Talk:Georg Philipp Telemann

message: Telemann deserves more that the pathetic little stub I found.....
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I've temporarily removed this:
:Telemann turned down a prestigious job for a better payed job. The result: Bach got the job Telemann turned down.
This may well be true, but it seems pretty useless in its present form. I'll look into it, and if I can verify it, and turn it into something a bit more useful, I'll add it. --Camembert
:Telemann and Bach both applied for the job as music director in Leipzig, and Telemann was offered and declined the position, which then was given to Bach (so Bach was the second choice, which I guess may show the contemporary view of the importance of these composers). This info can be found in the bio section I added a few days ago. Bobhobbit 21:22, 22 Jun 2005 (UTC)
replies: text: There could have been several reasons for this - one issue may have been a personal "fit" of the personalities of those making the decision with that of the composer that applied, but it is known that at that time Telemann was the bigger 'name.'  Whatever - history has shown it was best for both Telemann and Bach that it happened that way. HammerFilmFan (talk) 12:29, 2 March 2011 (UTC)
replies: text: Incorrect, the job was first offered to Telemann, then to a couple of others, and only then to Bach, making him 4th or 5th choice. Dunnhaupt 20:34, 2 August 2006 (UTC)
thread_title: Stubby

message: "The Guinness Book of World Records lists Telemann as the most prolific composer of all time with more than 800 credited works. Put in other terms, it has been estimated that Telemann wrote more notes than Johann Sebastian Bach and Georg Frideric Handel combined!"
800 isn't really that many-- certainly less than Bach wrote, and probably Handel as well.  I think Telemann boasted of having written over 600 suites or concertos alone (I can't remember which, though I wouldn't be surprised if he wrote over 600 of each).  Does anybody know of a more accurate estimate of his total output?
:More than 3,000, but the exact number will probably never be known.  Many of the manuscripts were destroyed; the catalogues compiled in the 1980s and 1990s are probably close to complete, and probably contain at least the names of the lost works.  The online New Grove has a good compilation.  Antandrus  (talk) 05:51, 8 February 2006 (UTC)
thread_title:  800 works? 

message: Could someone please rewrite the Trivia Section... It is of horribly poor quality right now and not fit for wikipedia.
:I agree; hopefully I fixed it to your satisfaction.  I renamed it "works and reputation" (there's nothing trivial about his famous prolificity, and even less so his decline and sudden rise in reputation). Antandrus  (talk) 05:48, 8 February 2006 (UTC)
thread_title:  Trivia Section 

message: New Grove clearly states in the lead to its Telemann article: "The most prolific composer of his time".  Again, unless there is a counterexample, I am inclined to accept New Grove's judgment. —Sesquialtera II (talk) 02:13, 9 March 2006 (UTC)
thread_title:  Prolificacy 

message: He also wrote a concerto for two violas, etc. (see Goebel's Archiv recording or the complete works edition) - and is it positively his only solo viola concerto? (I suspect so but do not know.) Schissel | Sound the Note! 17:16, 24 August 2006 (UTC)
thread_title:  First known concerto for viola 

message: Are there any references for this edit? --Phrood 13:01, 4 April 2007 (UTC)
thread_title:  "Der Schulmeister" spurious? 

message: I've added more information as to where the links lead. I've also moved the links to free scores and to the catalogues of publishers for the modern editions to the links section, where they more appropriately belong. However, Wikipedia is not the Yellow Pages. I left in the Prima la Musica! link, but really, it's only a catalogue of scores for sale and does not contain any appreciable extra information about Telemann or his works. Something to think about. As I said in the edit summary when I edited the references, this article could use A LOT more improvement in its referencing. Links to commercial sites selling scores far outnumber the listing of sources for the assertions, lists, etc in the article. If some of the informational links, e.g. the detailed biography on baroquemusic.org, were actually used as sources for the article, then they belong in the References section to acknowledge this. Not in the External links section. Presumably the contents of this article did not come out of nowhere. Voceditenore (talk) 06:54, 19 February 2008 (UTC)
thread_title: External links section and Referencing

message: Can someone give more precise info on this subject? I entered what I could glean here and in TWV, but I'm not sure. Are Telemann's vocal works identified both by a TWV and a TVWV? Or has TVWV been superseded by TWV? -- Kai Carver (talk) 20:58, 25 April 2009 (UTC)
thread_title: TVWV vs. TWV?

message: I've reviewed this article as part of the Composers project review of its B-class articles.  This article is a weak B; the musicology needs expansion, and personal details are lacking.  My detailed review is on the comments page; questions and comments should be left here or on my talk page. Magic♪piano 01:38, 31 January 2009 (UTC)
thread_title: Composer project review

message: Can we please either clean this section up or get rid of it entirely? It's a garbled mess, the first paragraph makes absolutely no sense, and it seems very disputable. Stjimmy61892 (talk) 15:43, 23 April 2010 (UTC)
replies: text: I've fixed the biography and will clean up and expand the section in a few days. --Jashiin (talk) 09:18, 23 June 2010 (UTC)
thread_title:  Works and Reputation 

message: This is one of the worst-referenced articles on a major composer in Wikipedia.  Huge chunks are lifted/re-worded from Grove, yet there are no in-line citations.  I'm surprised Wiki hasn't received a legal notice from them.  This article needs major overhaul to get it referenced properly. HammerFilmFan (talk) 12:52, 2 March 2011 (UTC)
thread_title:  Plagio' 

message: This fascinating remark -- that Spitta and Schweitzer "praised works they thought were composed by Bach, but which were, in fact, composed by Telemann" really requires some specific examples -- and references as well. If these are not added, somebody (maybe me) will surely delete the fascinating remark.David Couch (talk) 05:37, 12 March 2013 (UTC)
thread_title: Legacy

message: The Polish Concerto was and is a pretty important work IMHO. Is there some reason to exclude it from a generalized list of Telemann's works via catalogue, if it has been performed (Musica Antiqua de Koln ... Antique Music of Cologne) and enjoyed by some numbers of persons? It should be included in the concertos for quartet. Does this article even include that category? A good reason for expansion. Because of the generality of listing his works, it would not be uncouth to include this work among the list. I might include it myself if I remember to in a day or so.
Also, the paragraph about Telemann's importance in intellectual property rights seems unparsable. Rather it could hold dual meanings. If you read the paragraph you can see that it could state that Telemann was working in favor of intellectual property rights or it could read that Telemann was working against intellectual property rights. The statement about his "performing" works in public meant for select audiences could be interpreted either way. Some who know for certain may see it in a bias and assume it's a qualified enough statement, however, others who have no idea of the background story may read the statement and still wonder where Telemann played on which side of the issue. I think it should be clarified. I think if we're going to expound on Telemann having an influence on intellectual property rights, then therefore we should know where Telemann stood on intellectual property rights. Because it's not just a simple matter of interpretation. Intellectual property rights have so far shaped everything from the components allowed inside of your technology to the things you're allowed to buy or sell in some countries to the laws being drafted about seemingly far-off things such as internet bandwidth allocation in some countries. If it's such an influential field of study that we need to mention it here while studying ostensibly nothing more than music, then let's expound. Let's at least determine where Telemann stood in regards to intellectual property, or if the issue cannot be settled furthermore, let us therefore settle on presenting all sides of the various arguments so that the reader is not left penniless with vague sentence fragments and more questions than answers. The Wikipedia should provide more answers to questions ratio, IMHO. 
Gabriel Arthur Petrie (talk) 21:23, 6 August 2014 (UTC)
thread_title:  Concerto Polonois 43:G7, and also clarification re: intellectual rights 

message: Harmonischer Gottes-Diesnt is a collection of sacred cantatas for the year, it isn't chamber music.  — Preceding unsigned comment added by 85.136.9.62 (talk) 17:37, 2 November 2014 (UTC)
thread_title:  Harmonischer Gottes-Dienst 

message: Substituted at 15:58, 29 April 2016 (UTC)
thread_title: Assessment comment

message: No mention of "Der getreuer Musikmeister", an amazing achievement by itself. And no mention of his two autobiographies.  — Preceding unsigned comment added by Pygormus (talk • contribs) 17:39, 18 August 2016 (UTC)
replies: text: Actually, Der getreue Musikmeister is mentioned once, in the list of works (under "Chamber music"). Admittedly, it deserves more than this, but Telemann was a very busy fellow, and this article has many lacunae of this sort. The Essercizii musici are arguably as important as the Musikmeister, and yet this collection is not mentioned at all. The so-called "Paris" Quartets are not discussed in the text, not even in the context of Telemann's visit to Paris, nor is the quartet genre generally, for which Telemann was especially famous in his lifetime.—Jerome Kohl (talk) 17:55, 18 August 2016 (UTC)
thread_title:  omissions 

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thread_title:  External links modified 

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thread_title:  External links modified