Telemann 360° Journal: Telemann's "Lancaster" Cantata Explained

Telemann 360° Journal: Telemann’s “Lancaster” Cantata Explained

By Richard Stone Tonight’s The Faithful Music Master program at the American Philosophical Society in Old City (8:00, 427 Chestnut Street) is devoted to Telemann’s instrumental chamber music, with works that span the period he devoted to the genre, ca. 1700–1740. But mezzo-soprano Meg Bragle will also sing a church cantata with a special connection […]

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Telemann 360° Journal: A Token of Friendship, Perhaps?

Telemann 360° Journal: A Token of Friendship, Perhaps?

By Richard Stone The title for the orchestral program of our Telemann 360° events, Fire and Invention, quotes a letter to Telemann from an admiring contemporary composer, Johann Joachim Quantz (1697–1773), in which Quantz was explaining to Telemann why he was so fond of a certain set of unpublished pieces by Telemann that “…possess a […]

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Telemann 360° Journal: One from column A...

Telemann 360° Journal: One from column A…

By Richard Stone One of the two concertos in our Fire and Invention orchestral program might be my favorite orchestral work by Telemann. And that said, I love both. But the one I’m talking about, a concerto for multiple instruments, became my favorite for its first movement, a concerto along the lines of Bach’s Brandenburg […]

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Telemann 360° Journal: "New" Telemann, Hidden in Plain Sight

Telemann 360° Journal: “New” Telemann, Hidden in Plain Sight

By Richard Stone The set of “Entractes” that we’ll premiere in our Fire and Invention orchestral program—October 14, 8pm, at the Kimmel Center—come thanks to Dr. Steven Zohn’s detective work and his generosity. Six of the pieces in our set are previously-unknown Telemann contained from a compilation by the then-Dresden concertmaster and Telemann’s chum, Johann […]

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G.P. Telemann: Fairy Tales Do Come True

G.P. Telemann: Fairy Tales Do Come True

By Anne Schuster Hunter In Telemann’s time, the city of Dresden was something out of a fairy tale. In the upcoming show Fire and Invention: Telemann’s Showpieces for the Dresden Virtuosi, Tempesta di Mare revisits Dresden’s magic moment with its largest orchestra yet, 31 players—the same size as Dresden in one of its legendary iterations. […]

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G.P. Telemann, Getting the Music Out

G.P. Telemann, Getting the Music Out

By Anne Schuster Hunter Imagine Bach and Handel in their music rooms in Leipzig and London, sitting down, opening the fresh, clean pages of music straight off the press, and playing something new they’d just received from their good friend Georg Philipp Telemann. It’s a goosebumpy image, like in the movies when all the superheroes […]

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Telemann 360°: Philadelphia gives Telemann a rousing Birthday Celebration

Telemann 360°: Philadelphia gives Telemann a rousing Birthday Celebration

The world is throwing a grand anniversary party this year for one of the most deserving and long-overlooked artists in Baroque music, Georg Philipp Telemann. by Anne Schuster Hunter, published in the Fall 2017 print issue of Early Music America Magazine. Everyone seems to be celebrating Telemann’s 250th Deathiversary: festivals, broadcasts, exhibitions, tributes, and tours […]

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Moveable Type vs. Engraving

Moveable Type vs. Engraving

MOVEABLE TYPE The process of printing music with moveable type was similar to printing text: individual blocks of type were lined up in a row, locked together, placed in a printing press, inked and pressed onto paper. Music notation is much more complicated than text, however, with staff lines, rests, dots, beams, double-stops, lyrics, and […]

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Who was Georg Philipp Telemann?

Who was Georg Philipp Telemann?

One of the most celebrated and prolific composers of the German Baroque, his mastery of many styles and incredible ingenuity and inventiveness have brought him renewed popularity.

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Featured Musician

Featured Musician

“As an expat, I’m interested in what happens to artists’ work when they end up in different places than where they begin, and in this case, it was particularly poignant to discover and perform real masterpieces by composers who were displaced by war.”

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