Telemann

Summary

Dominique Pagani most often cites Telemann as part of the Baroque repertoire, alongside other composers of the period12. He places him among the Baroque composers with a regular rhythm3 and uses him as an example of a Baroque music shared by several countries, sometimes hard to tell apart from that of his contemporaries45. He makes the same remark about him as about Vivaldi. He nonetheless grants his music an undeniable richness, which he sets against the neo-Baroque fashion and the discourse of the "baroqueux", the period-performance movement: admiring the work does not mean endorsing that movement67. He also finds his writing denser than Mozart's. In his reflections on "sound ghettos", he contrasts the trumpet of his Trumpet Concerto with the trumpet of popular variety music8. Finally, he counts him among the rediscovered Baroque composers.

1. 1#2 Harnessed to confinitude30 Mar 2020 · 1:04:30
2. 2#6 Harnessed to confinitude26 Apr 2020 · 7:51
3. 3B for Bach16 Dec 2014 · 5:06
4. 4#17 Interpretation25 Mar 2021 · 37:17
5. 5Bartók: the unheard-of sound13 Jul 2022 · 6:35
6. 6#5.2 bis Questions (Facebook Live)6 Dec 2018 · 10:44
7. 7#8 Harnessed to confinitude17 May 2020 · 1:46:06
8. 8#4 Sound ghettos3 Dec 2020 · 16:33

Summary produced automatically from 11 of the passages below, to be reviewed; the numbers link to the moment in the session.