. 5-16.


Jeanne Swack: Telemann Research since 1975 149 Social and economic makeup of Eisenach during Telemann's tenure. Account of Duke's household and Telemann's colleagues.

MENKE, W., Michael Richey und Telemann, in: Telemann und seine Freunde II, p. 43- 52.

Biography of Telemann's correspondent, librettist, and friend Michael Richey; discussion of their relationship.

PFEIFFER, R., Fasch und Telemann: Zu einem Musikverhiiltnis, in: Telemann-Beitrdge, 2. Folge = MTS 12 (1989), p. 28-33.

Connection between Fasch and Telemann beginning 1701 in Leipzig. Shows Tele- mann's influence on Fasch's works, especially ouvertures.

RABEY, W., Zilge eines neuen Kiinstlertypus in Leben und Werk Georg Philipp Tele- manns, in: Kleine Beitrdge zur Telemann-Forschung = MTS 7 (1983), p. 4-9.

Telemann's musical and poetic activities as typical of the Enlightenment. RACKWITZ, W., Telemanns Selbstzeugnisse und Vorreden in ihrer Bedeutung ffir die musikwissenschaftlische Forschung, in: Die Bedeutung Telemanns I, p. 25-29.

Summarizes Telemann's views on art, naturalness, and national styles as expressed in his writings.

RACKWITZ, W., "Wer vieler nutzen kan, thut besser, als wer nur ffur wenige was schreibet...": Georg Philipp Telemann zum 300. Geburtstag, in: Musik und Gesell- schaft 31 (1981), p. 131-134.

General overview of works and present Telemann activities in the GDR. REIPSCH, R.-J., Telemanns "Bluhmen-Liebe", in: Telemann-Beitriige, 2. Folge = MTS 12 (1989), p. 34-46.

Concerns Telemann's interest in later Hamburg period in exotic plants. Includes ex- tracts from correspondence relating to Telemann's plant collection.

SCHULZE, H.-J., "Flieflende Leichtigkeit" und "arbeitsame Vollstimmigkeit": Georg Philipp Telemann und die Musikerfamilie Bach, in: Telemann und seine Freunde I, p. 34-40.

Discusses Bach's interest in Telemann's concertos in Weimar, J. S. Bach's performances of Telemann's cantatas in Leipzig, inclusion of Telemann keyboard suite in the Clavierbiichlein fiir W. F. Bach, interest in Telemann's music by W. F. Bach and C. P. E. Bach.

SEIFAS, N., Mattheson und Telemann: Eine vergleichende Analyse ihrer dsthetischen Ansichten, in: Die Bedeutung Telemanns II, p. 21-30.

Cites common traits in the backgrounds of Telemann and Mattheson and their atti- tudes towards modern music.

STEWART, B., Georg Philipp Telemann in Hamburg: Social and Cultural Background and its Musical Expression. Ph.D. diss., Stanford University, 1985.

Part 1 lays out the political, economic, and intellectual background of Hamburg during the early eighteenth century. Part 2 discusses Telemann's activities in relation to Hamburg intellectual circles and explains a change in style around 1730 in terms of prevailing aesthetics.

THOM, E., Anmerkungen zu Johann Paul Kun(t)zen und seinem Verhllltnis zu Georg Philipp Telemann, in: Telemann und seine Freunde I, p. 74-86.

Brief biography of Liibeck composer Kunzen (or Kuntzen), who had worked for a time in Hamburg. Suggests that an unflattering letter of Telemann's written in 1724 may refer to him.



THOM, E., ed., Telemanns Beschreibung einer Augen-Orgel = StzA 18 (Blanken- burg/Harz 1983).

Introductory essay by H. C. Wolff, facsimile of a pamphlet published by Telemann in Hamburg in 1739 describing a French instrument that caused a different color to appear with each tone. Pamphlet is a translation of a description of the instrument by its inventor.

WOLFF, H. CH., Telemanns Beschreibung einer Augen-Orgel (1739) und seine Stel- lung zur Musikiisthetik, in: Die Bedeutung Telemanns II, p. 47-51.

Concerns Telemann's 1739 pamphlet describing a French instrument that caused a different color to appear with each tone.

YOUNG, P., Die Entwicklung eines Telemann-Interesses in England, in: Die Bedeu- tung Telemanns II, p. 15-20.

Discusses English diplomats in Hamburg and their connections to music through Mattheson; Telemann prints in England in the 18th and early 19th centuries.

Bibliographical Studies

FLEISCHHAUER, G., Methodologische Probleme der Musikhistoriographie dargestellt an zwei ausgewdhlten Beispielen: Die Musikkulturen der Etrusker und der Rdmer und die Telemann-Forschung. Habilitationsschrift Martin-Luther-Universitdit Halle, 1979.

Not available for this study. FLEISCHHAUER, G., Zur Telemann-Forschung in Vergangenheit und Gegenwart im Wissenschaftsbereich Musikwissenschaft der Martin-Luther-LUniversitdt Halle, in: Telemann-Beitrdage,

1. Folge = MTS 9 (1987), p. 3-10. Summarizes scholarly and performance activities of Halle musicology faculty.

LANGE, C., Eine Datenbank ffir Telemann, in: Musica 43 (1989), p. 251-252. Description of the Telemann Database project undertaken jointly at the Center for Computer Assisted Research in Menlo Park, California and the

.Zentrum ffir Tele-

mann-Pflege und -Forschung, Magdeburg. WETTSTEIN, H., Georg Philipp Telemann: Bibliographischer Versuch zu seinem Leben und Werk 1681-1767. Hamburg 1981.

Partially annotated bibliography of Telemann literature to 1980.

Document Collection

RACKWITZ, W., ed., Georg Philipp Telemann: Singen ist das Fundament zur Music in allen Dingen. Eine Dokumentensammlung. Leipzig 1985.

Includes documents, dedications, prefaces, some letters, autobiographies, excerpts from contemporary treatises.

Thematic Catalogues and Archive Catalogues, Source Studies

LANDMANN, O., Die Telemann-Quellen der Sdchsischen Landesbibliothek. 2 vols. Dresden 1983.

Nonthematic catalogue of the Dresden Telemann holdings, including the cantata collection of the Fiirstenschule at Grimma and the instrumental collection from the Dresden electoral court. Approximate datings of manuscripts, identification of copyists, reproductions of major copying hands.



LANDMANN, O., Die Telemann-Quellen der Sdchsischen Landesbibliothek: Anmerkun- gen zum Gesamtbestand und zu einigen speziellen Fragen, in: Die Bedeutung Tele- manns II, p. 63-72.

Description of the Telemann holdings of the Sachsische Landesbibliothek. Discus- sion of principal copyists.

MAERTENS, W., Georg Philipp Telemanns sogenannte Hamburgische Kapitainsmusi- ken (1723-1765) = Quellenkataloge zur Musikgeschichte, vol. 21, ed. R. Schaal. Wilhelmshaven 1988.

Extensive discussion of political organization of Hamburg in the 18th century, the history and organization of the city militia and the yearly banquets of the militia captains, during which the Kapitainsmusiken, consisting of an oratorio and a serenata, would be performed. Discussion of the texts and music for Telemann's Kapi- tainsmusiken. Complete thematic catalogue of the Kapitainsmusiken.

MENKE, W., Bericht ilber Anlage und Verwendungsmdglichkeit des fertiggestellten "Thematischen Verzeichnisses der Vokalwerke von Georg Philipp Telemann," in: Die Bedeutung Telemanns II, p. 52-62.

Gives history of the thematic catalogue of Telemann's vocal works and explains organization.

MENKE, W., Thematisches Verzeichnis der Vokalwerke von Georg Philipp Telemann. 2 vols., Frankfurt am Main 1982.

Thematic catalogue (TVWV) of all of Telemann's vocal works, published as a reduc- tion of the 20 volume manuscript catalogue in Frankfurt prepared 1932-42. Volume 1: Cantatas for religious services. Volume 2: Cantatas for church dedications, introductions to sermons, funeral music, Passion oratorios and Passions, spiritual oratorios, motets, Masses, Magnificats and individual pieces, cantatas and serenades for weddings and birthdays, works for political celebrations, pieces for Hamburg and Altona schools, Kapitinsmusiken, secular cantatas, operas, opera prologues and in- sertions, secular oratorios, teaching pieces, odes, songs, etc. Also lists of librettists, copyists, performers, chronology of autographs.

RUHNKE, M., Georg Philipp Telemann: Thematisch-Systematisches Verzeichnis seiner Werke. Telemann-Werkverzeichnis (TWV). Instrumentalwerke. Vol. 1. Kassel 1984.

Part 1 of the thematic catalogue of Telemann's works, covering keyboard music, lute music, chamber music without basso continuo, and works for solo instrument and basso continuo. Includes Telemann's catalogues of publications, foreign catalogues of Telemann's works, lists of reprints and works published by foreign publishers.

SCHAEFER, H., Die Notendrucker und Musikverleger in Frankfurt am Main von 1630 bis um 1720: Eine bibliographisch-drucktechnische Untersuchung. 2 vols. Kassel 1975.

Discusses Telemann's activities as a music publisher in Frankfurt and provides de- scriptions of his publications.

SCHLICHTE, J., Thematischer Katalog der kirchlichen Musikhandschriften des 17. und 18. Jahrhunderts in der Stadt- und Universitdtsbibliothek Frankfurt am Main. Frank- furt am Main 1979.

Includes thematic catalogue of over 800 sacred and secular cantatas attributed to Telemann and a discussion of their authenticity. Index and illustration of copyists; summary of watermarks.

SCHLICHTE, J., Ein vergessener Bestand von Manuskripten evangelischer Kirchenmusik des 17. und 18. Jahrhunderts in Schotten, in: Mf 31 (1978), p. 451-452.



A collection of manuscripts in Schotten (Hessen) includes two nearly complete Jahr- giinge of Telemann's cantatas.

Instrumentation

LAWSON, C., Telemann and the Chalumeau, in: EM 9 (1981), p. 312-319. Discusses Telemann's use of the chalumeau, primarily in alto and tenor sizes, from 1718-1760, in vocal works (primarily in a pastoral context) and instrumental works.

Vocal Works Studies of Poets/Librettists

FLEISCHHAUER, G., Telemann und Klopstock, in: Telemann und seine Dichter II, p. 81-90.

Discussion of Telemann's settings of two sections of Klopstock's epic poem Der Messias.

HARTUNG, G., Telemann und seine Dichter, in: Telemann und seine Dichter I, p. 12- 30.

General discussion of Telemann's relationship to literary texts, quality of texts Tele- mann chose himself vs. those imposed on him, discussion of Telemann's own poetry in relationship to his education.

HAUFE, E., Daniel Stoppe als Textdichter Telemanns, in: Telemann und seine Dichter I, p. 75-86.

Study of Silesian poet Daniel Stoppe, set in Sing-, Spiel- und GeneralbaJ3-Ubungen (1733-34) and 24 Oden (1741). HIRSCHMANN, W., Der Textdichter von Telemanns Frankfurt Serenata TVWV 12: ic, in: Mf 42 (1989), p. 349-352.

Identifies poet of a serenata Telemann wrote celebrating the birth of Archduke Leo- pold of Austria in 1716 as the Darmstadt court "Rath und Bibliothecarius" Georg Christian Lehms.

HOBOHM, W., Telemann und Ramler, in: Telemann und seine Dichter II, p. 61-80. Concerns Telemann's settings late in his career of poems of the Berlin poet Karl Wil- helm Ramler.

JUNG, H. R., Die Texte der weltlichen Eisenacher Festmusiken Georg Philipp Tele- manns, in: Telemann und seine Dichter II, p. 5-19.

Discusses texts to secular cantatas and serenatas for the Eisenach court, including biographical information on librettists.

MAERTENS, W., Nikolaus Dietrich Giseke, der "Bremer Beitraiger," als Textdichter Georg Philipp Telemanns, in: Telemann und seine Dichter II, p. 51-60.

Biography of Giseke, who published the journal Bremer Beitraiger with students of Gottsched in Leipzig and wrote the texts to three Kapitainsmusiken. OEFNER, C., Johann Friedrich Helbig und Hermann Ulrich von Lingen: Zwei Eisen- acher Textdichter Telemanns, in: Telemann und Eisenach: Drei Studien = MTS 5 (1976), p. 17-59.

Biographies of the poets Helbig and von Lingen, both court officials in Eisenach. Summaries of the texts set by Telemann and dates of performances.

OEFNER, C., Telemanns Eisenacher Textdichter, in: Telemann und seine Dichter II, p. 20-26.



Treats Telemann's cantata Jahrgiinge for the Eisenach court and secular celebratory works.

SCHAEFER, K., Aktuelle Aspekte in den durch Telemann vertonten Texten von Barthold Heinrich Brockes, in: Telemann und seine Dichter I, p. 68-74.

Discusses Telemann's friendship with Brockes, settings of the Brockes-Passion (1716) and sections of the Irdisches Vergniigen in Gott. Brockes' portrayal of nature compared to modern Socialist-Realist literature.

THOM, E., Telemann und Praetorius: Gedanken zum Wort-Ton-Verhaltnis, in: Tele- mann und seine Dichter II, p. 41-50.

Brief background of the Hamburg poet Praetorius, who supplied both Telemann and Keiser with opera libretti and wrote the text to the Kapitainsmusik of 1724.

Sacred Cantatas

HOFFMANN, W., Telemann-Auffiihrungen des Delitscher Kantors und potentiellen Bachschiilers Christoph Gottlieb Frdber, in: Kleine Beitrdge zur Telemann Forschung = MTS 7 (1983), p. 10-20.

Concerns cantata cycle assembled by Fr6ber in 1735 that uses many texts from Tele- mann's cantatas.

LANGE, C., Der Herr ist Kdnig: Eine weitere Telemann-Kantate aus Bachs Noten- schrank, in: Telemann-Beitrdge, 2. Folge = MTS 12 (1989), p. 14-21.

Discovery of a cantata in the Grimma collection, Dresden, in the hand of Bach and Bach copyists, of an unknown Telemann cantata. The first movement of the work is a known motet of Telemann. Dates Bach's performance of the cantata to June 1724- May 1725.

POETSCH, U., Unbekannte Telemann-Kantaten in Luckau, in: Telemann-Beitrage, 2. Folge = MTS 12 (1989), p. 22-27.

Concerns 12 cantatas, 5 with no known concordances, in a collection in Luckau. De- termines that they are early works.

VIERTEL, K.-H., Zur Tradition der vokalen Ausfiihrung des Recitativo semplice im 18. und 19. Jahrhundert, in: Die Bedeutung Telemanns III, p. 94-103.

Draws upon Telemann's preface to his Harmonischer Gottesdienst as a source for performance practice of recitative. Discusses later examples in other treatises.

WESSEL, H., Der schdne Tod: Trauerkantaten von Bach und Telemann im Vergleich, in: Musik und Bildung 19 (1987), p. 827-830.

Compares Telemann's funeral cantata Du aber, Daniel, gehe hin with Bach's Gottes Zeit ist die allerbeste Zeit (BWV 106).

Passions and Passion Oratorios

FECHNER, M., Eine Auswirkung freundschaftlicher Beziehungen: Telemanns Danziger Choralpassion (nach Matthdus) von 1754, in: Telemann und seine Freunde II, p. 82- 98.

Describes the autograph manuscript of the 1754 St. Matthew Passion and determines that the work was composed for Danzig, since the chorales in the work are peculiar to Danzig.

FREDERICHS, H., Das Verhalltnis von Text und Musik in den Brockespassionen Keisers, Hiindels, Telemanns und Matthesons. Miinchen-Salzburg 1975.



Comparison of the four settings. Includes account of the sources, literary and theological influences, and musical analyses.

GABLE, F., St. Gertrude's Chapel, Hamburg, and the Performance of Polychoral Music, in: EM 15 (1987), p. 229-241.

Shows St. Gertrude's Chapel as a location for the performance of Telemann's Pas- sions and occasional cantatas.

RUHNKE, M., Zur Hamburger Umtextierung von Telemanns Passionsoratorium "Seliges Erwdgen", in: Festschrift Georg von Dadelsen zum 60. Geburtstag, ed. T. Kohlhase and V. Scherliess. Neuhausen-Stuttgart 1978, p. 255-269.

Concerns a retexting of Seliges Erwdgen by the Hamburg pastor J. J. Rambach around 1800, which attempted to bring Telemann's colorful and graphically descriptive text more into line with late-18th century rationalism.

RUHNKE, M., Das italienische Rezitativ bei den deutschen Komponisten des Spaitba- rock, in: Analecta musicologica 17 (1976), p. 79-120.

Includes a comparison of the recitative in the betrayal scene in the St. Luke Passion of 1728 with the same scene in an anonymous setting once attributed to Bach, and compares recitative passages in Telemann's St. John Passion of 1741 with Bach's setting.

RUHNKE, M., Telemann und seine selbstverfaf3ten Texte unter Beriicksichtigung des Passionsoratoriums "Seliges Erwligen ", in: Telemann und seine Dichter II, p. 27-40.

Discusses Telemann's activities as a poet, performance and reception history of Seli- ges Erwdgen, structure and style of text.

WEILAND, J., Georg Philipp Telemann: Markus-Passion (1759), in: Neue Zeitschrift fuir Musik 146 (1985), p. 33-37.

Brief description of Telemann's Passions, focusing on the 1759 setting of the St. Mark Passion.

Oratorios (Sacred and Semi-Sacred) HOBOHM, W., Anmerkungen zur "Donnerode", in: Telemann-Beitradge, 1. Folge

=

MTS 9 (1987), p. 23-30. Adds more information on sources to TVWV and TA. Addresses the occasions for the performance of the piece, relating to the Lisbon earthquake of November 1755, and a documented performance of the work after Telemann's death.

Other

GLOCKNER, A., Die Leipziger Neukirchenmusik und das "Kleine Magnificat" B WV Anh. 21, in: BJb 1982, p. 97-102.

Shows that the "Kleines Magnificat," attributed first to J. S. Bach and then to Tele- mann, is a work of Melchior Hoffmann.

HOFMANN, K., Zur Echtheit der Motette "Jauchzet dem Herrn, alle Welt" B WV Anh. 160, in: Bachiana et alia musicologica: Festschrift Alfred Diirr zum 65. Geburtstag, ed. W. Rehm. Kassel 1983, p. 126-140.

Concerns a motet of Bach that is in part borrowed from works of Telemann. MAERTENS, W., Zum Chorschaffen Georg Philipp Telemanns, in: Telemann: Leben - Werk- Wirkung, p. 23-34.

Stylistic discussion of choruses in Die Tageszeiten (1757), St. Matthew Passion (1730),



Admiralitdtsmusik (1723), Serenata eroica (1733), and serenata to Kapitainsmusik (1738). MAERTENS, W., Georg Philipp Telemanns Chdre: Versuch einer Charakterisierung, in: Die Bedeutung Telemanns III, p. 36-45.

Discusses Mattheson's division of choruses into three types: with equal counterpoint (homophonic), with alternations, and with fugues or 'concertirend'. Analyses Tele- mann's choruses according to these categories.

MAERTENS, W., "Ich hoffete aufs Licht": Pldyoder ffir eine Gelegenheitsmusik G. Ph. Telemanns, in: Festschrift Martin Ruhnke zum 65. Geburtstag. Neuhausen-Stuttgart 1986, p. 235-254.

Focuses on the Trauermusik on the death of the emperor Karl VII in 1745. Also discusses other memorial pieces by Telemann for members of the Austrian court.

RJASANOWA, N., Zur Geschichte der handschriftlichen Quelle Magnificat BWV Anh. 21, in: Telemann und Eisenach: Drei Studien = MTS 5 (1976), p. 60-64.

Description and history of manuscript to a solo Magnificat once ascribed to J. S. Bach, and at the time of the article's writing considered to be a work of Telemann. [Now ascribed to Melchior Hoffmann.]

TELEMANN, G. PH., Fast allgemeines Evangelisch-Musikalisches Lieder-Buch. Ham- burg, 1730. Facs. repr. Dokumentation zur Geschichte des deutschen Liedes, ed. S. Kross. Vol. 3. Hildesheim 1977.

Facsimile of Telemann's 1730 chorale collection.

Secular Operas

BASELT, B., Bemerkungen zum Opernschaffen Georg Philipp Telemanns, in: Musica 35 (1981), p. 19-23.

Overview of Telemann's operas by operatic subtype. BASELT, B., Zu einigen Aspekten des Opernschaffens von Georg Philipp Telemann, in: Telemann: Leben - Werk - Wirkung, p. 35-49.

Nearly identical with Baselt, Bemerkungen zum Opern-Schaffen Georg Philipp Tele- manns.

BASELT, B., G. Ph. Telemanns Serenade "Don Quichotte auf der Hochzeit des Coma- cho": Beitrdge zur Entstehungsgeschichte von Telemanns letztem Hamburger Biihnen- werk, in: HJfM 3 (1978), p. 85-100.

Treats Telemann's interest in the development of the German Singspiel and the composition of his unstaged opera-serenade (Singgedicht fiir das Theater) Don Quichotte in 1761.

BASELT, B., Georg Philipp Telemann und die Opernlibrettistik seiner Zeit: Zum Thema Telemann und seine Operntextdichter, in: Telemann und seine Dichter I, p. 31-51.

Telemann's role in creating a national German opera. Divides Telemann's comic operas into three types: Lustspiel, Intermezzo, and Satyra or Straf-spiel. Compares German comic opera with Italian opera buffa.

BASELT, B., Telemann und die deutsche Oper, in: Musik und Gesellschaft 31 (1981), p. 140-145.

Another version of Georg Philipp Telemann und die Opernlibrettistik seiner Zeit. HARNISCH, K., Telemann als Bearbeiter von Hdindels Oper "Riccardo I", in: Die Be- deutung Telemanns I, p. 114-120.

Concerns Telemann's extensive reworking of Handel's Riccardo I for production in



Hamburg. HOBOHM, W., Georg Philipp Telemann und die bfirgerliche Oper in Leipzig, in: HJb 1990, p. 49-61.

Summary of surviving libretti of operas performed in Leipzig, discussion of works known to have been performed there, and brief history of opera in Leipzig.

HOBOHM, W., ed., Georg Philipp Telemann: Jupiter und Semele = MTS 10 (1987). Facsimile of the libretto to Telemann's lost Leipzig opera Jupiter und Semele.

KOCH, A., Die Bearbeitung Ha'ndelscher Opern auf der Hamburger Biihne des friihen 18. Jahrhunderts. Ph.D. diss. Martin-Luther-Universitdit Halle, 1982. Not available for this study.

KOCH, A., Telemanns Auseinandersetzung mit der Charakterisierungskunst und dem Wort-Ton-Verhiltnis im Opernschaffen Hdndels, in: Telemann und seine Freunde II, p. 15-26.

Discusses Telemann's reworkings of Handel's Ottone, Riccardo I, and Almira for the Hamburg stage.

KOCH, A., Telemanns Bearbeitung der Hdndel-Oper "Ottone" in Bezug auf Sujet, Li- bretto und Rezitativstil, in: Telemann und seine Dichter I, p. 58-67.

Discussion of the adaptation of Handel's operas for performance at the Hamburg Opera. Compares two versions of Ottone: as set by Handel and Telemann's version with newly-composed German recitative and recomposed or added arias.

LYNCH, R., Handels "Ottone": Telemanns Hamburger Bearbeitung, in: HJb 1981, p. 117-139.

Describes Telemann's reworking of Handel's Ottone for performance in Hamburg in 1726.

LYNCH, R., The Influence of Operatic Reform in Hamburg 1700-38, in: Current Musi- cology 27 (1979), p. 76-85.

Shows ways in which Italian operas were reworked in Hamburg to be more like na- tive German operas. Compares Telemann's Der geduldige Socrates with Caldara's more reform-minded setting.

LYNCH, R., Opera in Hamburg 1718-1738: A Study of the Libretto and Musical Style. Ph.D. diss., New York University, 1979.

Study of over 500 librettos and all surviving musical scores used in Hamburg Opera productions from 1718 until its closing in 1738. Includes discussions of Telemann's operas, his adaption of works of other composers, and his role as director of the Hamburg Opera.

PECMAN, R., Zur Typologie der Operngestalten Telemanns und ihrer Beziehung zur italienischen Librettistik, in: Telemann und seine Dichter I, p. 52-57.

Shows Telemann's concern for stylistic changes in Italian opera in the 1720s with his turn away from opera seria to comic and mixed subjects. Discusses opera subtypes in Telemann's works.

RIENACKER, G., Oper als Organ bfirgerlicher Selbstverstdandigung: Notate zum Lust- spiel "Der geduldige Socrates" von Georg Philipp Telemann, in: Die Bedeutung Tele- manns I, p. 94-103.

Discusses the relationship of Der geduldige Socrates to the self-awareness of the Ham- burg bourgeoisie.

Rosow, L., French Baroque Recitative as an Expression of Tragic Declamation, in: EM 11(1983), p. 468-479.



In part concerns Telemann-Graun correspondence on French vs. Italian recitative. Shows Telemann's understanding of the metric structure of French recitative.

RUHNKE, M., Komische Elemente in Telemanns Opern und Intermezzi, in: Bericht iiber den internationalen musikwissenschaftlichen Kongrefl Bayreuth 1981, ed. Ch.-H. Mahling and S. Wiesmann. Kassel 1984, p. 94-107.

Discusses comic elements in Pimpinone, Emma und Eginhard, Der neumodische Liebha- ber Damon, Der geduldige Socrates, and Adelheid. Traces roots of Telemann's buffa style.

RUHNKE, M., Telemanns Hamburger Opern und ihre italienischen und franzdsischen Vorbilder, in: HJfM 5 (1981), p. 9-27.

Discusses French and Italian models for Telemann's operas, including works for which only libretti survive. Identifies an opera in the Schonborn collection, Wie- sentheid, as a previously lost opera of Telemann based on the Orpheus myth.

STROHM, R., Die Italienische Oper im 18. Jahrhundert. Wilhelmshaven 1979. P. 113-14 on intermezzo; especially p. 121-124 on Telemann's Pimpinone. Shows stylistic connection of Pimpinone with Venetian models, and addresses performance contexts.

WOLFF, H. CH., Ein Engladnder als Direktor der alten Hamburger Oper, in: HJfM 3 (1978), p. 75-83. Includes discussion of a set of English letters edited and published in 1738 by the English diplomat in Hamburg Thomas Lediard, who was a director of the Hamburg Opera 1727-32. Two letters describe a performance of Pimpinone between the acts of Handel's Giulio Cesare (as adapted by Lediard) in 1725 and of Telemann's Sancio in 1727.

WOLFF, H. CH., "Pimpinone" von Albinoni und Telemann: Ein Vergleich, in: HJfM 5 (1981), p. 29-36.

Compares the styles of Albinoni's (1708) and Telemann's (1725) settings of Pimpi- none.

ZELM, K., Georg Philipp Telemann und Reinhard Keiser: Zur Konzeption der Operna- rie um 1730, in: Telemann und seine Freunde II, p. 3-14.

Compares the operatic activities of the two composers in Hamburg in the 1720s, including their turn back to opera seria at the end of the decade. Compares their arias with Italian arias around 1730.

ZELM, K., Reinhard Keiser und Georg Philipp Telemann: Zum Stilwandel an der friih- deutschen Oper in Hamburg, in: Die Bedeutung Telemanns I, p. 104-113.

Financial organization of the Hamburg Opera, history of the Hamburg Opera under Keiser and Telemann, comparison of the operas of the two composers. Discussion of the operas of non-resident composers performed in Hamburg.

ZELM, K., Die Sdnger der Hamburger Gllnsemarkt-Oper, in: HJfM 3 (1978), p. 35-73. Includes catalogue of the roles sung by singers at the Hamburg Opera in works of Telemann, Keiser, and foreign composers.

Secular Cantatas

FLEISCHHAUER, G., Karl Wilhelm Ramlers musikalische Idylle "Der May" in der Ver- tonung Georg Philipp Telemanns, in: Die Bedeutung Telemanns III, p. 82-93.

Treats style and genre in the late cantata Der May (1761). Compares with Reichardt's description of the idyll.



JUNG, H. R., Weltliche Festmusiken Johann Sebastian Bachs und Georg Philipp Tele- manns: Bemerkungen zur Entwicklung der Gattung sowie zu deren Stellung und Funktion beider Komponisten, in: Bericht fiber die Wissenschaftliche Konferenz zum III. internationalen Bach-Fest der DDR, Leipzig 18./19. September 1975. Leipzig 1977, p. 205-214.

Discusses festive secular works of both composers. MOHNE, C., Zum Autorproblem der Kantate "Pastorella vagha bella ", in: HJb 1983, p. 54-64.

Concerns authenticity problems in an Italian cantata attributed to both Telemann and Handel.

MOHNE, C., Die weltlichen Solokantaten Georg Philipp Telemanns. Ph.D. diss. Mar- tin-Luther-Universitit Halle, 1981.

Treats Telemann's secular solo cantatas, placing them in historical context. MOHNE, C., Die Satztechnik im Spannungsfeld von Traditionsbezug und Neuerertum in den weltlichen Solokantaten Georg Philipp Telemanns, in: Die Bedeutung Tele- manns III, p. 71-81.

Explores the combination of contrapuntal and homophonic elements in Telemann's secular cantatas and to what degree strict contrapuntal writing belongs to the genre.

THOM, E., ed., Georg Philipp Telemann: Vorwort und Symphonie zur Serenate auf die erste hundertjdhrige Jubelfeyer der Hamburgischen Liblichen Handlungs-Deputation = StzA 9 (Blankenburg/Harz 1979).

Text of foreword and facsimile of 1765 "Symphonie."

Songs

FLEISCHHAUER, G., ed., Georg Philipp Telemann. Sing-, Spiel- und Generalbafi-ibun- gen. Leipzig 1983.

Facsimile edition of Telemann's print of 1733-34 with a preface discussing the texts and music.

KROss, S., Telemann und die Lieddsthetik seiner Zeit, in: Die Bedeutung Telemanns II, p. 31-46.

Discusses aesthetic background of 18th century lied and its relation to Telemann's collections of lieder and Oden.

MOLLER, D., "Hamburgisches Journal" (1764/65): Eine unbekannte Telemannquelle, in: Telemann-Beitrdge, 1. Folge = MTS 9 (1987), p. 31-35.

Description of a monthly musical magazine that sometimes included musical pieces. Includes a song jointly attributed to Telemann and Pantaleon Hebenstreit.

OEFNER, C., Zum Liedschaffen Telemanns, in: Telemann: Leben - Werk - Wirkung, p. 50-57.

Discussion of Telemann's 110 lieder and their printed collections. RICHTER, L., Telemanns Lieder nach Hagedorn, in: Telemann und seine Dichter I, p. 87-97.

General aesthetic background of Hagedorn's poetry, discussion of Telemann's settings in Sing-, Spiel- und Generalbaf3-Ubungen (1733-34), 24 Oden (1741).



Instrumental Works General

THOM, E., Anmerkungen zur Instrumentalmusik bei Georg Philipp Telemann, in: Mu- sica 35 (1981), p. 24-28.

General discussion of concertos, ouvertures, orchestral introductions to vocal works.

Concertos

AHNSEHL, P., Bemerkungen zur Vivaldi-Rezeption bei Georg Philipp Telemann, in: Die Bedeutung Telemanns II, p. 110-116.

Discusses influence of Vivaldi on Telemann's concertos, correcting views of Schering and Kross that Vivaldi's concertos were of little influence on Telemann's. Compares concertos of Vivaldi and Telemann.

AHNSEHL, P., Die Rezeption der Vivaldischen Ritornellform durch deutsche Komponi- sten im Umkreis und in der Generation Johann Sebastian Bachs. Habilitationschrift Martin-Luther-Universitit Halle, 1984.

Discusses Telemann's reception of Vivaldian ritornello form in his concertos and re- jects the idea that Telemann's concertos are primarily Corellian.

DRUMMOND, P., The German Concerto: Five Eighteenth-Century Studies. Oxford 1980.

Chapter 3 focuses on Telemann's concertos. Gives brief account of sources and problems in determining chronology, then discusses concertos in terms of movement types and style.

FECHNER, M., Anmerkungen aus auffiihrungspraktischer Sicht zu den Dresdener Kon- zertmanuskripten Georg Philipp Telemanns, in: Zur Auffiihrungspraxis der Instru- mentalmusik von Telemann = StzA 17 (1982), p. 35-42.

Performance practice information culled from Telemann's concerto manuscripts in Dresden.

FECHNER, M., Bemerkungen zu einigen Dresdener Telemann-Quellen, in: Die Bedeu- tung Telemanns II, p. 78-95.

Discusses sources to a violin concerto in B-flat composed for Pisendel in 1719, E-mi- nor double violin concerto, Suite-Concerto in F. Discusses sources omitted by Kross and one misattribution. Also identifies three anonymously transmitted ouvertures as Telemann's.

FLEISCHHAUER, G., Analytische Bemerkungen zum Suitenkonzert F-Dur f-ir Violine und Orchester von Georg Philipp Telemann, in: Die Saiteninstrumente in der ersten

Hialfte des 18. Jahrhunderts und unsere heutigen Besetzungsmiglichkeiten. Konfe- renzbericht der 6. Wissenschaftlichen Arbeitstagung Blankenburg/Harz 23. bis 25. Juni 1978 = StzA 7 (1979), p. 81-102.

Analytical discussion of a hybrid suite-concerto published in 1907 in Denkmdler deutscher Tonkunst by A. Schering.

FLEISCHHAUER, G., Zum Instrumentalkonzertschaffen Telemanns: Ein Beitrag zum 300. Geburtstag des Komponisten, in: Osterreichische Musikzeitschrift 36 (1981), p. 148-153.

General introduction to Telemann's concertos, with an emphasis on the use of French and Polish styles and stylistic parallels between Telemann's concertos and operas.



FLEISCHHAUER, G., "Singen ist das Fundament zur Music in allen Dingen ": Zu Tele- manns Instrumentalkonzerten, in: Musik und Gesellschaft 31 (1981), p. 146-152.

Nearly identical with Zum Instrumentalkonzertschaffen Telemanns: Ein Beitrag zum 300. Geburtstag des Komponisten.

FLEISCHHAUER, G., Zum Instrumentalkonzertschaffen Telemanns, in: Telemann: Le- ben - Werk - Wirkung, p. 65-76.

Nearly identical with Zum Instrumentalkonzertschaffen Telemanns: Ein Beitrag zum 300. Geburtstag des Komponisten.

GETZ, C. S., A Telemann Concerto for Violin and Strings? Some Hints on the Recon- struction of an Unidentified Concerto, in: Bach 19 (1988), p. 3-24.

Concerns hypothetical reconstruction of a concerto arranged for keyboard by Johann Gottfried Walther.

GUTKNECHT, D., Auffiihrungspraktische Probleme in Telemanns Concerto fiir Viola d'amore, Oboe d'amore, Flauto traverso, Streicher und Generalbafi, in: Zur Auffiih- rungspraxis der Instrumentalmusik von Telemann = StzA 17 (1982), p. 8-15.

Notational problems in the viola d'amore part. HIRSCHMANN, W., Studien zum Konzertschaffen von Georg Philipp Telemann. 2 vols. Kassel 1986.

Addresses a number of problems in previous studies, especially that of S. Kross (Das Instrumentalkonzert bei Georg Philipp Telemann, Tutzing 1969). Analysis of selected violin and oboe concertos and concertos for multiple soloists, focusing on movement types, genre, and chronology.

HIRSCHMANN, W., Telemanns Konzertschaffen im Beziehungsfeld von Quellenfor- schung - Edition - Interpretation, in: Historische Auffiihrungspraxis im heutigen Mu- sikleben = StzA 42 (Blankenburg/Harz 1990), p. 87-96.

Treats the genre designations "concerto" and "sonata" and their intersection in works in chamber scorings, addition to the Kross catalogue of 3 concertos from the Rheda Telemann holdings.

HOBOHM, W., ed., Musik der Dresdener Hofkappelle: Autographen und singuldre Ab- schriften. Georg Philipp Telemann: Konzert F-Dur fiir Violine und Orchester. Leipzig 1980.

Facsimile of an autograph violin concerto in the Sichsische Landesbibliothek, with forewords by W. Hobohm and O. Landmann.

HUTH, P., Ein weiteres Suitenkonzert in F-Dur, in: Die Bedeutung Telemanns II, p. 96-109.

Concerns discovery of an additional concerto with French dance movements in Schwerin.

LEBERMANN, W., Georg Philipp Telemanns kiihne Stimmfiihrung: Orthographischer Lapsus des Autors oder Johann Christoph Graupners? in: Musica 31 (1977), p. 50-51.

Concerns a questionable passage in Graupner's manuscript of Telemann's viola concerto and whether or not it goes back to Telemann.

SCHULZE, H.-J., Telemann - Pisendel - Bach: Zu einem unbekannten Bach-Autograph, in: Die Bedeutung Telemanns II, p. 73-77.

Identifies of one of the two Dresden sources of Telemann's Concerto in G-major for Two Violins [Kross 2V.G(1)] as a Bach autograph, and dates the manuscript to ca. 1709.

THOM, E., ed., Georg Philipp Telemann. Concerto grosso per il Sigr. Pisendel. Leipzig



1981. Facsimile of an autograph concerto in the Sachsische Landesbibliothek dedicated to Pisendel.

Ouvertures

FLEISCHHAUER, G., Zu den Einfliissen G. Ph. Telemanns im Ouvertureschaffen von J. Fr. Fasch, in: Johann Friedrich Fasch (1688-1758) = StzA 24 (Blankenburg/Harz 1984), p. 89-92.

Compares instrumentation of ouvertures of Telemann and Fasch. HOBOHM, W., Bemerkungen zum Konvolut T6 der Deutschen Staatsbibliothek Berlin, in: Telemann-Beitrdge, 2. Folge = MTS 12 (1989), p. 4-13.

Concerns the provenance and contents of an autograph manuscript of sinfonias, di- vertimenti, and ouvertures dating from the 1760s.

HOBOHM, W., "Biirgerliche" Suiten bei Telemann und ihr Entstehungsanla?f, in: Zur Auffiihrungspraxis der Instrumentalmusik von Telemann = StzA 17 (1982), p. 64-68.

Discusses performance contexts and extra-musical allusions in Telemann's ouvertures.

THOM, E., Analytische Bemerkungen zur Ouvertiire D-Dur der "Admiralitditsmusik" 1723, in: Die Bedeutung Telemanns III, p. 23-35.

Stylistic discussion of the D-major Ouverture that opens the 1723 Admiralitdtsmusik. Chamber Music

ALLIHN, I., Bemerkungen zu Telemanns instrumentaler Kammermusik, in: Telemann: Leben - Werk - Wirkung, p. 58-64.

Discusses dedication of the Kleine Cammer-Music (1716) in light of aesthetics of the early Enlightenment.

ALLIHN, I., Fantasien, Sonaten, Duette, Trietti, Quadri und Suiten: Telemann als Komponist instrumentaler Kammermusik, in: Musik und Gesellschaft 31 (1981), p. 152-56.

Another version of Bemerkungen zu Telemanns instrumentaler Kammermusik. ALLIHN, I., Modell oder Anleitung zum Handeln? Bemerkungen zu Telemanns Beitril- gen zur Verzierungspraxis in der Instrumentalmusik, in: Zu Fragen der Verzierungs- kunst in der Instrumentalmusik der ersten Hilfte des 18. Jahrhunderts. Konferenzbe- richt der VII. Wissenschaftliche Arbeitstagung Blankenburg/Harz 29. bis 1. Juli 1979 = StzA 11 (1980), p. 10-14.

Discusses alternate embellishments in the Methodische Sonaten (1728 and 1732) and Trietti metodiche (1731).

EPPINGER, S., Georg Philipp Telemann: 12 Fantasien fiir Fldte solo, in: Tibia 9 (1984), p. 86-99.

Gives description of the unique copy of the source, discusses the fantasias in terms of genre and movement types.

FLEISCHHAUER, G., Zur Auffiihrungspraxis und Interpretation einiger Kammermusik- werke G. Ph. Telemanns, in: Zur Auffiihrungspraxis der Instrumentalmusik von Tele- mann = StzA 17 (1982), p. 43-47.

Stylistic discussion of the Menuet in the Quartet in B minor from the Nouveaux Qua-


162 Jeanne Swack: Telemann Research since 1975 tuors (1738).

FLEISCHHAUER, G., Bemerkungen zum "Telemannischen Geschmack" in der Sonata a cinque e-moll, in: Zur Entwicklung der instrumentalen Kammermusik in der 1. Hilfte des 18. Jahrhunderts. Konferenzbericht der XI. Wissenschaftlichen Arbeitstagung Blankenburg/Harz = StzA 22 (Blankenburg/Harz 1984), p. 77-90.

Quotes contemporary writers on Telemann's taste and discusses with reference to a Sonata a 5 in Darmstadt.

LINDE, H.-P., Dessus und Pardessus de viole: Franzdsische Modeinstrumente des 18. Jahrhunderts und ihr Einflup auf deutsche Komponisten, insbesondere G. Ph. Tele- mann, in: Der Einflup der franzisischen Musik auf die Komponisten der ersten Hilfte des 18. Jahrhunderts. Konferenzbericht der IX. Wissenschaftlichen Arbeitstagung Blankenburg/Harz 26. Juni bis 28. Juni 1981 = StzA 16 (Blankenburg/Harz 1982), p. 26-38.

Concerns the mode for high members of the viola da gamba family in France and the Sonata for "Dessus de viole" in Telemann's Der getreue Music-Meister.

PANK, S., Telemann und die Viola da gamba: Einige skizzenhafte Bemerkungen zu sei- nen Werken und ihre Interpretation, in: Zur Auffiihrungspraxis der Instrumentalmusik von Telemann = StzA 17 (1982), p. 31-34.

Treats viola da gamba parts in selected chamber works. RABEY, W., Telemann als Violinkomponist im Kreise seiner Zeitgenossen, in: Tele- mann und seine Freunde I, p. 95-104.

General discussion of Telemann's relationship to contemporary violinists. SCHWARTING, H., Zwei Altfldtenstimmen suchen ihren verlorenen Baf: Haben sie ihn gefunden?, in: Tibia 14 (1989), p. 412-18.

Concerns lost bass parts to two recorder sonatas in the Neue Sonatinen of 1730/31. SWACK, J., The Solo Sonatas of Georg Philipp Telemann: A Study of the Sources and Musical Style. Ph.D. diss., Yale University, 1988.

Study of all sonatas and suites for solo instrument and continuo attributed to Tele- mann in any 18th century source. Traces stylistic development; addresses problems of authenticity and chronology.

Keyboard Works

FLEISCHHAUER, G., Einige Bermerkungen zur Interpretation der Klavierwerke Georg Philipp Telemanns, in: Cembalo, Clavichord, Orgel. Konferenzbericht der V. Wis- senschaftlichen Arbeitstagung Blankenburg/Harz 1. bis 3. Juli 1977 = StzA VI/1 (Magdeburg 1978), p. 50-66.

Discusses Telemann's fugue collections, keyboard suites, and chorale preludes in terms of national styles and models and didactic intent.

FLEISCHHAUER, G., Polnische Einflfisse und ihre Verarbeitung in der Klaviermusik Georg Philipp Telemanns, in: Beitraige zur Musikwissenschaft 23 (1981), p. 6-19. Discusses movements in the Polish style in Telemann's works for cembalo and or-

gan.

National Styles and the "Mixed Taste"

FLEISCHHAUER, G., G. Ph. Telemann als Wegbereiter des "vermischten Geschmacks"



im Musikleben seiner Zeit, in: Die Einfliisse einzelner Interpreten und Komponisten des 18. Jahrhunderts auf das Musikleben ihrer Zeit. Konferenzbericht der VIII. Wis- senschaftlichen Arbeitstagung Blankenburg/Harz 27. Juni bis 29. Juni 1980 = StzA 13 (Blankenburg/Harz 1981), p. 35-48.

Connects Telemann's occupation with various national styles to the stages of his career.

HOBOHM, W., Zum Lombardischen Rhythmus bei Telemann, in: Die Bedeutung Tele- manns III, p. 4-22.

Traces Telemann's employment of Lombardic rhythms in works of the 1720s through the 1740s and suggests using the use of the rhythm as an aid in dating pieces.

KOCH, K.-P., Bausteine zu einer Analyse der Telemann-Werkrezeption im Ystlichen Europa des 18. Jahrhunderts, in: Telemann-Beitrdge, 1. Folge = MTS 9 (1987), p. 36- 45.

Cites a now-lost manuscript in Hungary, dated 1757, that contained works of Tele- mann, showing reception of Telemann in Transylvania. Discusses further sources of Telemann in Hungary, Poland, Latvia, and the Soviet Union.

KOCH, K.-P., Polnische Einfliisse in Telemanns Werken der Hamburger Zeit, in: Die Bedeutung Telemanns I, p. 70-80.

Shows Telemann's views on Polish folk music through pieces with Polish titles and his autobiographies. Treats Telemann's contacts with Polish folk music in Poland and in Hamburg.

KOCH, K.-P., Die polnische und hanakische Musik in Telemanns Werk. Teil 1. Doku- mentation = MTS 6 (1982).

Letters, autobiographies, title pages concerning Telemann's relationship to Polish and Hanakian (Moravian) music, with commentary. Discussions of Polish music by German writers and composers in late 17th, 18th centuries.

KOCH, K.-P., Die polnische und hanakische Musik in Telemanns Werk. Teil 2. Begeg- nung und Umsetzung = MTS 8 (1985).

Treats Telemann's contacts with Polish folk music in Poland and Germany. Discus- ses works with Polish or "Hanakian" designations and characterizes Eastern Euro- pean stylistic traits.

MUSIOL, K., Der Anteil Schlesiens an der Musikkultur des Barock, in: Die Bedeutung Telemanns I, p. 45-55.

Discusses history of Silesia and its role as a bridge between East and West. Treats Silesian composers active in Germany in the early 18th century and Telemann's views on Polish music.

PECMAN, R., Zur Auffassung des Nationalcharakters der Musik bei Telemann und den tschechischen Komponisten des 18. Jahrhunderts, in: Die Bedeutung Telemanns I, p. 89-93.

Stresses that Czech composers during this period contributed to the music cultures of other countries rather than fully developing their own musical culture. Discusses Telemann's striving to create a German national music.

SEHNAL, J., Hanakische Musik in der Zeit Georg Philipp Telemanns, in: Die Bedeu- tung Telemanns I, p. 81-88.

Discussion of dance music in Hanakian region of Moravia in late 17th and early 18th centuries and its dissemination.



STESZEWSKA, Z., Bemerkungen zur Aufftihrungspraxis und Interpretation der Polonai- sen von G. Ph. Telemann, in: Zur Aufftihrungspraxis der Instrumentalmusik von Te- lemann = StzA 17 (1982), p. 22-30.

Discusses performance of Telemann's polonaises with relationship to the choreogra- phy of the dance.

STESZEWSKA, Z., Polnische Elemente in der Musik Georg Philipp Telemanns, in: Die Bedeutung Telemanns I, p. 56-69.

Discusses common-time dances with Polish designations, determining which of them are actually Polish and further classifying them by dance type.

July 1991

Recent Publications

TELEMANN, G. P., Werkiiberlieferung, Editions- und Interpretationsfragen. Kon- ferenzbericht der 9. Telemann-Festtage der DDR. K6ln 1991. RUHNKE, M., Georg Philipp Telemann: Thematisch-Systematisches Verzeichnis seiner Werke. Telemann-Werkverzeichnis (TWV). Instrumentalwerke, Vol. 2. Kassel 1992. MAGDEBURG KONFERENZBERICHT 1990: Telemanns Auftrags- und Gelegenheitswerke - Funktion, Wert und Bedeutung. Konferenzbericht der 10. Telemann-Festtage der DDR. K1oln 1992.


Article Contentsp. 139p. 140p. 141p. 142p. 143p. 144p. 145p. 146p. 147p. 148p. 149p. 150p. 151p. 152p. 153p. 154p. 155p. 156p. 157p. 158p. 159p. 160p. 161p. 162p. 163p. 164

Issue Table of ContentsActa Musicologica, Vol. 64, Fasc. 2 (Jul. - Dec., 1992), pp. 91-180+I-XII+A1-A6Volume Information [pp. I-X]Front MatterThe "Rgle de l'Octave" in Thorough-Bass Theory and Practice [pp. 91-117]The Unconventional Dance Minuet: Choreographies of the Menuet d'Exaudet [pp. 118-138]Telemann Research Since 1975 [pp. 139-164]Improvisation in the Madrigals of the "Rossi Codex" [pp. 165-176]Agenda musicologica [pp. 177-180]Tribute to Paul Henry Lang (1901-91) [pp. XI-XII]Back Matter [pp. A1-A6]

Acta Musicologica Volume 64 Issue 2 1992 [Doi 10.2307%2F932913] Jeanne Swack -- Telemann Research Since 1975

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