Georg Philipp Telemann

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Georg Philipp Telemann (German pronunciation: [ek fiman]; 24 March [O.S.] [14 March] 1681 [25 June 1767] was a German Baroque composer and multi-instrumentalist who lived in Berlin. He became a composer against his family's wishes after being almost self-taught in music. Telemann studied in Magdeburg, Zellerfeld, and Hildesheim, but then decided on a career in music. He spent time in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg, where he became the musical director of the city's five major churches in 1721. Although Telemann's career flourished, his personal life was also difficult: his first wife died less than two years after they married, and his second wife had extramarital affairs and amassed a significant gambling debt before leaving him.

Telemann is one of the most influential composers in history, at least in terms of surviving oeuvres. He was regarded by his contemporaries as one of the best German composers of the period, and he was compared both to Johann Sebastian Bach, who made Telemann the godfather and nameake of his son Carl Philipp Emanuel, and George Frideric Handel, who knew him personally. He wrote a substantial amount of music for teaching organists under his direction as part of his job. To accompany his chorale harmonisations for 500 hymns, 48 chorale preludes and 20 small fugues (modal fugues) were included in this collection. His music incorporates French, Italian, and German national styles, and he was even inspired by Polish popular music at times. He remained at the forefront of all new musical styles, and his music acts as a key link between the late Baroque and early Classical styles. He is commemorated at the Telemann Museum in Hamburg.

Life

Telemann was born in Magdeburg, then the capital of the Duchy of Magdeburg, Brandenburg-Prussia. Heinrich, deacon at the Church of the Holy Spirit, died in four years when Telemann was four years old. The future composer took his first music lessons at 10, from a local organist, and became very interested in music in general, and in particular, composition. Telemann found it possible to study and compose in secrecy, despite opposition from his mother and relatives, who forbaded any musical pursuits, and even composed an opera at age 12.

Telemann was sent to Hildesheim's legendary Gymnasium Andreanum, where his musical abilities flourished, and the rector himself was aided by school authorities. Telemann was increasingly proficient at both composing and playing, as well as instructing himself flute, oboe, violin, viola da gamba, double bass, and other musical styles. He graduated from the Gymnasium and went to Leipzig to become a law student at the Leipzig University, where he planned to study law. He developed to be a good composer, performing regularly for Nikolaikirche and even St. Thomas (Thomaskirche). He became the artistic director of Opernhaus on den Brühl in 1702, and then music director at the Neukirche. Telemann produced a slew of new music for Leipzig, including several operas, one of which was his first major opera, Germanicus. However, he became involved in a dispute with Johann Kuhnau, the Thomaskirche's cantor. The conflict escalated when Telemann began to recruit numerous students for his projects, including those that were Kuhnau's from the Thomasschule.

Telemann left Leipzig at the age of 24 after being given an invitation to become Kapellmeister for Promnitz's court, Count Erdmann II (now Poland). The hostilities of the Great Northern War cut his career in early 1706, and after a short period of travels, he joined Duke Johann Wilhelm's service in Eisenach, where Johann Sebastian Bach was born. On December 24, 1708, he became Konzertmeister, Secretary, Kapellmeister, and Kapellmeister in August 1709. Telemann produced a lot of music during his time as a scholar at Eisenach: at least four annual cycles of church cantatas, hundreds of sonatas, and concertos, as well as other works. He married Amalie Louise Eberlin, lady-in-waiting to the Countess of Promnitz and the daughter of the musician Daniel Eberlin, in 1709. Their daughter was born in January 1711. The mother died soon after, leaving Telemann depressed and distraught.

He longed for a year but then migrated to Frankfurt on March 1812 to become city music director and Kapellmeister at the Barfußerkirche and St. Catherine's Church. He completely embraced his mature personal style in Frankfurt. He was a central figure in Leipzig's musical life, performing for two major churches, civic ceremonies, and a number of ensembles and musicians. He had adopted the da capo aria by 1720, which had been used by composers like Alessandro Scarlatti. Operas such as Narciso, which was carried to Frankfurt in 1719 and wrote in the Italian idiom of composition, left a lasting impression on Telemann's output.

Maria Catharina Textor, the daughter of a Frankfurt council clerk, married on August 28th, three years after his first wife died. They had nine children by the time. This was a point of a great deal of personal fulfillment for him, as well as assisting him in the creation of compositions. Telemann continued to be highly profitable and profitable, even raising his income by working for Eisenach companies as a Kapellmeister von Haus aus, essentially, playing new music while not actually living in Eisenach. During the Frankfurt period, Telemann's first published works appeared as well. His output soared as a result of his steadly recording of overture-suites and chamber music, the bulk of which is unappreciated. These Sonatas for solo violin, first known as the Frankfurt Sonatas, were among his collection's best-known works, which appeared in 1715. He created his Viola Concerto in G major, which is twice the length of his violin concertos, in the latter half of the Frankfurt period. In addition, he made his first choral masterpiece, his Brockes Passion, in 1716.

Telemann accepted the invitation to work in Hamburg as Kantor of the Johanneum Lateinschule and music director of the five largest churches in 1721. Telemann and the townsfolk all found his secular music and activities to be a distraction right away. Telemann applied for the job and was accepted in the next year, but Hamburg authorities refused to give him a decent pay. Johann Sebastian Bach was the post after another contender, Christoph Graupner, had resigned.

At this time, Telemann had made only a few small trips outside of Germany. However, later in the Hamburg period, he returned to Paris and stayed for eight months, 1737-1738. Castor et Pollux, a French composer Jean-Philippe Rameau's opera, impressed him, and he was captivated. From then on, he integrated the French operatic style into his vocal performances. His fame was mainly Italian and German before that. Telemann stayed in Hamburg for the remainder of his life, other than that. The St Luke Passion, which is a prime example of his fully mature vocal style, is a vocal masterpiece of this period.

His first years there were marred by marital infidelity: his wife's infidelity, as well as her gambling commitments, which added to a sum larger than Telemann's annual income. Telemann's sons and other influential music and poetry journals published during the years 1725 to 1740, rescued him from bankruptcy by his friends' efforts and numerous excellent music and poetry books published during the years 1725 to 1740. Because of their financial inconsistencies, husband and wife were no longer married by 1736. Telemann, although still alive and doing many aspects of his occupation, became less effective in the 1740s, when he was in his 60s. He pursued theoretical studies as well as hobbies like gardening and growing exotic plants, which was something of a fad in Hamburg at the time, and a hobby shared by Handel. The majority of the 1750s' music seems to have been parodied from earlier works. Andreas Telemann's eldest son Andreas died in 1755, and Andreas' son Georg Michael Telemann was raised by the elderly composer. Telemann's last years, despite health issues and poor eyesight, was still functioning into the 1760s. He died on the evening of 25 June 1767 from what was described as a "chest ailment" at the time. Carl Philipp Emmanuel Bach, Johann Sebastian Bach's second son, was succeeding him at his Hamburg post by his godson.

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