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Abschlussprogramm Master Heft MASTER ALTE MUSIK - HISTORISCHE TROMPETE Masterabschluss Programm Thomas Neuberth STAATLICHE HOCHSCHULE FÜR MUSIK TROSSINGEN - 14. & 15. Juli 2017 Teil I - 14. Juli 2017 Georg Philipp Telemann 1681-1767 Concerto à 3 ex F William Corbett ca. 1680-1748 Sonata op. 3 Nr. 1 D-Dur (Klausur) Pavel Josef Vejvanovsky ca. 1640-1693 Sonata à 4 Bemollis Tobias Volckmar 1678-1756 Schmücket das Fest mit Maien Gottfried Keller ca. 1650-1704 Sonate Nr. II D-Dur Johann Rosenmüller 1619-1684 O Felicissimus Paradysi Aspectus !2 Teil II - 15. Juli 2017 Christoph Förster 1693-1745 Concerto D-Dur Heinrich Ignaz Franz Biber 1644-1704 Sonata Tam Aris Quam Aulis Servientes Nr. I C-Dur Alessandro Melani ca. 1639-1703 Sonata à 5 Pavel Josef Vejvanovsky ca. 1640-1693 Serenada 3 Georg Philipp Telemann Concerto à 3 ex F Georg Philipp Telemann „Ich habe mich nun von so vielen Jahren her ganz marode (1681-1767) war tatsächlich melodiert und etliche tausend mal abgeschrieben wie andere e i n e r d e r p r o d u k t i v s t e n mit mir.“ Dies gesteht Georg Philipp Telemann (1681-1767) auf Komponisten seiner Zeit. Das dem Zenith seiner Karriere Carl Heinrich Graun, dem gilt für seine Zeit als Organist in Hofkapellmeister Friedrichs II. in Berlin. Das hanseatische Leipzig und Sorau (1704-1708), Understatement bedient und ironisiert zugleich das Etikett vom als Konzertmeister in Eisenach „Vielschreiber“, das dem Kantor am Hamburger Johanneum und (1708-1712), als Musikdirektor in Musikdirektor für die fünf Hauptkirchen der Stadt heute gern Frankfurt (1712-1721) und als angehängt wird. In der Tat hinterließ der seit 1721 als Erneuerer Ve r a n t w o r t l i c h e r f ü r d i e des Hamburgischen Musiklebens wirkende Komponist, Kirchenmusik in den fünf Opernintendant, Musikkritiker und Begründer der ersten Hamburger Hauptkirchen (ab deutschen Musikzeitschrift („Der getreue Musicmeister“) ein 1 7 2 1 ) . A u c h w e n n e r geradezu voluminös zu nennendes Gesamtwerk. Blechblasinstrumente zunächst Annähernd 2000 Werke sind registriert - allein etwa 1000 in zahlreichen Kantaten Orchestersuiten, ferner Oratorien und Opern, Passionsmusiken, einsetzte, heißt das nicht, dass die Instrumentalmusik auf Kirchenkantaten, Konzerte und eine Vielzahl von Auftrags- und diesem Gebiet ins Hintertreffen geriet. Telemann hielt den Gelegenheitsmusiken für Hochzeiten, Geburtstage, Jubiläen Kontakt zu den Kollegen aufrecht, die er während seiner und festliche Tafeln. Sicher ist manches davon in Hinblick auf Lehrzeit kennengelernt hatte, wie etwa zu Christoph Graupner den permanenten Produktionszwang einer auf ständige (1683-1760), der bei Ludwig VIII. von Hessen-Darmstadt im Uraufführungen versessenen Epoche zu bewerten. So war es Dienst stand (Regierungszeit 1739-1768). Der Landgraf war ein zu den Zeiten durchaus auch üblich zu parodieren, also eigene passionierter Jäger und begeisterte sich für musikalische Kompositionen zu übernehmen, zu variieren, neu zu Aufführungen im Freien. Er unterhielt eine exzellente instrumentieren etc. Selbst sein Zeitgenosse und Freund Hofkapelle, deren Musikern Telemann regelmäßig neue Johann Sebastian Bach adaptierte für eine seiner Kantaten Kompositionen widmete. einen kompletten Chorsatz Telemanns. !4 Die künstlerische Bedeutung dieses „Genies der Vielseitigkeit“ - Concerto à 3 ex F so der Telemann-Biograph Karl Grebe - zwischen Hochbarock und Wiener Klassik dürfte Romain Rolland 1919 treffend zum Cornu, Flauto con Cembalo et Fagotto Ausdruck gebracht haben. „Er ist ein Moderner in dem großen Streit der Alten und der Modernen“, urteilte der Schriftsteller und so der originale Titel der Abschrift (TWV42:F14). Zu den beiden Musikkritiker, „und er glaubt an den Fortschritt“. Fortschrittlich Solostimmen gesellt sich also im Basso continuo zum Cembalo war Telemanns Aufgeschlossenheit gegenüber allen ein Fagott. Allerdings wird in den Stimmen anderes vermerkt, musikalischen Stilrichtungen seiner Zeit. „Erst war es das dort ist die Bassostimme mit Violoncello bezeichnet. Auch über Polnische,“ resümierte er 1729 für einen Lexikonartikel, „dann der Hornstimme ist in Klammern noch Viola angegeben. folgete der Französische, Kirchen-, Kammern- und Opernstyl Vielleicht wurde das Stück aber auch bei unterschiedlichen und was sich nach dem Italienischen nennet, mit welchem ich Gelegenheiten mit unterschiedlichen Besetzungen aufgeführt. dann itzo das mehreste zu thun habe.“ Die Flötenstimme ist im französischen Violinschlüssel notiert, Zukunftsgerichtet waren seine Bemühungen auf dem Sektor der dieser ist eine Terz tiefer als der uns heute gebräuchliche. Ein Oper. 40 sind uns heute bekannt, die er für das Hamburger Hinweis auf die Verwendung einer Altblockflöte? Haus und - im jährlichen Rhythmus - für den Hof zu Bayreuth Der erste Satz steht im „alla breve“ und ist lediglich mit schrieb. Seine „Pimpinone“ (1725) markiert den Beginn des ‚Concerto‘ bezeichnet. Die Flöte beginnt mit ihrem Thema und komischen Genres in Deutschland. Prägend für zukünftige wird quasi vom Horn mit einem zweiten Thema unterbrochen, Komponistengenerationen waren überdies seine Ambitionen bei welches mit einem gebrochenen Dur-Dreiklang eröffnet bevor der Ausbreitung des italienischen „Concerto“ - insbesondere des es sich nach oben aufsteigend weiterentwickelt. Es entwickelt Solokonzerts - im deutschsprachigen Raum. sich mit der Zeit ein Dialog zwischen beiden Instrumenten, Mit der ihm eigenen subtilen Ironie notierte Telemann in seinem wobei das Horn versucht, mit dem konzertierenden Charakter Werkverzeichnis, er habe „viele umfangreiche Stücke mit der Flöte gleichzuziehen - immer wieder jedoch unterbrochen Trompeten und Pauken zu hohen Festtagen“ geschrieben. durch signal- oder prinzipalartige Einwürfe. Telemanns Unterschrift !5 Beim zweiten Satz handelt es sich um eine Loure für die Flöte das Ohr des Tänzers zu unterstützen un ihn im Rhythmus zu mit Continuo-Begleitung. Das Horn pausiert also. „Die Loure ist halten“ (Rousseau). „Ein Menuett spiele man hebend, und ein Musikstück in langsamem Tempo, sie steht im 6/4-Takt und markiere die Viertheile mit einem etwas schweren, doch kurzen wird mit zwei Schlägen geschlagen; sie beginnt gewöhnlich mit Bogenstriche“ (Quantz). Loulié schreibt: „Bei dieser Taktart (6/4) einem Auftakt. Man punktiert gewöhnlich die mittlere Note jeden heißt der Abschlag ‚gute Zeit‘ und der Aufschlag heißt ‚schlechte Schlages“ (Rameau-D’Alembert). Sie wird „prächtig gespielet; Zeit‘. Und nur aus diesem Grund benutzt man den 6/4-Takt statt und der Bogen wird bey jedem Viertheile, es sei mit oder ohne zweimal den 3/4-Takt, denn im 3/4-Takt werden ‚gute‘ und Punct, abgesetzet“. „Auf jedes Viertel kommt ein ‚schlechte‘ Zeit nicht voneinander unterschieden. Und aus dem Pulsschlag“ (Quantz). Dieser virtuose Theatertanz - auch gleichen Grund schlagen die Tänzer das Menuett im 6/4-Takt, gelegentlich ‚langsame Gigue‘ oder ‚Gigue lente‘ genannt - hat auch wenn es im 3/4-Takt steht.“ seinen Namen von einer Art Dudelsack (von lat. lura = Luftsack) Beim hier vorliegenden Menuett haben wir zwei wiederholte aus der Normandie, auf welchem man die Musik zu diesem Teile, wobei der erste in sich nochmals geteilt ist. Das ist sehr Tanz spielte (Rousseau). Sie steht gewöhnlich - wie hier - in klar zu hören, denn im zweiten Abschnitt des ersten Teils setzt einer Dualform |:A:||:B:| oder |:A:||:A’:|. der Basso continuo aus und das Horn übernimmt diese Der dritte Satz ist ein Menuett. Über die korrekte Bezeichnung Funktion. Das ist also wie beim üblichen „Trio“, bei welchem der Taktart und des korrekten Tempos sind sich die normalerweise „nur“ ein Trio weiterspielt, jedoch ist es hier Zeitgenossen sehr uneins. Zusammenfassend kann man jedoch aufgrund der „Triobesetzung“ des Konzertes eben nur ein „Duo“. sagen, dass das Menuett ein Tanzsatz französischen Ursprungs „Und wie wäre es möglich, mich alles dessen zu erinnern, was („Lustiger Tanz, der aus der Gegend von Poitiers stammt“; ich zum Geigen und Blasen erfunden? Aufs Triomachen legte Brossard) ist und im Dreiertakt steht. Getanzte Menuette sind ich mich hier insonderheit, und richtete es so ein, daß die zwote schneller vorzutragen als rein instrumentale - oft auch virtuoser Partie die erste zu seyn schien, und der Baß in natürlicher gestaltete - Menuette. „Der Takt des Menuetts geht auf 3 leichte Melodie, und in einer zu jenen nahe tretenden Harmonie, deren Schläge. Die Melodie hat in jedem Abschnitt 4 Takte oder ein jeder Ton also, und nicht anders seyn konnte, einhergieng. Man Vielfaches von vier; denn soviel Takte braucht man, um den wollte mir auch schmeicheln, daß ich hierin meine beste Krafft Tanzschritt des Menuetts auszuführen. Dem Musiker obliegt es, gezeiget hätte“ gesteht Georg Philipp Telemann in Johann diese Aufteilung durch deutliche Abschnitte hervorzuheben, um Matthesons „Grundlagen einer Ehren-Pforte“ (1740). !6 seine Neigung zu ausgefallenen Instrumentierungen mit all den ihm zur Verfügung stehenden Instrumenten seiner Zeit. Telemann hat für alle Blasinstrumente seiner Epoche Instrumentalkonzerte geschrieben. Da er fast alle diese Instrumente selbst spielen konnte, schrieb er extrem idiomatische Partien, die dem Instrument ebenso schmeicheln, wie sie dem Spieler spontan einleuchten. Die Konzerte zeigen einen Reichtum an unterschiedlichen und oft eigentümlichen Besetzungen, konzertanten Verfahren und Formen auf und sind mitunter auch sehr groß dimensioniert . Egger Barockhorn nach Johann Heinrich Eichentopf, Leipzig 1738 Dabei kam Telemann zu Gute, dass er schon von Jugend an mit den spieltechnischen Eigenheiten verschiedenster
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