Telemann

stylistic benchmarks and are almost
unattainable, so in the field of vocal
music you can only win points by
performing top products setting other
texts: Telemann’s oratorios and the very
late work Ino – basically, ANYTHING
that went beyond the daily productivity
contractually demanded of him by
his office is a masterwork, and these
pieces are still convincing today. This is
something one only really notices when
one compares them to »the other
Inos« …
DO: Your first encounter with
Telemann …
RG: ... took place when I was eleven.
Willy-nilly, I whistled myself through the
Duet in B-flat major from Der getreue
Music-Meister – at fifteen, I first heard
Tafelmusik von Frans Brüggen; meines
Hin- und Wegseins war kein Ende!
RG: Und nun zu Dir, liebe Kollegin im
Lehr- und Botschafter-Amt. Telemann
im Studium: Worin siehst Du die
pädagogische Zielsetzung seiner
Fantasien, Methodischen Sonaten,
vielleicht auch des »Getreuen Music-
Meisters«?
DO: Die Fantasien waren wahrscheinlich
Übungsstücke für das
Hamburger Bürgertum, eine Stil- und
Technikschule fürs Wohnzimmer.
Die methodischen Sonaten lehren
exemplarisch das perfekte Verzieren
im vermischten Geschmack. Und der
»Getreue Music-Meister« animiert die
Liebhaber und Kenner der Musik mit
unterschiedlichsten Instrumentierungen
the Donnerode on the WDR radio
station – and then Frans Brüggen came
with his Tafelmusik – there was no end
to my rapture!
RG: But what about you, my dear coteacher
and ambassador. Telemann
for students: what do you consider
the pedagogical goal of his fantasies,
methodical sonatas, perhaps even Der
getreue Music-Meister?
DO: The fantasies were presumably
practice-pieces for the burghers
of Hamburg, a school of style and
technique for the living room. The
methodical sonatas teach performers
how to execute perfect ornaments in
the »mixed style«. And Der getreue
Music-Meister animates music lovers
and cognoscenti to practice lively
Grußwort · Dorothee Oberlinger und Reinhard Goebel
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