Sonatina in F minor

“How many more years would music in Germany have been dreadful and poor, had Telemann not risen, whom with his divine genius and extraordinary diligence, drew music out of darkness, and gave it an entirely different and new impetus?” -Johann Heinrich Rolle

 

 

When we think of Telemann today, the first thing that comes to mind is probably his incredibly prolific production, leaving in heritage a musical corpus of more than 3000 compositions. He has written works for almost every musical genre: sacred, opera, instrumental, orchestra, concerto and chamber music.

 

Early on, Telemann studied music autodidactically, composing his first opera at the age of twelve. Telemann was able to play an impressive number of instruments, mostly learning them on his own: e.g. the flute, oboe, chalumeau, trombone, violin, cello, double bass, cembalo, viola da gamba and the lute. In 1721, Telemann was appointed music director of the city of Hamburg thanks to the support of his friend Johann Mattheson (1681-1764). This appointment marked the highlight of his career. His duties were to compose every week the Cantatas for the Sunday mass at five of the principal churches of the city and a Passion every year. Besides, he wrote the musical  works accompanying the festivities of the city and he gave music classes at the Johanneum school. He was also the artistic director of Hamburg’s Opera between 1722 and 1738, presenting mainly his own operas as well as the ones of his friend Händel.

 

Telemann is the main key figure in the development of a public concert practice in Hamburg. First presented at his home and later at the “Drillhaus” of the civil military, the concerts introduced to the general public music previously reserved to the court. From 1723 onwards, these concerts would usually showcase his own works and take place twice a week. This intense musical activity culminated in 1761 - two years after the composer’s death - with the construction of a concert hall establishing the city in its role as a cultural pioneer. Telemann wrote as well music theory texts and poetry, such as a Sonnet on the death of J.S. Bach.

 

Telemann published his works by himself, a novelty at the time. Among others, he printed the first German musical journal “Der getreue Music-Meister”, a publication that can be regarded as one of the foundations for the development of domestic music making. Telemann was regarded by his contemporaries as Germany’s most famous composer.

 

The four Telemann’s pieces published in this series were all written during the composer’s time in Hamburg.