“Methodical” was how Telemann’s six sonatas were described when they were published in 1732, because they included a second, ornamented version of the simple melody line of the solo instrument for the slow opening movements and for the second movement of the c-minor sonata. This is music that is both instructive and also a delight to play, and G. Henle Publishers can highly recommend it to the flautists and violinists of today. This lavishly appointed new edition is the only one to evaluate all available sources. It has separate solo and bass continuo parts that contain the other part in each case for orientation purposes. There is also an additional part featuring only the figured bass line. This edition includes the score, which also features a historically faithful realisation of the figured bass. The first volume of “Methodical Sonatas” has already been published (HN 1266); this means that all twelve of Telemann’s sonatas are now available as Henle Urtext editions.
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In spite of the popularity still enjoyed even after almost 300 years by Georg Philipp Telemann’s (1681 – 1767) “Methodical Sonatas”, which appeared in 1728 and 1732, the term “methodical” meanwhile requires a clarification. Among Telemann’s contemporaries, the “method” of singing or playing apparently denoted a conscious alternative concept to the … 続き
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Georg Philipp Telemann
One of the leading German composers of his day, particularly as regards his German-language operas as well. Also from his pen came an extremely large number of liturgical works (especially cantatas), which came about within the context of his appointments and the compositional duties associated with them.
| 1681 | Born in Magdeburg on March 14. |
| 1701–05 | He studies law in Leipzig, but is active as a singer, librettist, and composer at the opera, and after 1702, also as its music director. He writes music for the St. Thomas Church and St. Nicholas Church. Founds a student Collegium Musicum. |
| 1704 | Organist and music director at the New Church. |
| 1705–08 | Court musical director in Sorau. |
| 1708–12 | Music director in Eisenach; composition of liturgical cantatas, masses, as well as other sacred and secular vocal works, instrumental concerti, and sonatas. |
| 1712–21 | City music director of Frankfurt am Main; composition of liturgical music and music director at the Church of the Discalced and the St. Catherine Church; reestablishment of the Collegium Musicum of the Frauenstein Society and thus the beginning of regular concert life in Frankfurt am Main. |
| 1716 | Premiere in Frankfurt of his Brockes Passion. |
| 1721 | Premiere in Hamburg of the opera “Der geduldige Socrates.” He becomes cantor at the Johanneum Latin school and music director of the city of Hamburg. The five main churches of Hamburg were thus under his musical direction. Composition of church cantatas, secular cantatas, “Captain’s Music,” instrumental music; establishment of a Collegium Musicum. |
| 1722 | He assumes the musical directorship of the Oper am Gänsemarkt (until 1738) and composes a large number of theatrical works for Hamburg. |
| 1725 | Premiere of the intermezzo “Die ungleiche Heirath oder das herrsch-süchtige Cammer-Mädgen” (‘Pimpinone’), which is still his most well-known work for the stage. |
| 1728 | Premiere of “Die Last-tragende Liebe oder Emma und Eginhard,” the most important of his surviving Hamburg operas. |
| after 1755 | Composition of vocal works in collaboration with various poets. |
| 1767 | Death in Hamburg on June 25. |
Henle’s carefully detailed and generous text provides a flute/violin part with smaller figured continuo part underneath, separate basso continuo and basso (cello) parts, and a full score.