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The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgementTown of the source. The thesis is to be used for private study or non- commercial research purposes only. Cape Published by the University ofof Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University ASPECTS OF GEORG PHILIPP TELEMANN’S NOUVEAUX QUATUORS COLLECTION, IN PARTICULAR ITS POSSIBLE INFLUENCE ON THE CONVERSATIONS GALANTES OF LOUIS-GABRIEL GUILLEMAIN COLLEEN JOY OXTOBY — NRXCOL002 Town A MINOR DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE CapeAWARD OF THE DEGREE OF MASTERof OF MUSIC University FACULTY OF THE HUMANITIES UNIVERSITY OF CAPE TOWN 2012 ii This work has not been previously submitted in whole, or in part, for the award of any degree. It is my own work. Each significant contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. Signature: ___________________________________________ Date:______________________________ Town Cape of University iii TABLE OF CONTENTS CHAPTER ONE – INTRODUCTION........................................................................................................... 1 CHAPTER TWO – TELEMANN – FORMATIVE INFLUENCES......................................................... 9 1. His Early Life...................................................................................................................................... 9 2. Influential Figures .........................................................................................................................11 3. French Style .....................................................................................................................................17 4. Italian Style.......................................................................................................................................21 5. Polish Folk Idiom ...........................................................................................................................25 CHAPTER THREE – COMPOSITIONAL STYLES ................................................................................30 1. Contrapuntal Style.........................................................................................................................30 2. Galant Style.......................................................................................................................................35Town 3. Mixed Taste – Vermischter Geschmack ................................................................................42 CHAPTER FOUR – PARIS...........................................................................................................................48 1. Background......................................................................................................................................48Cape 2. Telemann in Paris...................................of.......................................................................................51 3. Paris after Telemann’s Visit.......................................................................................................56 4. Louis-Gabriel Guillemain............................................................................................................57 CHAPTER FIVE – THE QUARTET COLLECTIONS.............................................................................63 1. Telemann’s University‘Nouveaux Quatuors’.................... ......................................................................63 2. Guillemain’s ‘Conversations galantes’ ...................................................................................70 3. Instrumental Style.........................................................................................................................73 Idiomatic use and scoring........................................................................................................74 CHAPTER SIX – ANALYSIS.......................................................................................................................84 1. Form....................................................................................................................................................85 Outer structure ............................................................................................................................85 Movement forms .........................................................................................................................87 iv 2. National Style ..................................................................................................................................98 3. Compositional Style and Techniques..................................................................................104 Compositional details.............................................................................................................107 CHAPTER SEVEN – CONCLUSION.......................................................................................................116 APPENDIX I – DETAILS OF THE QUARTETS ..................................................................................119 APPENDIX II – PLACES IN WHICH TELEMANN LIVED, STUDIED AND WORKED........... 121 BIBLIOGRAPHY.............................................................................................................................................122 Town Cape of University v Acknowledgements Before I began this dissertation I was already indebted to several people, starting with Alison Crum, my viol teacher, who pointed me in the right direction. John Bryan, Ian Payne, Steven Zohn and Carsten Lange were all astonishingly helpful and encouraging. Locally, Morné Bezuidenhout also showed an interest in my ideas. Throughout the project itself my supervisor, Rebekka Sandmeier, has enthusiastically engaged with the topic and was unfailingly generous with her time, prompt attention and professional expertise. Friends who kindly helped with translation are: Corinna Arndt, Evelyn Chadwick, and Maria Randall in German; Sharon Colback, Carol Hartley, and Sara Pienaar in French. Anne-Marie Kacedan assisted with correspondence.Town Where translation is unacknowledged it is my own. In the W. H. Bell Music Library Julie Strauss, Shaheema Luckan and especially Dave Kruger patiently provided guidance for the overwhelmed mature student finding herself in a computer-dominated research situation. Cape Concerning computers I am also greatly indebtedof to my long-suffering sons, particularly Oliver, who has, furthermore, meticulously undertaken the task of copy-editor. Valda Führ readily shared her brilliance, as well as recommending the excellent Nicky Jansen, my ‘Ms Sibelius’, who so ably created the many musical examples. There are numerous friends whom I have neglected during the 18-month gestation of this work; I assure Universityespecially ‘Melisma’ and the viol-players that there will be Life after the Master’s. John Frith has been especially patient and supportive. I offer my warmest thanks to all the above and last, not least, to my family: Chris, Oliver and Sven have believed in me all along and provided practical expertise. Richard has given me enormously positive and generous support – both material and emotional. I could not have succeeded without this. vi Dedicated to the memory of my sister and part role-model, Barbara, who would have strongly approved. Town Cape of University CHAPTER ONE INTRODUCTION The two quartet-collections under consideration appeared within five years of each other, in the same city and, most significantly, for the same new combination of instruments. As the first was the work of an established and prolific composer, and the second, of a younger, lesser-known man with relatively limited output to his credit, I set out in this dissertation to examine the possibility that the one was modelled on the other. Was Guillemain influenced by the Nouveaux Quatuors of Telemann when he composed his Conversations galantes? Georg Philipp Telemann (1681–1767), a North German whoTown typically absorbed foreign elements into his writing-style published what was probably the last of his chamber music in Paris in 1738, under the title Nouveaux Quatuors en Six Suites. They were called ‘new’ in relation to his earlier set, the QuadriCape, self-published in Hamburg in 1730. Because of their common scoring, and the assumption that the invitation to visit Paris was based on the strength and receptionof of the Quadri, the two sets were labelled collectively the ‘Paris Quartets’, by Walter Bergmann in the 1960s.1 The Frenchman, Louis-Gabriel Guillemain (1705–1770) trained as a violinist in Italy, then returned to France where he was later employed at court. In 1743 he too published quartets for the same instruments as had Telemann. These were the Six sonates en quatuors ou conversationsUniversity galantes et amusantes which also appeared in two groups of six – op. 12 (1743) and op. 17 (1756). The latter was an arrangement of his op. 13 accompanied keyboard sonatas.2 The former was chosen for this dissertation, being closer in time to the Nouveaux Quatuors and being original rather than an arrangement. It possibly is also the nearest replication, chronologically-speaking, of Telemann’s 1 Poetzsch, Ute, “Preface”, Nouveaux Quatuors en Six Suites by Georg Philipp Telemann, translated

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