This book is the first guide to research on the Baroque composer Georg Philipp Telemann (1681-1767) in any language. Although the scholarly 'Telemann Renaissance' is now a half-century old, there has never been a book intended to serve as a gateway for further study. Apart from a handful of biographies, dictionary entries, and annotated bibliographies (many of which are now severely out of date), students of Telemann's life and music have been left to dive into the secondary literature in order to get their bearings. Considering that this now burgeoning literature has mainly taken the form of German dissertations and conference proceedings, it is small wonder that the field of Telemann studies has been relatively slow to develop in the English-speaking world. And yet the veritable explosion of performances, both live and recorded, of the composer's music in recent decades has won him an ever-increasing following among musicians and concert-goers worldwide. As with other books in the Composer Compendia series, the book includes a brief biography, dictionary, works-list, and selective bibliography. STEVEN ZOHN is Laura Carnell Professor of Music History at Temple University.
Telemann composed three dozen Fantasias, published in 1732. He deliberately set out to juxtapose the French and Italian styles. Marks of dynamics and of articulation have been added, and so have harmony notes of inner parts, which would have been improvised by the player in an 18th-century performance.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Viola Ensembles present duets in both viola-violin and viola-viola formats to anticipate a range of performance needs and abilities. Volumes 1 and 2 are comprised of pieces from the first and second volumes of the Suzuki Viola and Violin Schools and scored with both melody and harmony parts. Volume 3 contains some pieces from Suzuki Viola Volume 3 plus other pieces. Volume 2 contents are: Chorus from Judas Maccabaeus (G.F. Handel) * Musette, Gavotte II or the Musette from English Suite III in G Minor for Klavier, BWV 808 (J.S. Bach) * Bourre from Sonata in F Major for Oboe and Basso Continuo, HHA IV/18, No. 8-EZ (J.S. Bach) * Minuet in G, Wo0, No. 2 (L. van Beethoven) * Gavotte (P. Martini) * Minuet No. 2, Minuet, BWV Anh. II 116 from Notebook for Anna Magdalena Bach (J.S. Bach).