Telemann Research Since 1975

Author(s): Jeanne Swack

Source: Acta Musicologica, Vol. 64, Fasc. 2 (Jul. - Dec., 1992), pp. 139-164
Published by: International Musicological Society
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139

Telemann Research since 1975

JEANNESWACK(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. Spitta'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 Antiqua 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

Erwdgendes bitternLeidensund SterbensJesuChristi(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 Telemann-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 Telemann-Festtage) and international musicological conference, and has published

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

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140

JeanneSwack:TelemannResearchsince1975

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 Telemann 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 educators.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-WerkeVerzeichnis (TWV), a series of volumes designed 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 Werkehave appeared
since 1975: Vol. XXV, Sechs Quartette oder Trios (1733), ed. M. Ruhnke, 1981; and
Vol. XXVI, Konzerteffir mehrereInstrumente, ed. S. Kross, 1989 (comprising nine
concertos from manuscript sources). Two additional volumes have not yet appeared: Vol. XVI, Johannes-Passion1745, ed. H. Horner and M. Ruhnke; and Vol.
XVII, Seliges Erwdgen, ed. W. Menke. At present, BWirenreiter'sfocus 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 difficult.
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.

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JeanneSwack:TelemannResearchsince1975

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 HamburgischeKapitainsmusiken(1723-1765) = Quellenkataloge zur Musikgeschichte, vol. 21, ed. R. Schaal (Wilhelmshaven 1988)] indispensible not only
for the complete incipits and treatment of texts, but also for its extensive coverage 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-Quellender
SdchsischenLandesbibliothek(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 Telemann holdings in the Staatsbibliothek Preu1BischerKulturbesitz, 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 underThe present author has had some success with this with regard to dating the solo sonatas in the Dresden collection.
R. PETZOLDT,
GeorgPhilipp 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.

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142

JeanneSwack:TelemannResearchsince1975

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 Teutschlandgriint 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), selections 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 aviolon ou traversi're (1734).
Because of the sweeping political changes in Germany in the past two years
and the resulting financial instability, the Konferenzberichtfor the 1987 Telemann-Festtage has not yet appeared. The theme for the conference was
"Probleme der quellenmidtigen Uberlieferung der Werke Telemanns im Hinblick auf die Erschlietung fiir die Musikpraxis." The most recent TelemannFesttage took place in March, 1990, with the theme "Telemanns Auftrags- und
Gelegenheitswerke - Funktion, Wert und Bedeutung." Although the TelemannFesttage 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-Gesellschafte.V.) was founded in
Magdeburg.
As will be clear from the following bibliography, Telemann research has focused on biographical studies and genre studies. Studies of his style have tended 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 neumodischeLiebhaberDamon, Pimpinone). Editions have been prepared for the remaining operas for performance at the Telemann-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.

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Swack:
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143

It is the sacred cantatas that are the most in need of specialized studies.
Since the series Georg Philipp Telemann:Musikalische Werkeincludes only the solo
cantatas of the Harmonischer Gottesdienst, the casual user is left with the erroneous impression that most of Telemann's cantatas are solo works. The secular
cantatas have been treated in C. Miihne, Die weltlichen SolokantatenGeorgPhilipp
Telemanns, Ph.D. diss., Martin-Luther-Universitdit Halle, 1981, and related ar-

und
ticles, and H. R. Jung, GeorgPhilipp Telemannals EisenacherKapellmeister
den
Eisenacher
zur
seine weltlichenFestmusiken
Hof: Ein Beitrag Biographiedes
fiir
Eisenacher
zur
der
und
Geschichte
Hofkapelle,Habilitationsschrift,
Komponisten
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" (Konferenzberichtder 6. Magdeburger Telemann-Festtage von 9. bis 12.
Juni 1977, Magdeburg 1978) brought important insights into some of Telemann'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.

von GeorgPhilipp Telemann,2 vols.

Hirschmann [Studienzum Konzertschaffen
(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 OrchestersuitenGeorgPhilipp 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

Sonatasof GeorgPhilippTelemann:A Studyof the Sourcesand MusicalStyle,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. HIRSCHMANNhave been engaged in studies of Telemann's chamber concertos.

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ABBREVIATIONS

Bach
Die BedeutungTelemanns

Bach. The QuarterlyJournalof the RiemenschneiderInstitute

Die BedeutungGeorgPhilipp Telemannsfiir
Musikkultur
die Entwicklungder
europaiischen
im 18. Jahrhundert.Bericht iiber die Internationale Wissenschaftliche Konferenz anl1i5lich der Georg-Philipp-Telemann-Ehrung der DDR, Magdeburg 12. bis 18. Mdirz
1981. 3 vols., Magdeburg 1983.

Bach-Jahrbuch
EarlyMusic
Hiindel-Jahrbuch
Jahrbuch
Hamburger
fiir Musikwissenschaft
Journalof Musicology
Telemann-Studien
Magdeburger
Die Musikforschung
und InterpreStudienzur Auffiihrungspraxis
des 18. Jahrhuntationvon Instrumentalmusik
derts
GeorgPhilippTelemann:MusikalischeWerke.

BJb
EM
HJb
HJfM
JM
MTS
Mf
StzA
TA

Kassel 1953Telemann:Leben- Werk- Wirkung

TelemannundseineDichter

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

Telemannund seine Dichter. Konferenzbericht der 6. Magdeburger Telemann-Festtage von 9. bis 12. Juni 1977. 2 vols., Magdeburg 1978.

TelemannundseineFreunde

Telemannund seine Freunde:Kontakte- Ein-

fliisse - Auswirkungen. Bericht iiber die Internationale Wissenschaftliche Konferenz

anlkiiflich der Georg-Philipp-Telemann-Ehrung der DDR, Magdeburg 15. und 16.
Mirz 1984. 2 vols., Magdeburg 1986.

W. Thematisches
Verzeichnisder VoMENKE,
kalwerkevon GeorgPhilippTelemann.2 vols.,

TVWV

Zur Auffiihrungspraxis

Frankfurt am Main 1982.

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

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GeneralStudies, Lifeand Works

P., Georg Philipp Telemann: Trecentoanni dopo, in: Nuova Rivista
ACQUAFREDDA,
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 TercentenaryReassessment, 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., Telemannin Hamburg. Hamburg 1980.
Non-technical study of Telemann's career in Hamburg by a Hamburg poet and historian. 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, Werkund 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.

H., Telemannund seine kirchlicheUmwelt in Hamburg, in: Die Bedeutung

SCHULTZE,
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., GeorgPhilipp Telemann.Leipzig 1980.
Brief monograph on Telemann revival, life and works.

SIEGMUND-SCHULTZE,
W., Liebenswiirdigbelehrendund unterhaltendzu wirken: Stil
und Charakterder 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:Autobiographien1718, 1729, 1739 = StzA 3

(1977).
Facsimile reprints of Telemann's three autobiographies published in Mattheson's
(1731) and GrundlageeinerEhrenpforte
GropeGeneral-Bafi-Schule
(1740), and Walther's

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146

Lexikon(1732).
Musikalisches
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 Hamburg period.

Studies,ReceptionHistory
SpecializedBiographical
BASELT,
B., G. Ph. Telemannund G. F.
mann und seine FreundeI, p. 27-33.

eine
in: TeleHaindel: Kiinstlerfreundschaft,

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

BASELT,
B., Schdpferische
BeziehungenzwischenG. Ph. Telemannund G. F. Htindel:
G. Ph. Telemanns'Harmonischer
Gottesdienst'als Quelleffir Hiindel,in: Die Bedeutung TelemannsII, p. 4-14.
Traces Telemann's friendship with Handel; lists Handel's borrowings from Telemann in operas and oratorios, then focuses on borrowings from Harmonischer Got-

tesdienst.

BILL,O., Telemannund Graupner,in: Telemannund seine FreundeII, p. 27-35.

Discusses Telemann's connections to various members of the Darmstadt court. Dispells idea that most of the Darmstadt copies are from Telemann's Frankfurt period,
and stresses lack of friendship between Graupner and Telemann.

Stammbuchblatt
von GeorgPhilippTelemann,in: Mf
BIRCHER,
M., Ein unbekanntes
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: Geschichtsblftterfir Waldeck70 (1982), p. 163-171.
Telemann's connections to the court of Waldeck at Arolsen.

BULA,K., Zur Frageder RezeptionGeorgPhilippTelemannsin Polen,in: Telemann

und seine FreundeII, 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.

S. L., The Lettersfrom Carl PhilippEmanuelBach to GeorgMichaelTeleCLARK,

mann, in: JM 3 (1984), p. 177-195.
Concerns 11 letters C. P. E. Bach wrote to Telemann's grandson Georg Michael Telemann 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.

P., GeorgPhilippTelemann(1681-1767):His Relationshipto CarlHeinrich

CZORNYJ,
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 Telemannand Graun.
G. v., Bach - Htindel - Telemann,in: Musica 35 (1981), p. 29-32.
DADELSEN,
Compares reputations of the three composers during their lifetimes in comparison
with aftertheir deaths.
DERR, E., Handel's Procedures for Composing with Material's from Telemann's

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1 (1984),
in "Solomon,"in: GdttingerHiindel-Beitrdige
Gottesdienst"
"Harmonischer
p. 116-146.
Discusses Handel's borrowings from Telemann in Solomon (1748).

in:
EDLER,
A., Telemannund JohannFriedrichHertel:Eine Musikerfreundschaft?,
Telemannund 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 Telemann met in 1765.

FLEISCHHAUER,
G., Die "galante"und die kontrapunktischeSchreibartTelemanns im
Urteil Friedrich WilhelmMarpurgs, in: Telemannund seine Freunde II, p. 71-81.
Cites Marpurg's dedication of Abhandlungvon 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., JohannKuhnau und Georg Philipp Telemann,in: Telemann und seine
FreundeI, 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."

damalsund heute,in: Zur Auffiihrungspraxis

der
GUDEL,
J., Telemanninterpretation
Instrumentalmusikvon Telemann= StzA 17 (1982), p. 16-21.
Includes signatures of Telemann manuscripts in the St. Johann-Bibliothek, Gdansk.

HOBOHM,
W., Telemannund Marcello, in: Telemannund seine FreundeI, 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
Telemann,in:
Briefaus demAlltagdesKapellmeisters
Kleine

zur TelemannForschung = MTS 7 (1983), p. 29-35.

Beitra'ge
discovered letter in the Deutsche Staatsbibliothek dated 24

Newly
August, 1757 to an
unknown recipient concerning the composition of Die Tageszeiten.

HOBOHM,
W., Eine unbekanntezeitgendssische
AnmerkungfiberTelemannsSorauer
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, Kommentarezur

FamiliengeschichteGeorgPhilipp Telemanns= MTS 11 (1988).
Collection of 10 short essays, some reprinted from other sources, concerning Telemann's ancestry, children, wives, and other relatives.

HOBOHM,W., Zwei Biographienaus 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.

aus der SaltykowHOBOHM,

W., Zwei Gedichtezur Hamburgischen
Musikgeschichte
Stschedrin-BibliothekLeningrad,in: Kleine Beitriigezur TelemannForschung = MTS
7 (1983), p. 21-28.

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Discusses the Hamburg pastor Petrus TheodorusSeelmann,the dedicatee of a birthday cantatawhose text is now in Leningrad,and a poem by the Hamburg soprano
MargarethaSusanna Kayser urging the Hamburg city council to attend the failing
HamburgOpera.

HOFFMANN-ERBRECHT,
L., Telemannund Frankfurtam Main, in: Telemannund
seine FreundeI, p. 41-45.
Account of Telemann'sduties in Frankfurt.

und seine weltliJUNG,H. R., GeorgPhilippTelemannals EisenacherKapellmeister

chenFestmusiken
ffir den Eisenacher
Hof:Ein Beitragzur BiographiedesKomponisten
und zur Geschichteder EisenacherHofkapelle. Habilitationsschrift, Martin-LutherUniversitat Halle, 1975.
Treatsthe history of Eisenachcourt, discusses Telemann'sactivities as Konzertmeister
and Kapellmeister,
his later relationshipto the court, and the surviving works.

JUNG,H. R., TelemannsWirkungundAusstrahlungauf Musikerund dasMusikleben

in Thiiringen,in: Die BedeutungTelemannsI, p. 30-44.
Concerns Telemann'sinfluence and relationship to musicians in Leipzig, Eisenach,
Weimar,Gotha,Rudolstadt,and Schleiz.

in derZeit Telemanns,in:
KLESSMANN,
E., Materialienzum HamburgerKonzertleben
Die BedeutungTelemannsIII,p. 61-70.

Discusses two cases showing Telemann'sproblems with the Hamburg town council,
one concerning a performance of Seliges Erwligenand one concerning a scandal
caused by the text of the 1743serenata"DasVergniigen."
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.
seiner Werke,in: Telemannund seine
KOCH,K.-P., Telemannund die Konsumenten

FreundeI, p. 105-116.
Discusses subscribers to those works that Telemann sold by subscription and his
dedicatees.

LACHMANN,
L., Das HamburgerMusiklebennach TelemannsTod im Urteil Carl
Emanuel
Bachs,in: KleineBeitrdgezur TelemannForschung= MTS 7 (1983),
Philipp
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., GeorgPhilippTelemannund Jan DismasZelenka,in: Telemannund
seine FreundeI, p. 46-56.
Cites sources confirming Telemann'sknowledge of Zelenka'smusic and postulates
meeting in Dresden in 1719.
MAHLING,CH.-H., Telemannund Paris, in: Telemannund seine FreundeII, p. 61-70.
Discusses the works of Telemannperformedand published in Paris.

MARX,H. J., Telemannaus der SichtMatthesons,in: Telemannund seineFreundeII,

p. 36-42.
TreatsMattheson'sdiscussion of Telemann'smusic in his criticalwritings.
E., Eisenachzur Zeit von Telemannsdortigem Wirken1708-1712, in: TeleMATTHES,
mann und Eisenach:Drei Studien = MTS 5 (1976), p. 5-16.

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Social and economic makeup of Eisenach during Telemann's tenure. Account of

Duke's household and Telemann'scolleagues.

MENKE,
W., MichaelRicheyund Telemann,in: TelemannundseineFreundeII, p. 4352.

Biography of Telemann's correspondent, librettist, and friend Michael Richey;

discussion of their relationship.

in: Telemann-Beitrdge,
R., Faschund Telemann:Zu einemMusikverhiiltnis,
PFEIFFER,
2. Folge = MTS 12 (1989), p. 28-33.
Connection between Fasch and Telemann beginning 1701 in Leipzig. Shows Telemann'sinfluence on Fasch'sworks, especially ouvertures.

RABEY,
W., Zilge einesneuenKiinstlertypusin Lebenund WerkGeorgPhilippTelein:
= MTS 7 (1983),p. 4-9.
manns, KleineBeitrdgezur Telemann-Forschung
Telemann'smusical and poetic activities as typical of the Enlightenment.

und Vorredenin ihrerBedeutungffir die

W., TelemannsSelbstzeugnisse
RACKWITZ,
in:
Die
musikwissenschaftlische
Forschung,
BedeutungTelemannsI, p. 25-29.
Summarizes Telemann'sviews on art, naturalness,and national styles as expressed
in his writings.

W., "Wervieler nutzen kan, thut besser,als wer nur ffurwenige was
RACKWITZ,
schreibet...":GeorgPhilipp Telemannzum 300. Geburtstag,in: Musik und Gesellschaft 31 (1981), p. 131-134.
Generaloverview of works and present Telemannactivitiesin the GDR.
REIPSCH,
R.-J., Telemanns "Bluhmen-Liebe",in: Telemann-Beitriige,2. Folge = MTS
12 (1989), p. 34-46.
ConcernsTelemann'sinterest in later Hamburg period in exotic plants. Includes extractsfrom correspondencerelatingto Telemann'splant collection.
SCHULZE,H.-J., "FlieflendeLeichtigkeit" und "arbeitsameVollstimmigkeit": Georg

Bach,in: Telemannund seineFreundeI, p.

PhilippTelemannund die Musikerfamilie

34-40.
Discusses Bach's interest in Telemann's concertos in Weimar, J. S. Bach's performances of Telemann'scantatasin Leipzig, inclusion of Telemann keyboard suite in
the Clavierbiichlein
fiir W.F. Bach,interest in Telemann'smusic by W. F. Bach and C.
P. E. Bach.

SEIFAS,
N., Matthesonund Telemann:Eine vergleichende
Analyseihrerdsthetischen
Ansichten,in: Die BedeutungTelemannsII, p. 21-30.
Cites common traits in the backgrounds of Telemann and Mattheson and their attitudes towards modern music.

STEWART,
B., GeorgPhilippTelemannin Hamburg:Socialand CulturalBackground

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. Part2 discusses Telemann'sactivitiesin relation
to Hamburg intellectualcircles and explains a change in style around 1730 in terms
of prevailing aesthetics.

zu JohannPaul Kun(t)zenund seinemVerhllltniszu Georg

THOM,E., Anmerkungen
PhilippTelemann,in: TelemannundseineFreundeI, p. 74-86.
Brief biography of Liibeck composer Kunzen (or Kuntzen), who had worked for a
time in Hamburg. Suggests that an unflatteringletter of Telemann'swritten in 1724
may refer to him.

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

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

H. CH., TelemannsBeschreibung
einerAugen-Orgel(1739) und seine StelWOLFF,
in: Die BedeutungTelemannsII, p. 47-51.
lung zur Musikiisthetik,
Concerns Telemann's1739 pamphlet describing a French instrument that caused a
differentcolor to appearwith each tone.

in England,in: Die BedeuYOUNG,P., Die Entwicklungeines Telemann-Interesses

tung TelemannsII, p. 15-20.
Discusses English diplomats in Hamburg and their connections to music through
Mattheson;Telemannprints in Englandin the 18th and early 19th centuries.

Studies
Bibliographical
ProblemederMusikhistoriographie
FLEISCHHAUER,
G., Methodologische
dargestelltan
zwei ausgewdhlten
Die
Musikkulturen
der
Etrusker
und
der
Rdmer
und die
Beispielen:
Telemann-Forschung.Habilitationsschrift Martin-Luther-Universitdit Halle, 1979.
Not availablefor this study.

in Vergangenheitund Gegenwartim
FLEISCHHAUER,
G., Zur Telemann-Forschung
der
Halle, in:
Wissenschaftsbereich
Musikwissenschaft Martin-Luther-LUniversitdt
1. Folge = MTS 9 (1987), p. 3-10.
Telemann-Beitrdage,
Summarizesscholarlyand performanceactivities of Halle musicology faculty.
LANGE,C., Eine Datenbankffir Telemann,in: Musica 43 (1989), p. 251-252.
Description of the Telemann Database project undertaken jointly at the Center for
TeleComputer Assisted Researchin Menlo Park, Californiaand the
.Zentrumffir
mann-Pflegeund -Forschung,Magdeburg.

Versuchzu seinemLeben
WETTSTEIN,
H., GeorgPhilippTelemann:Bibliographischer
und Werk1681-1767.Hamburg 1981.
Partiallyannotatedbibliographyof Telemannliteratureto 1980.

DocumentCollection
RACKWITZ,
W., ed., GeorgPhilippTelemann:Singenist dasFundamentzur Music in
allenDingen.EineDokumentensammlung.
Leipzig 1985.

Includes documents, dedications, prefaces, some letters, autobiographies, excerpts

from contemporarytreatises.

ThematicCataloguesandArchiveCatalogues,SourceStudies
der SdchsischenLandesbibliothek.
2 vols.
LANDMANN,
O., Die Telemann-Quellen
Dresden 1983.
Nonthematic catalogue of the Dresden Telemann holdings, including the cantata
collection of the Fiirstenschuleat Grimma and the instrumentalcollection from the
Dresden electoral court. Approximate datings of manuscripts, identification of copyists, reproductionsof majorcopying hands.

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151

derSdchsischen
Landesbibliothek:
AnmerkunLANDMANN,
O., Die Telemann-Quellen
zum
Gesamtbestand
und
zu
in:
Die
gen
einigenspeziellenFragen,
BedeutungTelemanns II, p. 63-72.
Description of the Telemann holdings of the Sachsische Landesbibliothek.Discussion of principalcopyists.

MAERTENS,
W., GeorgPhilippTelemannssogenannteHamburgische
Kapitainsmusiken (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 oratorioand a serenata,
would be performed. Discussion of the texts and music for Telemann's Kapitainsmusiken.
Complete thematiccatalogue of the Kapitainsmusiken.

des fertiggestellten
MENKE,W., BerichtilberAnlage und Verwendungsmdglichkeit
"Thematischen
von GeorgPhilippTelemann,"in: Die
Verzeichnisses
der Vokalwerke
BedeutungTelemannsII, p. 52-62.
Gives history of the thematic catalogue of Telemann'svocal works and explains organization.

VerzeichnisderVokalwerke
von GeorgPhilippTelemann.2
MENKE,
W., Thematisches
vols., Frankfurt am Main 1982.
Thematiccatalogue (TVWV)of all of Telemann'svocal works, published as a reduction of the 20 volume manuscriptcatalogue in Frankfurtprepared 1932-42.Volume
1: Cantatasfor religious services. Volume 2: Cantatasfor church dedications, introductions to sermons, funeral music, Passion oratoriosand Passions, spiritual oratorios, motets, Masses, Magnificatsand 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 insertions, secular oratorios, teaching pieces, odes, songs, etc. Also lists of librettists,
copyists, performers,chronology of autographs.

Verzeichnisseiner
RUHNKE,
M., GeorgPhilippTelemann:Thematisch-Systematisches
Werke.Telemann-Werkverzeichnis
Vol. 1. Kassel 1984.
(TWV).Instrumentalwerke.
Part 1 of the thematiccatalogue of Telemann'sworks, covering keyboardmusic, lute
music, chamber music without basso continuo, and works for solo instrument and
basso continuo. Includes Telemann'scatalogues of publications, foreign catalogues
of Telemann'sworks, lists of reprintsand works published by foreign publishers.

undMusikverleger
in Frankfurtam Main von 1630
SCHAEFER,
H., Die Notendrucker
bis um 1720: Eine bibliographisch-drucktechnische
Untersuchung.2 vols. Kassel
1975.
Discusses Telemann'sactivities as a music publisher in Frankfurtand provides descriptionsof his publications.

des 17. und

SCHLICHTE,
J., Thematischer
Katalogder kirchlichen
Musikhandschriften
18. Jahrhunderts
in der Stadt-und Universitdtsbibliothek
am
Main.
FrankFrankfurt

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 vergessenerBestand von ManuskriptenevangelischerKirchenmusik
des 17. und 18. Jahrhundertsin Schotten, in: Mf 31 (1978), p. 451-452.

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A collection of manuscriptsin Schotten (Hessen) includes two nearly complete Jahrgiingeof Telemann'scantatas.
Instrumentation
LAWSON,C., Telemannand the Chalumeau,in: EM 9 (1981), p. 312-319.
Discusses Telemann'suse of the chalumeau, primarily in alto and tenor sizes, from
1718-1760,in vocal works (primarilyin a pastoralcontext) and instrumentalworks.
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. 1230.
General discussion of Telemann'srelationshipto literary texts, quality of texts Telemann chose himself vs. those imposed on him, discussion of Telemann'sown poetry
in relationshipto his education.
HAUFE,E., Daniel Stoppe als TextdichterTelemanns, 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 Textdichtervon TelemannsFrankfurtSerenataTVWV 12: ic,
in: Mf 42 (1989), p. 349-352.
Identifies poet of a serenataTelemannwrote celebratingthe birth of Archduke Leopold of Austria in 1716 as the Darmstadt court "Rathund Bibliothecarius"Georg
ChristianLehms.
HOBOHM,W., Telemannund Ramler,in: Telemannund seine Dichter II, p. 61-80.
ConcernsTelemann'ssettings late in his careerof poems of the Berlinpoet Karl Wilhelm Ramler.
JUNG,H. R., Die Texte der weltlichen Eisenacher Festmusiken Georg Philipp Telemanns, in: Telemannund seine Dichter II, p. 5-19.
Discusses texts to secular cantatas and serenatas for the Eisenach court, including
biographicalinformationon librettists.
MAERTENS,
W., Nikolaus Dietrich Giseke, der "BremerBeitraiger,"als Textdichter
GeorgPhilipp Telemanns,in: Telemannund seine Dichter II, p. 51-60.
with students of
Biography of Giseke, who published the journal Bremer
Beitraiger
Gottschedin Leipzig and wrote the texts to three Kapitainsmusiken.
OEFNER,C., Johann Friedrich Helbig und Hermann Ulrich von Lingen: Zwei Eisenacher 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.
Summariesof the texts set by Telemannand dates of performances.
OEFNER,C., Telemanns EisenacherTextdichter,in: Telemann und seine Dichter II, p.
20-26.

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Treats Telemann'scantataJahrgiingefor the Eisenach court and secular celebratory

works.
K., Aktuelle Aspekte in den durch Telemannvertonten Texten von Barthold
SCHAEFER,
Heinrich Brockes,in: Telemannund seine Dichter I, p. 68-74.
Discusses Telemann'sfriendship with Brockes,settings of the Brockes-Passion
(1716)
and sections of the IrdischesVergniigenin Gott. Brockes'portrayal of nature compared to modern Socialist-Realistliterature.
THOM,E., Telemann und Praetorius: Gedankenzum Wort-Ton-Verhaltnis,in: Telemann und seine Dichter II, p. 41-50.
Brief background of the Hamburg poet Praetorius, who supplied both Telemann
and Keiserwith opera librettiand wrote the text to the Kapitainsmusik
of 1724.
Sacred Cantatas
HOFFMANN,W., Telemann-Auffiihrungendes Delitscher Kantors und potentiellen
BachschiilersChristophGottliebFrdber,in: Kleine Beitrdgezur TelemannForschung =
MTS 7 (1983), p. 10-20.
Concerns cantatacycle assembled by Fr6berin 1735 that uses many texts from Telemann'scantatas.
LANGE,C., Der Herr ist Kdnig: Eine weitere Telemann-Kantateaus Bachs Notenschrank,in: Telemann-Beitrdge,2. Folge = MTS 12 (1989), p. 14-21.
Discovery of a cantatain 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'sperformanceof the cantatato June 1724May 1725.
POETSCH,
U., Unbekannte Telemann-Kantatenin 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.Determinesthat they are early works.
VIERTEL,
K.-H., Zur Traditionder vokalen Ausfiihrung des Recitativo semplice im 18.
und 19. Jahrhundert,in: Die Bedeutung TelemannsIII, p. 94-103.
Draws upon Telemann'spreface to his Harmonischer
Gottesdienstas a source for performancepracticeof recitative.Discusses later examples in other treatises.
WESSEL,H., Der schdne Tod: Trauerkantatenvon Bach und Telemann im Vergleich,
in: Musik und Bildung 19 (1987), p. 827-830.
Compares Telemann'sfuneral cantata Du aber, Daniel, gehe hin with Bach's Gottes
Zeit ist dieallerbesteZeit (BWV106).
Passions and Passion Oratorios
FECHNER,
M., Eine Auswirkung freundschaftlicherBeziehungen:Telemanns Danziger
Choralpassion(nach Matthdus) von 1754, in: Telemann und seine Freunde II, p. 8298.
Describesthe autographmanuscriptof 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 Verhalltnisvon Text und Musik in den BrockespassionenKeisers,
Hiindels, Telemannsund Matthesons. Miinchen-Salzburg 1975.

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Comparison of the four settings. Includes account of the sources, literaryand theological influences, and musical analyses.
GABLE,F., St. Gertrude'sChapel,Hamburg, and the Performanceof Polychoral Music,
in: EM 15 (1987), p. 229-241.
Shows St. Gertrude'sChapel as a location for the performanceof Telemann'sPassions and occasionalcantatas.
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.
Concernsa retextingof SeligesErwdgenby the Hamburg pastorJ. J. Rambacharound
1800, which attempted to bring Telemann'scolorful and graphically descriptive text
more into line with late-18thcentury rationalism.
RUHNKE,M., Das italienische Rezitativ bei den deutschen Komponisten des Spaitbarock,in: Analecta musicologica 17 (1976), p. 79-120.
Includes a comparison of the recitativein the betrayal scene in the St. Luke Passion
of 1728 with the same scene in an anonymous setting once attributedto Bach, and
compares recitativepassages in Telemann'sSt. John Passion of 1741 with Bach'ssetting.
RUHNKE,M., Telemann und seine selbstverfaf3tenTexte unter Beriicksichtigungdes
Passionsoratoriums "SeligesErwligen", in: Telemannund seine Dichter II, p. 27-40.
Discusses Telemann'sactivities as a poet, performanceand reception history of Seliges Erwdgen,structureand style of text.
WEILAND,J., Georg Philipp Telemann: Markus-Passion (1759), in: Neue Zeitschrift
fuirMusik 146 (1985), p. 33-37.
Briefdescriptionof Telemann'sPassions, focusing on the 1759 setting of the St. Mark
Passion.
Oratorios (Sacred and Semi-Sacred)
=
1.
HOBOHM,W., Anmerkungen zur "Donnerode",in:
Telemann-Beitradge, Folge
MTS 9 (1987), p. 23-30.
Adds more informationon sources to TVWVand TA. Addresses the occasions for
the performanceof the piece, relating to the Lisbon earthquakeof November 1755,
and a documented performanceof the work afterTelemann'sdeath.
Other
GLOCKNER,
A., Die Leipziger Neukirchenmusikund das "KleineMagnificat" BWV
Anh. 21, in: BJb1982, p. 97-102.
Shows that the "KleinesMagnificat,"attributedfirst to J. S. Bach and then to Telemann, is a work of MelchiorHoffmann.
HOFMANN,K., Zur Echtheitder Motette "Jauchzetdem Herrn, alle Welt" BWV Anh.
160, in: Bachianaet alia musicologica:FestschriftAlfred Diirr zum 65. Geburtstag,ed.
W. Rehm. Kassel 1983, p. 126-140.
Concernsa motet of Bachthat is in part borrowed from works of Telemann.
MAERTENS,
W., Zum ChorschaffenGeorg Philipp Telemanns, in: Telemann: LebenWerk- Wirkung,p. 23-34.
Stylistic discussion of choruses in Die Tageszeiten(1757), St. MatthewPassion(1730),

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Admiralitdtsmusik
(1738).
(1723),Serenataeroica(1733),and serenatato Kapitainsmusik
Chdre:
Versuch
einer
Telemanns
MAERTENS,
W., GeorgPhilipp
Charakterisierung,in:
Die Bedeutung TelemannsIII, p. 36-45.
Discusses Mattheson'sdivision of choruses into three types: with equal counterpoint
(homophonic), with alternations,and with fugues or 'concertirend'.Analyses Telemann'schoruses accordingto these categories.
MAERTENS,W., "Ichhoffete aufs Licht":Pldyoderffir eine GelegenheitsmusikG. Ph.
Telemanns,in: FestschriftMartin Ruhnkezum 65. Geburtstag.Neuhausen-Stuttgart
1986, p. 235-254.
Focuses on the Trauermusikon the death of the emperor Karl VII in 1745. Also
discusses other memorialpieces by Telemannfor membersof the Austriancourt.
RJASANOWA,N., Zur Geschichteder handschriftlichenQuelle Magnificat BWV Anh.
21, in: Telemannund Eisenach:Drei Studien = MTS 5 (1976), p. 60-64.
Descriptionand history of manuscriptto a solo Magnificatonce ascribedto J. S. Bach,
and at the time of the article'swriting considered to be a work of Telemann. [Now
ascribedto MelchiorHoffmann.]
G. PH., Fast allgemeines Evangelisch-MusikalischesLieder-Buch.HamTELEMANN,
burg, 1730. Facs. repr. Dokumentation zur Geschichtedes deutschen Liedes, ed. S.
Kross. Vol. 3. Hildesheim 1977.
Facsimileof Telemann's1730choralecollection.
Secular Operas
BASELT,
B., Bemerkungenzum OpernschaffenGeorgPhilipp Telemanns,in: Musica 35
(1981), p. 19-23.
Overview of Telemann'soperas by operaticsubtype.
BASELT,
B., Zu einigen Aspekten des Opernschaffensvon Georg Philipp Telemann, in:
Telemann:Leben- Werk- Wirkung,p. 35-49.
Nearly identical with Baselt, Bemerkungenzum Opern-Schaffen
GeorgPhilipp Telemanns.
BASELT,B., G. Ph. Telemanns Serenade "Don Quichotte auf der Hochzeit des Comacho": Beitrdgezur Entstehungsgeschichtevon Telemanns letztem HamburgerBiihnenwerk, in: HJfM 3 (1978), p. 85-100.
TreatsTelemann'sinterestin the development of the German Singspieland the composition of his unstaged opera-serenade(Singgedichtfiir das Theater)Don Quichottein
1761.
BASELT,
B., GeorgPhilipp Telemannund die Opernlibrettistikseiner Zeit: Zum Thema
Telemannund seine Operntextdichter,in: Telemannund seine Dichter I, p. 31-51.
Telemann'srole in creatinga nationalGermanopera. Divides Telemann'scomic operas into three types: Lustspiel, Intermezzo, and Satyra or Straf-spiel. Compares
Germancomic opera with Italianopera buffa.
BASELT,
B., Telemannund die deutsche Oper, in: Musik und Gesellschaft31 (1981), p.
140-145.
Another version of GeorgPhilippTelemannunddie Opernlibrettistik
seinerZeit.
HARNISCH,
K., Telemann als Bearbeitervon HdindelsOper "RiccardoI", in: Die Bedeutung TelemannsI, p. 114-120.
Concerns Telemann'sextensive reworking of Handel's RiccardoI for production in

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Hamburg.
HOBOHM,W., Georg Philipp Telemann und die bfirgerlicheOper in Leipzig, in: HJb
1990, p. 49-61.
Summary of surviving libretti of operas performed in Leipzig, discussion of works
known to have been performedthere, and brief history of opera in Leipzig.
HOBOHM,W., ed., GeorgPhilipp Telemann:Jupiterund Semele = MTS 10 (1987).
Facsimileof the librettoto Telemann'slost Leipzig opera Jupiterund Semele.
der Hamburger Biihne des friihen
KOCH,A., Die Bearbeitung
Ha'ndelscherOpern auf
18. Jahrhunderts.Ph.D. diss. Martin-Luther-Universitdit Halle, 1982.
Not availablefor this study.
KOCH,A., Telemanns Auseinandersetzung mit der Charakterisierungskunstund dem
Wort-Ton-Verhiltnis im OpernschaffenHdndels, in: Telemann und seine Freunde II,
p. 15-26.
Discusses Telemann'sreworkings of Handel's Ottone,RiccardoI, and Almirafor the
Hamburgstage.
KOCH,A., Telemanns Bearbeitungder Hdndel-Oper "Ottone"in Bezug auf Sujet, Librettound Rezitativstil, in: Telemannund 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'sversion
with newly-composed Germanrecitativeand recomposed or added arias.
LYNCH,R., Handels "Ottone":Telemanns Hamburger Bearbeitung,in: HJb 1981, p.
117-139.
Describes Telemann'sreworking of Handel's Ottonefor performancein Hamburg in
1726.
LYNCH,R., The Influence of OperaticReformin Hamburg 1700-38, in: CurrentMusicology 27 (1979), p. 76-85.
Shows ways in which Italianoperas were reworked in Hamburg to be more like native German operas. Compares Telemann's Der geduldigeSocrateswith Caldara's
more reform-mindedsetting.
LYNCH,R., Opera in Hamburg 1718-1738: A Study of the Librettoand Musical Style.
Ph.D. diss., New York University, 1979.
Study of over 500 librettosand 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
italienischenLibrettistik,in: Telemannund seine Dichter I, p. 52-57.
Shows Telemann'sconcern for stylistic changes in Italianopera in the 1720s with his
turn away from opera seria to comic and mixed subjects.Discusses opera subtypes
in Telemann'sworks.
Notate zum LustRIENACKER,
G., Oper als Organ bfirgerlicher
Selbstverstdandigung:
spiel "Dergeduldige Socrates"von Georg Philipp Telemann, in: Die Bedeutung Telemanns I, p. 94-103.
Discusses the relationshipof Der geduldigeSocratesto the self-awarenessof the Hamburg bourgeoisie.
Rosow, L., French Baroque Recitative as an Expression of Tragic Declamation, in:
EM 11(1983), p. 468-479.

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157

In part concerns Telemann-Grauncorrespondence on French vs. Italian recitative.

Shows Telemann'sunderstandingof the metric structureof Frenchrecitative.
RUHNKE,M., Komische Elemente in Telemanns Opern und Intermezzi, in: Bericht
iiber den internationalenmusikwissenschaftlichenKongreflBayreuth 1981, ed. Ch.-H.
Mahling and S. Wiesmann. Kassel 1984, p. 94-107.
LiebhaDiscusses comic elements in Pimpinone,Emmaund Eginhard,Der neumodische
ber Damon, Der geduldigeSocrates,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, Wiesentheid, as a previously lost opera of Telemannbased on the Orpheus myth.
R., Die Italienische Oper im 18. Jahrhundert.Wilhelmshaven 1979.
STROHM,
P. 113-14on intermezzo;especially p. 121-124on Telemann'sPimpinone.Shows stylistic connection of Pimpinonewith Venetianmodels, and addresses performancecontexts.
als Direktor der alten Hamburger Oper, in: HJfM 3
WOLFF,H. CH., Ein
Engladnder
(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 directorof the Hamburg
Opera 1727-32.Two letters describe a performanceof Pimpinonebetween the acts of
Handel's GiulioCesare(as adapted by Lediard)in 1725 and of Telemann'sSancioin
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 Pimpinone.
ZELM,K., GeorgPhilipp Telemann und ReinhardKeiser:Zur Konzeptionder Opernarie um 1730, in: Telemannund 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 Italianarias around 1730.
ZELM,K., ReinhardKeiserund Georg Philipp Telemann:Zum Stilwandel an der friihdeutschen Oper in Hamburg, in: Die Bedeutung TelemannsI, p. 104-113.
Financialorganizationof the Hamburg Opera, history of the Hamburg Opera under
Keiserand Telemann,comparisonof the operas of the two composers. Discussion of
the operas of non-residentcomposers performedin Hamburg.
ZELM,K., Die Sdngerder HamburgerGllnsemarkt-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 WilhelmRamlers musikalischeIdylle "DerMay" in der Vertonung GeorgPhilipp Telemanns,in: Die Bedeutung TelemannsIII, p. 82-93.
Treatsstyle and genre in the late cantataDer May (1761). Compares with Reichardt's
descriptionof the idyll.

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Research
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Jeanne

JUNG,H. R., WeltlicheFestmusikenJohannSebastianBachsund GeorgPhilippTelemanns: Bemerkungen

zur Entwicklungder Gattungsowie zu deren Stellung und
FunktionbeiderKomponisten,in: Berichtfiberdie Wissenschaftliche
Konferenzzum
III. internationalenBach-Festder DDR, Leipzig 18./19. September1975. Leipzig
1977, p. 205-214.
Discusses festive secularworks of both composers.
MOHNE,C., Zum Autorproblemder Kantate "Pastorellavagha bella", in: HJb 1983, p.
54-64.
Concerns authenticity problems in an Italian cantata attributed to both Telemann
and Handel.
MOHNE,C., Die weltlichen SolokantatenGeorg Philipp Telemanns.Ph.D. diss. Martin-Luther-Universitit Halle, 1981.
TreatsTelemann'ssecularsolo cantatas,placing them in historicalcontext.

von Traditionsbezug
und Neuerertum
MOHNE,
C., Die Satztechnikim Spannungsfeld
in den weltlichenSolokantatenGeorgPhilipp Telemanns,in: Die BedeutungTelemanns III, p. 71-81.
Explores the combinationof contrapuntaland homophonic elements in Telemann's
secular cantatasand to what degree strictcontrapuntalwriting belongs to the genre.

THOM,E., ed., GeorgPhilippTelemann:Vorwortund Symphoniezur Serenateauf die

erstehundertjdhrige
derHamburgischen
LiblichenHandlungs-Deputation
=
Jubelfeyer
StzA 9 (Blankenburg/Harz 1979).
Text of foreword and facsimile of 1765 "Symphonie."

Songs
FLEISCHHAUER,
G., ed., GeorgPhilipp Telemann.Sing-, Spiel- und Generalbafi-ibungen. Leipzig 1983.
Facsimile edition of Telemann'sprint of 1733-34with a preface discussing the texts
and music.

seinerZeit, in: Die BedeutungTelemannsII,

KROss,S., Telemannund die Lieddsthetik

p. 31-46.
Discusses aesthetic background of 18th century lied and its relation to Telemann's
collections of lieder and Oden.
MOLLER,D.,

Journal"(1764/65):Eine unbekannteTelemannquelle,
"Hamburgisches

in: Telemann-Beitrdge,1. Folge = MTS 9 (1987), p. 31-35.

Descriptionof a monthly musical magazine that sometimes included musical pieces.
Includes a song jointly attributedto Telemannand PantaleonHebenstreit.
OEFNER,C., Zum LiedschaffenTelemanns,in: Telemann:Leben- Werk- Wirkung, p.
50-57.
Discussion of Telemann's110 lieder and their printed collections.
L., Telemanns Liedernach Hagedorn, in: Telemann und seine Dichter I, p.
RICHTER,
87-97.
General aesthetic background of Hagedorn's poetry, discussion of Telemann's set(1733-34),24 Oden(1741).
tings in Sing-,Spiel-und Generalbaf3-Ubungen

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159

Instrumental Works
General
THOM,E., Anmerkungenzur Instrumentalmusikbei GeorgPhilipp Telemann,in: Musica 35 (1981), p. 24-28.
Generaldiscussion of concertos,ouvertures,orchestralintroductionsto vocal works.
Concertos
AHNSEHL,P., Bemerkungenzur Vivaldi-Rezeption bei Georg Philipp Telemann, in:
Die Bedeutung TelemannsII, p. 110-116.
Discusses influence of Vivaldi on Telemann'sconcertos,correctingviews of Schering
and Kross that Vivaldi's concertos were of little influence on Telemann's.Compares
concertosof Vivaldi and Telemann.
AHNSEHL,P., Die Rezeption der Vivaldischen Ritornellformdurch deutsche Komponisten im Umkreis und in der GenerationJohann Sebastian Bachs. Habilitationschrift
Martin-Luther-Universitit Halle, 1984.
Discusses Telemann'sreception of Vivaldian ritornelloform in his concertos and rejects the idea that Telemann'sconcertosare primarilyCorellian.
DRUMMOND,P., The German Concerto: Five Eighteenth-Century Studies. Oxford
1980.
Chapter3 focuses on Telemann'sconcertos.Gives brief account of sources and problems in determining chronology, then discusses concertos in terms of movement
types and style.
FECHNER,
M., Anmerkungenaus auffiihrungspraktischerSicht zu den DresdenerKonzertmanuskriptenGeorg Philipp Telemanns, in: Zur Auffiihrungspraxis der Instrumentalmusikvon Telemann= StzA 17 (1982), p. 35-42.
Performancepractice information culled from Telemann'sconcerto manuscripts in
Dresden.
M., Bemerkungenzu einigen Dresdener Telemann-Quellen,in: Die BedeuFECHNER,
tung TelemannsII, p. 78-95.
Discusses sources to a violin concertoin B-flatcomposed for Pisendel in 1719, E-minor double violin concerto, Suite-Concertoin F. Discusses sources omitted by Kross
and one misattribution.Also identifies three anonymously transmittedouvertures as
Telemann's.
Violine
FLEISCHHAUER,
G., Analytische Bemerkungenzum SuitenkonzertF-Dur
f-ir
und Orchester von Georg Philipp Telemann, in: Die Saiteninstrumentein der ersten
des 18. Jahrhunderts und unsere heutigen Besetzungsmiglichkeiten. KonfeHialfte
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
deutscherTonkunstby A. Schering.
FLEISCHHAUER,
G., Zum InstrumentalkonzertschaffenTelemanns: Ein Beitrag zum
300. Geburtstag des Komponisten, in: OsterreichischeMusikzeitschrift 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.

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FLEISCHHAUER,
G., "Singen ist das Fundament zur Music in allen Dingen ": Zu Tele-

manns Instrumentalkonzerten,in: Musik und Gesellschaft31 (1981), p. 146-152.

Telemanns:
Ein Beitragzum 300.
Nearly identicalwith ZumInstrumentalkonzertschaffen
des Komponisten.
Geburtstag
G., Zum InstrumentalkonzertschaffenTelemanns, in: Telemann: LeFLEISCHHAUER,
ben Werk Wirkung,p. 65-76.
Telemanns:EinBeitragzum 300.
Nearly identical with ZumInstrumentalkonzertschaffen
des
Geburtstag Komponisten.
GETZ,C. S., A Telemann Concertofor Violin and Strings? Some Hints on the Reconstruction of an UnidentifiedConcerto,in: Bach 19 (1988), p. 3-24.
Concernshypotheticalreconstructionof a concertoarrangedfor keyboardby Johann
GottfriedWalther.
GUTKNECHT,
D., AuffiihrungspraktischeProbleme in Telemanns Concertofiir Viola
Oboe
d'amore,
d'amore, Flauto traverso, Streicher und Generalbafi,in: Zur Auffiihder
Instrumentalmusikvon Telemann= StzA 17 (1982), p. 8-15.
rungspraxis
Notational problems in the viola d'amorepart.
HIRSCHMANN,
W., Studien zum Konzertschaffenvon GeorgPhilipp Telemann. 2 vols.
Kassel 1986.
Addresses a number of problems in previous studies, especially that of S. Kross (Das
Instrumentalkonzert
bei GeorgPhilipp Telemann,Tutzing 1969). Analysis of selected
violin and oboe concertosand concertosfor multiple soloists, focusing on movement
types, genre, and chronology.
HIRSCHMANN, W., Telemanns Konzertschaffenim Beziehungsfeld von Quellenforschung - Edition - Interpretation,in: Historische Auffiihrungspraxisim heutigen Musikleben= StzA 42 (Blankenburg/Harz 1990), p. 87-96.
Treatsthe genre designations "concerto"and "sonata"and their intersectionin works
in chamberscorings, addition to the Kross catalogue of 3 concertos from the Rheda
Telemannholdings.
HOBOHM,W., ed., Musik der DresdenerHofkappelle:Autographenund singuldre Abschriften. GeorgPhilipp Telemann:KonzertF-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 Suitenkonzertin 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
des
Autors
oderJohannChristophGraupners?in: Musica 31 (1977), p. 50-51.
Lapsus
Concernsa questionablepassage in Graupner'smanuscriptof Telemann'sviola concerto and whether or not it goes back to Telemann.
SCHULZE,
H.-J., Telemann- Pisendel - Bach: Zu einem unbekanntenBach-Autograph,
in: Die Bedeutung TelemannsII, p. 73-77.
Identifies of one of the two Dresden sources of Telemann'sConcertoin G-majorfor
Two Violins [Kross 2V.G(1)] as a Bach autograph, and dates the manuscript to ca.
1709.
THOM,E., ed., GeorgPhilipp Telemann.Concertogrosso per il Sigr. Pisendel. Leipzig

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161

1981.
Facsimile of an autograph concerto in the Sachsische Landesbibliothekdedicated to
Pisendel.
Ouvertures
FLEISCHHAUER,
G., Zu den Einfliissen G. Ph. Telemanns im Ouvertureschaffenvon J.
Fr. Fasch, in: Johann Friedrich Fasch (1688-1758) = StzA 24 (Blankenburg/Harz
1984), p. 89-92.
Comparesinstrumentationof ouverturesof Telemannand Fasch.
HOBOHM,W., Bemerkungenzum Konvolut T6 der Deutschen StaatsbibliothekBerlin,
in: Telemann-Beitrdge,2. Folge = MTS 12 (1989), p. 4-13.
Concerns the provenanceand contents of an autograph manuscriptof sinfonias, divertimenti,and ouverturesdating from the 1760s.
HOBOHM,W., "Biirgerliche"Suiten bei Telemann und ihr Entstehungsanla?f,in: Zur
Auffiihrungspraxisder Instrumentalmusikvon Telemann= StzA 17 (1982), p. 64-68.
Discusses performance contexts and extra-musical allusions in Telemann's ouvertures.
THOM,E., Analytische Bemerkungenzur Ouvertiire D-Dur der "Admiralitditsmusik"
1723, in: Die Bedeutung TelemannsIII, p. 23-35.
Stylistic discussion of the D-majorOuverturethat opens the 1723Admiralitdtsmusik.
Chamber Music
ALLIHN,I., Bemerkungenzu Telemanns instrumentalerKammermusik,in: Telemann:
Leben- Werk- Wirkung,p. 58-64.
Discusses dedication of the KleineCammer-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 Telemannsinstrumentaler
Kammermusik.
ALLIHN,I., Modell oder Anleitung zum Handeln? Bemerkungenzu TelemannsBeitrilgen zur Verzierungspraxisin der Instrumentalmusik,in: Zu Fragen der Verzierungskunst in der Instrumentalmusikder ersten Hilfte des 18. Jahrhunderts.Konferenzbericht der VII. Wissenschaftliche Arbeitstagung Blankenburg/Harz 29. bis 1. Juli
1979 = StzA 11 (1980), p. 10-14.
Discusses alternateembellishments in the MethodischeSonaten(1728 and 1732) and
Triettimetodiche(1731).
EPPINGER,
S., GeorgPhilipp Telemann:12 Fantasienfiir 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 Auffiihrungspraxisund Interpretationeiniger Kammermusikwerke G. Ph. Telemanns, in: Zur Auffiihrungspraxisder Instrumentalmusikvon Telemann = StzA 17 (1982), p. 43-47.
Stylisticdiscussion of the Menuet in the Quartetin B minor from the NouveauxQua-

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Research
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162
tuors(1738).

in der Sonataa
Geschmack"
zum "Telemannischen
FLEISCHHAUER,
G., Bemerkungen
in der1. Hilfte
in:
Zur
der
instrumentalen
Kammermusik
Entwicklung
cinquee-moll,
des 18. Jahrhunderts.Konferenzbericht der XI. Wissenschaftlichen Arbeitstagung
Blankenburg/Harz = StzA 22 (Blankenburg/Harz 1984), p. 77-90.
Quotes contemporarywriters on Telemann'staste and discusses with referenceto a
Sonataa 5 in Darmstadt.

des 18.
Modeinstrumente
LINDE,H.-P., Dessus und Pardessusde viole:Franzdsische
Ph.
TeleG.
insbesondere
deutsche
und
ihr
Komponisten,
Jahrhunderts
Einflupauf
der
ersten
mann,in: Der EinflupderfranzisischenMusikauf die Komponisten
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 Sonatafor "Dessusde viole"in Telemann'sDergetreueMusic-Meister.

zu seiPANK,S., Telemannunddie Violada gamba:Einigeskizzenhafte

Bemerkungen
in: ZurAuffiihrungspraxis
derInstrumentalmusik
nen Werkenund ihreInterpretation,
von Telemann= StzA 17 (1982), p. 31-34.
Treatsviola da gamba parts in selected chamberworks.

im KreiseseinerZeitgenossen,in: TeleRABEY,
W., Telemannals Violinkomponist
mannundseineFreundeI, p. 95-104.

Generaldiscussion of Telemann'srelationshipto contemporaryviolinists.

suchenihrenverlorenenBaf: Habensie ihn
SCHWARTING,
H., ZweiAltfldtenstimmen
in:
14
412-18.
Tibia
(1989),
p.
gefunden?,
Concernslost bass parts to two recordersonatas in the Neue Sonatinenof 1730/31.

SWACK,
J., TheSolo Sonatasof GeorgPhilippTelemann:A Studyof the Sourcesand

Musical Style. Ph.D. diss., Yale University, 1988.

Study of all sonatas and suites for solo instrument and continuo attributedto Telemann in any 18th century source. Tracesstylistic development; addresses problems
of authenticityand chronology.
Keyboard Works

zur Interpretation
der Klavierwerke
FLEISCHHAUER,
G., EinigeBermerkungen
Georg
PhilippTelemanns,in: Cembalo,Clavichord,Orgel.Konferenzberichtder V. Wissenschaftlichen 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.
G., PolnischeEinflfisseund ihre Verarbeitungin der Klaviermusik
FLEISCHHAUER,

zur Musikwissenschaft
23 (1981),p. 6-19.
GeorgPhilippTelemanns,in: Beitraige

Discusses movements in the Polish style in Telemann'sworks for cembalo and organ.

NationalStylesand the "MixedTaste"

G., G. Ph. Telemann als Wegbereiterdes "vermischtenGeschmacks"
FLEISCHHAUER,

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since1975
Telemann
Research
Swack:
Jeanne

163

im MusiklebenseinerZeit, in: Die EinfliisseeinzelnerInterpretenund Komponisten

des 18. Jahrhunderts
auf das MusiklebenihrerZeit. Konferenzberichtder VIII. Wissenschaftlichen Arbeitstagung Blankenburg/Harz 27. Juni bis 29. Juni 1980 =
StzA 13 (Blankenburg/Harz 1981), p. 35-48.
Connects Telemann'soccupation with various national styles to the stages of his career.

W., Zum Lombardischen

HOBOHM,
Rhythmusbei Telemann,in: Die BedeutungTelemanns 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.

im Ystlichen
KOCH,K.-P., Bausteinezu einer Analyseder Telemann-Werkrezeption
Europa des 18. Jahrhunderts,in: Telemann-Beitrdge,1. Folge = MTS 9 (1987), p. 3645.
Cites a now-lost manuscriptin Hungary, dated 1757, that contained works of Telemann, showing reception of Telemannin Transylvania.Discusses furthersources of
Telemannin Hungary, Poland, Latvia,and the Soviet Union.

KOCH,K.-P., PolnischeEinfliissein TelemannsWerkenderHamburgerZeit, in: Die

BedeutungTelemannsI, p. 70-80.

Shows Telemann'sviews 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.

Musik in TelemannsWerk.Teil 1. DokuKOCH,K.-P., Die polnischeund hanakische

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
Germanwriters and composers in late 17th, 18th centuries.

Musikin TelemannsWerk.Teil 2. BegegKOCH,K.-P., Die polnischeund hanakische

nung und Umsetzung = MTS 8 (1985).
TreatsTelemann'scontacts with Polish folk music in Poland and Germany.Discusses works with Polish or "Hanakian"designations and characterizesEastern European stylistic traits.

MUSIOL,
K., Der Anteil Schlesiensan derMusikkulturdes Barock,in: Die Bedeutung
TelemannsI, 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.

derMusikbei Telemannund den

PECMAN,
R., Zur AuffassungdesNationalcharakters
tschechischen
des
18.
in:
Komponisten
Jahrhunderts, Die BedeutungTelemannsI, p.
89-93.
Stresses that Czech composers during this period contributedto the music cultures
of other countries ratherthan fully developing their own musical culture. Discusses
Telemann'sstriving to createa Germannationalmusic.

SEHNAL,
J., HanakischeMusik in der Zeit GeorgPhilippTelemanns,in: Die Bedeutung TelemannsI, p. 81-88.
Discussion of dance music in Hanakianregion of Moraviain late 17th and early 18th
centuriesand its dissemination.

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Swack:
Telemann
Research
since1975
Jeanne

164

und Interpretation
derPolonaizur Aufftihrungspraxis
STESZEWSKA,
Z., Bemerkungen
derInstrumentalmusik
von Tesen von G. Ph. Telemann,in: Zur Aufftihrungspraxis
lemann = StzA 17 (1982), p. 22-30.
Discusses performanceof Telemann'spolonaises with relationshipto the choreography of the dance.

STESZEWSKA,
Z., PolnischeElementein derMusik GeorgPhilippTelemanns,in: Die
Telemanns
I, p. 56-69.
Bedeutung
Discusses common-time dances with Polish designations, determining which of
them are actually Polish and furtherclassifying them by dance type.

July 1991

Recent Publications

G. P., Werkiiberlieferung,
Editions- und Interpretationsfragen.
KonTELEMANN,
ferenzbericht der 9. Telemann-Festtage der DDR. K6ln 1991.

Verzeichnisseiner
M., GeorgPhilippTelemann:Thematisch-Systematisches
RUHNKE,
Werke.Telemann-Werkverzeichnis
Vol. 2. Kassel 1992.
(TWV).Instrumentalwerke,

KONFERENZBERICHT
1990: Telemanns Auftrags- und Gelegenheitswerke
MAGDEBURG
- Funktion, Wert und Bedeutung. Konferenzbericht der 10. Telemann-Festtage der
DDR. K1oln1992.

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All use subject to JSTOR Terms and Conditions