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A 3 page research paper that examines Georg Philipp Telemann's Sinfonia in F major. The musical career of German composer Georg Philipp Telemann (1681-1767) coincides with the rise and decline of the Baroque recorder, an instrument that is closely associated with his work. Telemann's use of the recorder is a principal feature in his Sinfonia in F major, which is a small scale work that may have once be part of a church cantata. Examination of Telemann's Sinfonia in F major demonstrates the distinctive features of this composer's music. Bibliography lists 2 sources.
Page Count:
3 pages (~225 words per page)
File: D0_khtelsin.rtf
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his work (Holman, 1991). Telemanns use of the recorder is a principal feature in his Sinfonia in F major, which is a small scale work that may have once be
part of a church cantata (McElhearn, 2003). Examination of Telemanns Sinfonia in F major demonstrates the distinctive features of this composers music. McElhearn (2003) makes the point that
the sound of the Baroque recorder is quite different from the harsher, shriller sound of the Renaissance recorder, which is an instrument with which modern listeners are more familiar. The
Baroque recorder has rich, complex sound that perfectly complements the intricacies of melody, counterpoint and continuo bass as used during this period. While the Renaissance recorder was carved from a
single piece of wood, the Baroque recorder was made up of several interlocking pieces of wood, which produced a more refined tone (Holman, 1991). The Baroque recorder was produced in
several sizes, each with its own pitch, but the tremble or alto in F predominated (Holman, 1991). McElhearn (2003) speculates that Telemann may have played this instrument. This is
certainly possible as he, of all German composers, is most intimately associated with this instrument and its use. McElhearn makes the observation that Telemanns music is extremely idiomatic for
the recorder and that it appeared in literally hundreds of his works (2003). Holman (1991) verifies this, stating that Telemann specified the use of the recorder in many of
his chamber works, in his church cantatas and oratorios, and also in a number of his solo concertos or concerti grossi with strings. In fact, Telemanns use of the recorder
is so exemplary, so "idiomatic and adventurous," that Holman (1991) agrees with McElhearn that Telemann himself must have been a recorder virtuoso. We do know that Telemann mentioned in his
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