Aspects of George Philipp Telemann's Nouvelaux quatuors, in particular their possible influence on the conversations galantes of Louis-Gabriel Guillemain

dc.contributor.advisorSandmeier, Rebekkaen_ZA
dc.contributor.authorOxtoby, Colleen Joyen_ZA
dc.date.accessioned2015-09-15T10:28:01Z
dc.date.available2015-09-15T10:28:01Z
dc.date.issued2013en_ZA
dc.description.abstractThe 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 who 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 Quadri, 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 reception of the Quadri, the two sets were labelled collectively the ‘Paris Quartets’, by Walter Bergmann in the 1960s. 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 conversations 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. 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 scoring: that of traverso, violin, viola da gamba or cello, and basso continuo. It has to be noted, however, that Guillemain specifies the viol for the third obbligato line, whereas Telemann offers cello as an alternative. This in itself is of considerable interest. The relatively new quartet emerged towards the end of an era dominated by the solo and trio sonata genres, the addition of a third concertante instrument fleshing out the configuration of the latter.en_ZA
dc.identifier.apacitationOxtoby, C. J. (2013). <i>Aspects of George Philipp Telemann's Nouvelaux quatuors, in particular their possible influence on the conversations galantes of Louis-Gabriel Guillemain</i>. (Thesis). University of Cape Town ,Faculty of Humanities ,College of Music. Retrieved from http://hdl.handle.net/11427/13987en_ZA
dc.identifier.chicagocitationOxtoby, Colleen Joy. <i>"Aspects of George Philipp Telemann's Nouvelaux quatuors, in particular their possible influence on the conversations galantes of Louis-Gabriel Guillemain."</i> Thesis., University of Cape Town ,Faculty of Humanities ,College of Music, 2013. http://hdl.handle.net/11427/13987en_ZA
dc.identifier.citationOxtoby, C. 2013. Aspects of George Philipp Telemann's Nouvelaux quatuors, in particular their possible influence on the conversations galantes of Louis-Gabriel Guillemain. University of Cape Town.en_ZA
dc.identifier.ris TY - Thesis / Dissertation AU - Oxtoby, Colleen Joy AB - 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 who 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 Quadri, 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 reception of the Quadri, the two sets were labelled collectively the ‘Paris Quartets’, by Walter Bergmann in the 1960s. 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 conversations 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. 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 scoring: that of traverso, violin, viola da gamba or cello, and basso continuo. It has to be noted, however, that Guillemain specifies the viol for the third obbligato line, whereas Telemann offers cello as an alternative. This in itself is of considerable interest. The relatively new quartet emerged towards the end of an era dominated by the solo and trio sonata genres, the addition of a third concertante instrument fleshing out the configuration of the latter. DA - 2013 DB - OpenUCT DP - University of Cape Town LK - https://open.uct.ac.za PB - University of Cape Town PY - 2013 T1 - Aspects of George Philipp Telemann's Nouvelaux quatuors, in particular their possible influence on the conversations galantes of Louis-Gabriel Guillemain TI - Aspects of George Philipp Telemann's Nouvelaux quatuors, in particular their possible influence on the conversations galantes of Louis-Gabriel Guillemain UR - http://hdl.handle.net/11427/13987 ER - en_ZA
dc.identifier.urihttp://hdl.handle.net/11427/13987
dc.identifier.vancouvercitationOxtoby CJ. Aspects of George Philipp Telemann's Nouvelaux quatuors, in particular their possible influence on the conversations galantes of Louis-Gabriel Guillemain. [Thesis]. University of Cape Town ,Faculty of Humanities ,College of Music, 2013 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/13987en_ZA
dc.language.isoengen_ZA
dc.publisher.departmentCollege of Musicen_ZA
dc.publisher.facultyFaculty of Humanitiesen_ZA
dc.publisher.institutionUniversity of Cape Town
dc.subject.otherMusicen_ZA
dc.titleAspects of George Philipp Telemann's Nouvelaux quatuors, in particular their possible influence on the conversations galantes of Louis-Gabriel Guillemainen_ZA
dc.typeMaster Thesis
dc.type.qualificationlevelMasters
dc.type.qualificationnameMMusen_ZA
uct.type.filetypeText
uct.type.filetypeImage
uct.type.publicationResearchen_ZA
uct.type.resourceThesisen_ZA
Files
Original bundle
Now showing 1 - 1 of 1
Loading...
Thumbnail Image
Name:
thesis_hum_2013_oxtoby_cj.pdf
Size:
1.66 MB
Format:
Adobe Portable Document Format
Description:
Collections