OUVERTUERE A 7 C-DUR : FUER 3 Georg Philipp Telemann

Titel (DE): Ouverture à 7 - C-Dur
Titel (EN): Ouverture à 7 - C Major
Titel (FR): Ouverture à 7 - C Major
Komponist / Composer: Telemann, Georg Philipp
Herausgeber / Editor: Kehr, Günter
Bearbeiter / Arranger:
Illustrator:
Opus:
Werkverzeichnis:
Besetzung / Instrumentation: 3 Oboen, 2 Violinen, Viola und Basso continuo; Cembalo (Klavier), Viola da gamba (Violoncello, Fagott) ad libitum / 3 oboes, 2 violins, viola and basso continuo; harpsichord (piano), viola da gamba (cello, bassoon) ad libitum
Besetzungsdetails:
Kompositionsjahr / Date of Composition:
Aufführungsdauer / Duration: 23'
Verlag / Publisher: Schott Music
Erscheindungsdatum / Date of Publishing: 30.06.1989
Ausgabe / Publication: Stimmensatz - Set of parts - Oboe I/II/III, 4 Violinen I/II, 2 Violen, 4 Bassi
Oboe I/II/III, 4 Violins I/II, 2 Violas, 4 Bassi - - -
Seiten / Pages: 162
Verarbeitung: -
Schwierigkeitsgrad / Difficulty: mittelschwer - intermediate - moyen
Sprache / Language:
Reihe / Series:
ISMN: M-001-02414-3
ISMN-13: 979-0-001-02414-3
ISMN-EAN: 9790001024143
UPC:

Right at the beginning of the overture, Telemann comes up with a surprising idea. After the -bare entry of the wind section, the string tutti do not join in the playing until the third bar. The harlequinade often appearing in Telemann's overture suites obtains its attraction not least from syncopes and from a permanent change of tone colour. The Espagniol whose title prom-ises a bit of urbanity turns out to be a saraband, the Bourrée en Trompette justifies its name by the tone repetitions typical of trumpet music. In the context of the whole, the Sommeille, a harmonically unusual movement in C minor, is almost a piece across the border. Even in this gently rocking piece, Telemann is not at a loss for unobtrusive wit when he lets the upper parts die down shortly before the end, only a single bass tone represents the last chord.

Grave - Harlequinade - Espagniol - Bourrée en Trompette - Sommeille - Rondeau - Menuett I (alternativement) - Menuett II - Gigue

[FR]
Right at the beginning of the overture, Telemann comes up with a surprising idea. After the -bare entry of the wind section, the string tutti do not join in the playing until the third bar. The harlequinade often appearing in Telemann's overture suites obtains its attraction not least from syncopes and from a permanent change of tone colour. The Espagniol whose title prom-ises a bit of urbanity turns out to be a saraband, the Bourrée en Trompette justifies its name by the tone repetitions typical of trumpet music. In the context of the whole, the Sommeille, a harmonically unusual movement in C minor, is almost a piece across the border. Even in this gently rocking piece, Telemann is not at a loss for unobtrusive wit when he lets the upper parts die down shortly before the end, only a single bass tone represents the last chord.

Grave - Harlequinade - Espagniol - Bourrée en Trompette - Sommeille - Rondeau - Menuett I (alternativement) - Menuett II - Gigue