Georg Philipp Telemann
Methodical Sonatas for Flute or Violin and Continuo, Volume I
Telemann’s sonatas, published in 1728, are “methodical” according to the meaning of the word in his own day, since in addition to the plain melody line given to the soloist in the first movements they also provide an ornamented variant each time. We commend this instructive and, at the same time, very enjoyable music to today’s flautists and violinists. Our luxurious new publication is the only one to evaluate all available sources. It has a solo and basso-continuo part in which the two instrumental lines are aligned for orientation, plus another part that gives only an unrealised (but figured) bass line. The Henle edition also includes a full score with a stylistically appropriate continuo realisation.
Read more about this edition in the Henle Blog.
About the Composer
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. |
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G. Henle Verlag
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Further editions of this title
Further editions of this title
- includes a solo and a basso continuo part, with the other part also printed to aid orientation
- extra part with just the unrealised but figured bass line