Movements The concerto is composed of four movements: Largo, Allegro, Andante and Presto.ĭos Telemann Viola Concerto In G Major Pdf Pumpkin. It could even be performed with only the solo viola and a quartet! In the whole concerto Telemann makes use of the full range of the viola (as it was used at that time), that blends very well with the string orchestra. Instruments in Telemann viola concerto Telemann viola concerto in G major is scored for viola, strings and continuo (2 violins, viola cello, double bass and harpsichord). His other viola works are: a Concerto for two violas, the Scherzi Melodichi (a collection of trio sonatas for violin, viola and continuo), Polish dances for two violins and viola, 12 Sonatas playable on the viola or viola da gamba (as it was common at that time) and keyboard other trios for flute or violin or horn or oboe and viola. Telemann also wrote some other works of interest for the viola, something unusual in the Baroque time, when the viola was used only for filling the harmonies. Unauthorized distribution or sale of.pdf files is prohibited. Works for viola This concerto is one of the 125 concertos written by him for one or more instruments, in addition to hundreds of other instrumental works, operas and church music. Contemporary of other great composers, he was born four years before and and died seventeen years after Bach and eight after Handel. Its composer, Georg Philip Telemann, was hugely prolific, one of the most prolific among Baroque composers. The Largo and Allegro form an opening-movement pair, but it is the beautiful third movement Andante which is the heart of the work, revealing Telemann at his most elegant and harmonically adventurous.Georg Philipp Telemann, composer of probably the first viola concerto ever It is probably the first viola concerto ever written, composed between 17 and the only Baroque viola concerto. The Viola Concerto, probably dating from 1712, is typical in that it has, in Telemann’s own colourful description 'the smell of France' in the slow movements while owing much to Corelli in the rhythmic drive of the faster movements. Telemann’s early works often explore a kind of fusion between the melodic and rhythmic energy of the Italian concerto and the ornamented elegance of French music of the time. This was partly thanks to the sheer quantity of music composed during his long life (Telemann was born before Bach, yet by the time he died Haydn was a mature composer aged thirty-two and Mozart had written his first operas), and partly due to his early mastery of the opportunities for self-promotion presented by the explosion in music printing and distribution in the early decades of the eighteenth century.
Given our modern-day reverence for J S Bach it can seem surprising that in the musical world of the mid-eighteenth century Georg Philipp Telemann (1681-1767) was the North German composer of supreme fame and influence.
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