THE UNIVERSITY OF HULL GEORG PHILIPP TELEMANN (1681-1767): HIS RELATIONSHIP TO CARL HEINRICH GRAUN AND THE BERLIN CIRCLE being a Thesis submitted for the Degree of DOCTOR OF PHILOSOPHY in the University of Hull by PETER JOHN CZORNYJ. B.A. FEBRUARY 1988 MUSIC Summary of Thesis submitted for Ph.D degree by Peter John Czornyj 1986 on Georg Philipp Telemann (1681-1767): His Relationship to Carl Heinrich Graun and the Berlin Circle The history of music in Germany in the first half of the eighteenth century is best understood within the context of the social, cultural and intellectual history of the German people during this period. The intellectual coming of age of the middle classes during the first decades of the century occurred as a result of growing confidence in the establishment of a national spoken and literary language. In a gradual progression of liberation and purification, the German language broke away from the dominant voices and cultures of its closest neighbours, leading to the crystalization of a clearly indigenous culture later in the century. Few other art forms followed this development more closely and indeed benefitted more from it than music. At the beginning of the century German music, and German culture in general, was still very much subjected to vassalage to foreign powers. Only in its church music, however, could a small but distinctly native voice be detected. With the growth of lit- erary confidence, in particular in devotional poetry, music re- ceived considerable creative impetus. The figure who most closely followed these linguistic and literary developments is Georg Philipp Telemann (1681-1767). The object of this thesis is to place in its proper context the highly influential musical personality of Telemann, in par- ticular through a study of his relationship to a younger genera- tion of composers and theorists: the 'Berlin Circle'. In a detailed study of the com p oser's relationship to Carl Heinrich Graun(1703 or 1704-1759), the court Capellmeister at Berlin, the association between words and music, between musical and literary languages, will be discussed and, furthermore, they will be seen to be inter- dependent. PREFACE The foundations for this present study of the relation- ship between Georg Philipp Telemann and his contemporaries were laid in the summer of 1976. With the completion of this thesis, some twelve years later, I am now in a position to ex- press publicly my sincere gratitude to all those people who were responsible for my receiving, at that time, the Shakes- peare Scholarship of the Hamburg F.V.S. Foundation, which enabled me to study in Germany during 1976/1977. To Robert Marchant, former professor of music, and his colleagues in the Music Department of the University of Hull, to the late Philip Larkin, who had the task of choosing a "Shakespeare Scholar" and to the Stiftung F.V.S., Hamburg, for its generous scholarship, I owe unlimited respect and gratitude. Without the support, encouragement and assistance of many friends in England, Hamburg and Berlin, the task of researching and writing this thesis would have been well nigh impossible. For their assistance with linguistical problems, both English and German, I would like to express my gratitude to Michael Aspinall, Karen Christenfeld, Andrew Lord Miller and Chris Charlesworth, as well as countless other friends and colleagues. Nevertheless, all ideas and theories expressed in this thesis are the work of the present writer, unless stated to the con- trary, and he alone bears the responsibility for their accuracy. ii The writer would like to express his indebtedness and gratitude to the staff of the following libraries for their constant willingness and diligence in making available their materials: the Staatsbibliothek PreuBischer Kulturbesitz, West Berlin, the Deutsche Staatsbibliothek, East Berlin, the Staats- und Universitatsbibliothek, Hamburg, the Bayerische Staatsbibliothek, Munich, the Osterreichische Nationalbibli- othek, Vienna and the Bibliotheque du Conservatoire Royal de Musique, Brussels. Finally, I would like to thank my tutor, Mr. Anthony Ford, for his continual encouragement, authoritative advice and con- stant concern for clarity in musicological argumentation. To all those people and institutes mentioned here, and to my dear parents for their encouraging moral support, I of- fer my thanks, and dedicate, with gratitude, the present thesis. Throughout the thesis all quotations appear in the ori- ginal language and are taken, whenever possible, from the original source. Tra nslations of all quotations and titles have been provided by the present author, unless otherwise indicated. All t ra n slationsof prose quotations will appear in the text, with the original provided in a footnote. In the case of poetic q uotations the original will appear in the text and a prose tra nslation (unless otherwise indicated) will appear in a footnote. In all translationsthe author has aimed to provide an accurate idiomatic English rendition of the original, whilst in no way feeling obliged to reproduce the iii punctuation and sentence divisions of the original. The eighteenth century spelling of such common terms as Cantor, Capellmeister, Concertmeister and Capelle has been adopted and each appears in italics. Those German nouns that have become incorporated into English language musical vocabu- lary, however, will not begin with a capital letter (lied, singspiel, etc.) and will not be italicized. The German spel- ling of smaller towns and courts (Braunschweig-WolfenbUttel, for example, instead of Brunswick-WolfenbUttel) has been re- tained throughout the thesis, but larger cities appear in their English form. All musical examples from Telemann's Singe-, Spiel- und Generalba5-0bungen (Hamburg, 1733-1734) include the composer's own continuo realizations. Otherwise, only the bass and upper parts are given, as in 'manuscript orfrontemporarA published sources. iv TABLE OF CONTENTS LIST OF ABBREVIATIONS vi LIBRARY SIGLA vii INTRODUCTION 1 RECIPROCAL INFLUENCES AND REJUVENATION 6 1. Telemann and the Lied 7 The Lied in 18th Century Germany (16) - Contemporary Criti- cal Reactions (21) - Telemann's 1741 Collection (29) 2. Christian Gottfried Krause and the First Berlin Lieder School 37 Von der musicalischen Poesie (42) - Oden mit Melodien (46) 3. Telemann and the Berlin Circle 51 J.F. Agricola (52) - F. Benda (55) - C.Ph.E. Bach (56) - C. Nichelmann (57) - J.J. Quantz and his Versuch (58) - C.Ph.E. Bach's Versuch (65) - F.W. Marpurg (69) 4. Telemann and Carl Wilhelm Ramler 74 Der Tod Jesu (77) - Die Donner-Ode (80) - Die Hirten bei der Krippe zu Bethlehem (82) - Die Auferstehung und Himmelfahrt Jesu (84) - The Secular Texts: Der Mai and Ino (85) TELEMANN AND CARL HEINRICH GRAUN 91 5. Introduction 92 6. Cultural Links between Hamburg and Braunschweig-WolfenbUttel 93 Telemann's Gensericus in Braunschweig (94) - Uffenbach's Poetischer Versuch (95) - Johann Ulrich von Ktinig, a Mutual Patron (97) - Sinilde and Sancio (98) - Graun's operas in Hamburg (100) V 7. Mizler's Korrespondierende Societat 101 The Aims of the Society (101) - Telemann's Contributions to the Society (103) - Criticisms and Resistance (104) - A Cantata Collection (106) 8. Berlin in 1751/1752 : Hypothesis or Reality 108 THE CORRESPONDENCE BETWEEN TELEMANN AND GRAUN 110 9. History of the Correspondence 111 10. Recitative - French or Italian ? 113 The Relative Merits of French and Italian Styles in Music (114) - Marpurg (115) - Rousseau (119) - Scheibe (125) - Krause (129) - Telemann and Graun (133) 11. Additional Annotations on the Correspondence 150 DER TOD JESU : RAMLER'S PASSION ORATORIO 155 IN SETTINGS BY TELEMANN AND GRAUN 12. Historical Context 156 The Passion Oratorio in the Era of Pietism (160) - New Direc- tions in Literature (166) - Theology in the Enlightenment (169) - A New Concept of Oratorio (171) - Ramler's Text (172) 13. A Comparison of Telemann and Graun's Settings 178 Musical Personalities (182) - The Music (183) - Attitudes and Reactions (212) APPENDICES 217 I. The Telemann-Graun Correspondence: An English Translation 218 II. A List of Lieder Collections Published in Germany between 1733 and 1767 255 III.A List of Theoretical Works on Music and Musical Journals Published in Berlin between 1748 and 1767 262 IV. Biographical Material on Persons Mentioned in this Thesis 266 BIBLIOGRAPHY 276 vi A LIST OF THE MOST COMMON ABBREVIATIONS FOUND IN THIS THESIS A. - Alto autogr. - autograph (manuscript) B. - Bass B.c. - Basso continuo BWV. - Bach-Werke-Verzeichnis cf. - (confer) compare col/cols - column/columns DdT. - Denkmaler deutscher Tonkunst DTU. - Denkmaler der Tonkunst in Usterreich ed. - editor/edited/edition fn. - footnote idem. - the same author ibid. - (ibidem) in the same source infra. - below MGG. - Die Musik in Geschichte und Gegenwart ms. - manuscript no. - number op. cit. - (opere citato) in the work cited P/PP. - page/pages repr. - reprint S. - Soprano s.d. - (sine dato) without date s.l. - (sine loco) without place s.n. - (sine nomine) without name supra. - above T. - Tenor TMW. - Telemann Musikalische Werke tr. - translator/translated/translation vol/vols - volume/volumes vii LIBRARY SIGLA. Usterreich (Austria). -Wn. Usterreichische Nationalbibliothek,Wien (Vienna). B - Belgique/Belgie (Belgium). -Bc. Bibliothéque du Conservatoire Royal de Musique, Bruxelles (Brussels). D - brd - Bundesrepublik Deutschland (West Germany). -AU. - Staatsarchiv, Aurich. -B. - Staatsbibliothek (Stiftung Preaischer Kul- turbesitz), West Berlin. -BS. - Stadtarchiv