**PRICE ON REQUEST**
"Verzeichnis der Personen, so beÿ der absenden Kaÿserl. Cronungs-Music, so in der St Johannis-Kirche d. 8 Xbr. 1745 aufzufuhren ist, zu gebrauchen sind, nebst deren Bezahlung..." [“List of the persons to be employed for the aforementioned Imperial Coronation Music, to be performed in St. John’s Church on January 8, 1745, along with their payment by the Chamber.”] Autograph manuscript with the composer's name in the text, "Telemann" [his name with the characteristic initial letter, as seen in his signature], partially autograph and with additional autograph emendations and additions by the composer himself. Document partially in the hand of Telemann's principal Hamburg copyist (Hauptkopist A), with notable differences in the hand and darker inks being those of the composer. For example, we note the difference of writing and ink between the first grouping of names and the second; the end of the fourth line at the head (adding "from the chamber"), and the darker writing again and cancellations towards the conclusion. [Hamburg, circa September-October] 1745; 1 folio page. Right margin reinforced, a few small stains, overall fine.
Extremely rare and important document for the performance of music for the Coronation Cantata of Emperor Francis I.
This important document is the list of people needed to perform the festive music for the Emperor's coronation in St. John's Church on December 8, 1745, with the salary to be paid to each. At the head of the list is "Telemann, for the composition" (50 Reichsthaler); followed by the names of the participants with their salaries. Most of the participants are grouped into two categories with curly brackets: singers (ten names) and assistants (eight Rathsmusicanten), 3 trumpeters and a timpanist, a clarinetist, a copyist (Notist), the horn player, the organist, etc., down to the instrument bearer, the tuner, and a harpist. The full costs amounts to 127 Rthl. Of great social-historical interest are also these other listed participants, the many, mostly nameless, helpers without whom such an event could not take place and who are so quickly forgotten. This part of the list gives an impression of the additional services required in the mid-18th century for such a celebratory concert, with the organist needing not only a bellows player but also a keyboard tuner.
At the foot of the document is a later autograph attestation of the collector Bernhard Müller (1825-1895), violist of the Müller quartet. This and subsequent provenance also erroneously describing the document as fully autograph of the composer: Wolfheim Collection (Wolffheim II, Number 106, p. 48); Karl Geigy-Hagenbach of Basel (Stargardt, Marburg, May 30-31, 1961, no. 942); Musikantiquariat Dr. Ulrich Drüner Katalog 65 (2009); Private Collection, Rome, Italy.
Since 1721, Telemann had been active in Hamburg as cantor at the Johanneum and music director of the five main churches. Especially in the latter position, he received many commissions, of which the one documented here was certainly among the most representative. Many political events are reflected in the works of those composers who were firmly integrated into the public life of their places of activity. Thus,
Telemann had composed a funeral piece for the death of Emperor Charles VII (January 20, 1745), having already musically celebrated his coronation in 1742. Later that same year, Emperor Francis I Stephen (1708–1765) ascended the throne, and the process repeated itself: Telemann was once again commissioned to compose festive coronation music, and so he composed the two cantatas TWV 13:15 and 13:16, the
cost accounting for which is recorded in the present document.
Naturally, Telemann also had to contribute a funeral piece for the death of Emperor Franz I in 1765.
A very intriguing document from the prolific German Baroque composer and multi-instrumentalist. During his lifetime, he was the most famous and esteemed composer in Germany, and his music was considered more modern, more progressive and à la mode than Bach’s. When he and Bach both applied for the same musical job in Leipzig, it was only when Telemann dropped out of the running, that the city fathers reluctantly hired Bach - their second choice. History, of course, now judges Bach the true transcendent genius, but Telemann was a greatly skilled craftsman and his music is filled with charm and wit. While Bach’s vision was more metaphysical and Telemann's more humanistic, it's worth noting that Bach asked Telemann to be the godfather to his son Carl Philipp Emanuel - surely a tribute of his esteem.
Telemann’s talents and interests were more wide-ranging than most of his contemporaries: he played many instruments; wrote poetry and prose (including not one, but two autobiographies!); was a pioneer in music publishing; experimented avidly in program (descriptive or storytelling) instrumental music, with delightful pieces based on Don Quixote and Gulliver’s Travels, among other subjects; was one of the first composers to embrace folk influences, traveling in Poland and subsequently incorporating fiddling techniques and eastern modalities into his concertos and suites, anticipating musical “nationalism” by at least a century; was a force behind the emergence of the public concert.
Telemann is also frequently cited as the most prolific composer in history and is believed to have written over three thousand compositions (many now lost). His catalogue includes over a thousand cantatas (like Bach, he was engaged in writing one of these for every Sunday), over 400 orchestral suites, some 35 operas, 46 Passion oratorios, over 100 concertos, and an untold number of chamber pieces of various kinds.
**PRICE ON REQUEST**
**PRICE ON REQUEST**
"Verzeichnis der Personen, so beÿ der absenden Kaÿserl. Cronungs-Music, so in der St Johannis-Kirche d. 8 Xbr. 1745 aufzufuhren ist, zu gebrauchen sind, nebst deren Bezahlung..." [“List of the persons to be employed for the aforementioned Imperial Coronation Music, to be performed in St. John’s Church on January 8, 1745, along with their payment by the Chamber.”] Autograph manuscript with the composer's name in the text, "Telemann" [his name with the characteristic initial letter, as seen in his signature], partially autograph and with additional autograph emendations and additions by the composer himself. Document partially in the hand of Telemann's principal Hamburg copyist (Hauptkopist A), with notable differences in the hand and darker inks being those of the composer. For example, we note the difference of writing and ink between the first grouping of names and the second; the end of the fourth line at the head (adding "from the chamber"), and the darker writing again and cancellations towards the conclusion. [Hamburg, circa September-October] 1745; 1 folio page. Right margin reinforced, a few small stains, overall fine.
Extremely rare and important document for the performance of music for the Coronation Cantata of Emperor Francis I.
This important document is the list of people needed to perform the festive music for the Emperor's coronation in St. John's Church on December 8, 1745, with the salary to be paid to each. At the head of the list is "Telemann, for the composition" (50 Reichsthaler); followed by the names of the participants with their salaries. Most of the participants are grouped into two categories with curly brackets: singers (ten names) and assistants (eight Rathsmusicanten), 3 trumpeters and a timpanist, a clarinetist, a copyist (Notist), the horn player, the organist, etc., down to the instrument bearer, the tuner, and a harpist. The full costs amounts to 127 Rthl. Of great social-historical interest are also these other listed participants, the many, mostly nameless, helpers without whom such an event could not take place and who are so quickly forgotten. This part of the list gives an impression of the additional services required in the mid-18th century for such a celebratory concert, with the organist needing not only a bellows player but also a keyboard tuner.
At the foot of the document is a later autograph attestation of the collector Bernhard Müller (1825-1895), violist of the Müller quartet. This and subsequent provenance also erroneously describing the document as fully autograph of the composer: Wolfheim Collection (Wolffheim II, Number 106, p. 48); Karl Geigy-Hagenbach of Basel (Stargardt, Marburg, May 30-31, 1961, no. 942); Musikantiquariat Dr. Ulrich Drüner Katalog 65 (2009); Private Collection, Rome, Italy.
Since 1721, Telemann had been active in Hamburg as cantor at the Johanneum and music director of the five main churches. Especially in the latter position, he received many commissions, of which the one documented here was certainly among the most representative. Many political events are reflected in the works of those composers who were firmly integrated into the public life of their places of activity. Thus,
Telemann had composed a funeral piece for the death of Emperor Charles VII (January 20, 1745), having already musically celebrated his coronation in 1742. Later that same year, Emperor Francis I Stephen (1708–1765) ascended the throne, and the process repeated itself: Telemann was once again commissioned to compose festive coronation music, and so he composed the two cantatas TWV 13:15 and 13:16, the
cost accounting for which is recorded in the present document.
Naturally, Telemann also had to contribute a funeral piece for the death of Emperor Franz I in 1765.
A very intriguing document from the prolific German Baroque composer and multi-instrumentalist. During his lifetime, he was the most famous and esteemed composer in Germany, and his music was considered more modern, more progressive and à la mode than Bach’s. When he and Bach both applied for the same musical job in Leipzig, it was only when Telemann dropped out of the running, that the city fathers reluctantly hired Bach - their second choice. History, of course, now judges Bach the true transcendent genius, but Telemann was a greatly skilled craftsman and his music is filled with charm and wit. While Bach’s vision was more metaphysical and Telemann's more humanistic, it's worth noting that Bach asked Telemann to be the godfather to his son Carl Philipp Emanuel - surely a tribute of his esteem.
Telemann’s talents and interests were more wide-ranging than most of his contemporaries: he played many instruments; wrote poetry and prose (including not one, but two autobiographies!); was a pioneer in music publishing; experimented avidly in program (descriptive or storytelling) instrumental music, with delightful pieces based on Don Quixote and Gulliver’s Travels, among other subjects; was one of the first composers to embrace folk influences, traveling in Poland and subsequently incorporating fiddling techniques and eastern modalities into his concertos and suites, anticipating musical “nationalism” by at least a century; was a force behind the emergence of the public concert.
Telemann is also frequently cited as the most prolific composer in history and is believed to have written over three thousand compositions (many now lost). His catalogue includes over a thousand cantatas (like Bach, he was engaged in writing one of these for every Sunday), over 400 orchestral suites, some 35 operas, 46 Passion oratorios, over 100 concertos, and an untold number of chamber pieces of various kinds.
**PRICE ON REQUEST**