G. P. Telemann
Suite in A Minor
for Flute and Strings
Georg Philipp Telemann , organist and composer, was born on March 14, 1681 in Magdeburg, Germany and died June 25, 1767 in Hamburg, Germany. Today, J. S. Bach (1685-1750) and George Frederick Handel (1685-1759) are probably the most famous composers of the Baroque Period (1600-1750) in music; however, Telemann was born before, and outlived, both Bach and Handel; was more famous during his lifetime than either and, most remarkably, wrote more music than Bach and Handel combined!
One of the main differences between Baroque style and that of the Classical Period (1750-1825) which followed, was the use of counterpoint - literally note (“point”) against (“counter”) note (“point”). With 20th century ears, we tend to hear a single melody, usually the highest part, with (harmonic) accompaniment; however, much of Telemann’s music consists of several melodies, all of which are equally important.
At the start of the 18th century, music was only available to nobility or through the church - public concerts or even music stores didn’t exist. Telemann was a true innovator in making music available to the general public; he formed a student society called “Collegium musicum”, one of the first series of concerts that was actually open to the public - J. S. Bach took over as conductor in 1723, resulting in Bach’s developing the keyboard concerto, specifically for the summer concerts held in Zimmermann’s garden in Windmuhlstrasse in Leipzig. Telemann started a sort of “music by mail” subscription service and not only had many of his compositions published, he even engraved several himself.
SUITE in A MINOR The symphony developed from the orchestral suite, which in turn, developed from the dance suite - collections of shorter dance pieces. J. S. Bach wrote four Orchestral Suites between 1717 and 1723, while he was conductor of the court orchestra in Cöthen - including his Suite No. 2 in B Minor for flute and strings.
Like Telemann, Bach’s Suites use continuo (harpsichord and cello) and are made up of six or seven “movements” (using the terminology of the symphony), opening with an “Overture” (the actual name by which Bach referred to his Suites) written in the French style: slow introduction (using dotted rhythms) followed by a faster, more lively (and contrapuntal) main section, concluding with a slow section, alluding to the opening. The Overture, which is, by far, the longest movement, is then followed by shorter “dance” movements (i.e., movements using the structure and style of various dances - Minuet, etc.).
Unlike Bach’s Suite in B Minor, which is a suite, which happens to employ the flute, and occasionally feature it, Telemann’s Suite in A Minor uses the flute as a solo instrument, only employing it in the tutti sections in the Overture.
All of the movements of Telemann’s Suite in A Minor have French titles, including, surprisingly enough, Air a L’Italien (an Air in an Italian style).
Little of the history of this work is known; it was not published until 1936 - based on an 18th Century manuscript which had no forward, title page or date, at the Hessian State and High School Library in Darmstadt.
Solo Flute part - 9”X12” - 16 pages - $14.95
with CD - 8 smp files:
- No. 1 - Overture (4/4, Lento, quarter = 64; 6/8, con anima, dotted quarter = 72; 4/4, Lento, quarter = 64)
- No. 2 - Les Plaisirs (2/2, Allegro vivo, half = 120)
- No. 3 - Air a L’Italien (4/4, Largo, eighth = 72; 4/4, Allegro, quarter = 104)
- No. 4 - Two Minuets (3/4, Moderato, quarter = 120)
- No. 5 - Rejoussance (4/4, Vivo, quarter = 120)
- No. 6 - Two Passepieds (3/8, Allegro, eighth = 144)
- No. 7 - Polonaise (3/4, Moderato, quarter = 100)
- Complete (All 7 movement)
Please note that this is NOT an AUDIO CD
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