J.S. Bach and His Contemporaries in Germany by Andrew Talle

By Andrew Talle

This provocative addition to the Bach views sequence deals a counternarrative to the remoted genius prestige that J.S. Bach and his tune presently get pleasure from. members contextualize Bach through analyzing the output, recognition, and compositional practices of his contemporaries in Germany whose paintings was once broadly performed and loved in his time, together with Georg Philipp Telemann, Christoph Graupner, Gottlieb Muffat, and Johann Adolf Scheibe. Essays position Bach and his paintings when it comes to his friends, studying avenues of composition they took whereas he didn't and exhibiting how differing remedies of a similar topics or texts led to markedly diversified compositional effects and legacies. through taking a look heavily at how Bach's contemporaries addressed the projects and demanding situations in their time, this undertaking offers a extra nuanced view of the musical international of Bach's time whereas revealing in additional particular phrases than ever how and why Bach's personal tune is still clean and compelling.

 
Contributors are Alison Dunlop, Wolfgang Hirschmann, Michael Maul, Andrew Talle, and Steven Zohn.

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Scheibe, Critischer Musikus, 667 and 670.  Quantz, Versuch einer Anweisung die Flöte traversiere zu spielen (Berlin: Johann Friedrich Voß, 1752), chap. 18, §42, 301. indd 32 8/23/13 8:13 AM Aesthetic Mediation and Tertiary Rhetoric of Telemann’s publications printed in 1733 and 1734, where the composer announces a collection of “6. Ouvertures avec la suite comique” or “6 Scherzende Ouverturen” for four-part strings (a complementary set of works was to include six comic sonatas). However, all subsequent notices of the VI Ouvertures omit any mention of a humorous character, and the comic sonatas were never published.

Vi mod. 26 To the extent that one can draw a conclusion about Telemann’s conception of the chaconne-passacaille genre pair from the VI Ouvertures, it would appear that for him the chaconne’s roots lie in the French theatrical tradition, while the passacaille is associated with the German organ tradition. But it is worth stressing that both movements are defamiliarized by strongly marked features. 29 The Courante of the fourth overture-suite, excerpted in example 2a, also invokes the past. Here Telemann emphasizes the dotted rhythms traditionally associated with the French form of the dance, along with hemiolas effecting frequent metrical shifts between 6/4, 3/4, and 3/2.

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