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Additional info for Berlioz, Hector 's Symphonie Fantastique', Op. 14 An exploration of musical timbre
1 appeared during Telemann’s Gymnasium years. Such music speaks to the enthusiastic cultivation of the French instrumental style at many German courts during the late seventeenth century. Around 1690 Johann Beer, Konzertmeister at Weissenfels, observed that “just as French music is a special art, so it requires special admirers. Their suites sound well during meals. . ”19 After arriving at Leipzig University in 1701, Telemann gained further exposure to the French style though visits to the Berlin court, where the Belgian dancing master Jean-Baptiste Volumier had introduced the French manner of performance;20 it was Volumier, in fact, who later directed performances of Lully’s overture-suites at the Dresden court.
Concerto in C minor for oboe and strings, 51:c1/iv, mm. 4. Concerto in E minor for ﬂute, recorder, and strings, 52:e1/iv, mm. 5. Trio in D minor for recorder, treble viol, and continuo, 42:d7/iv, mm. 6. ” from Pimpinone, act 3, mm. 1. 2. 1. 1. Telemann’s solo concertos, ca. 2. 3. 4. 5. 6. 1. 2. 3. Obbligato bass quartets in Germany, ca. 1. 2. 3. 4. 5. 1. 2. 3. 4. 1. 2. Movement types in the 12 Fantaisies à travers. 3. 4. 1. 1. 1. First page of “Violino Primo” part to Johann Ernst of Sachsen-Weimar, concerto in A minor for strings and continuo: (a) D-ROu, Musica saec.
21. Duet in E minor for two ﬂutes, 40:142/iii, mm. 22. Sei duetti no. 1/iii, mm. 23. Sei duetti no. 2/i, mm. 1. Suite in D major for 2 horns or trumpets, strings, and continuo, 55:D17/ii, mm. 2. “Sonata Polonese à 3” for violin, viola, and continuo, 42:a8: (a) movement 1, mm. 1–5; (b) movement 2, mm. 3. Concerto in C minor for oboe and strings, 51:c1/iv, mm. 4. Concerto in E minor for ﬂute, recorder, and strings, 52:e1/iv, mm. 5. Trio in D minor for recorder, treble viol, and continuo, 42:d7/iv, mm.