Telemann Viola Concerto in G major, TWV 51:G 9
Georg Phillipp Telemann was born at Magdeburg, Germany on 14 March 1681 and died in Hamburg, Germany on 25 June 1767. According to Wolfgang Hirschmann in his Preface to the Bärenreiter score (2002), this work probably originated between 1716 and 1721 while Telemann was in Frankfurt. This concerto was first published in 1731. It is interesting to note that the concerto went out of print for over two centuries until it was brought out in a Bärenreiter edition prepared by Hellmuth Christian Wolff in 1941. The score calls for solo viola, strings, and basso continuo. This evening’s performance utilizes a piano reduction prepared by Wolfgang Hirschmann.
Telemann was the most prolific composer of his time and was widely regarded as Germany’s leading composer during the first half of the 18th century. Telemann enjoyed much more popularity than his contemporary J. S. Bach. Many of Telemann’s compositions feature a prominent use of the viola. Along with chamber works such as the trio sonatas that have a significant solo viola part, Telemann also wrote a Concerto in G major for two violas and a Concerto in A major for two violins, viola and continuo. The Twelve Fantasias, originally written for violin, have been transcribed for the viola and are frequently performed. Maurice W. Riley, in his groundbreaking treatise The History of the Viola,states that “[t]he fact that Telemann was a champion of the viola was well known to his contemporaries, as was substantiated by Johann Philipp Eisel, who pointed out in 1738 that the viola was not only used for filling in the middle harmonies, but also as a solo instrument in the ‘concertos and concert overtures of the famous Kapellmeister Telemann’.” Hirschmann states that Telemann may have written the viola concerto for his own use, as “Telemann’s masterly treatment of the viola in this concerto becomes understandable when we bear in mind that his principal instrument was the violin and that he constantly strove to play every instrument he wrote for. There can be no question that he had a deep understanding of the viola from his own experience and practice.”
This work consists of four movements in the classic sonata da chiesa pattern typical of many of Telemann’s concerti, in which the movements alternate slow-fast-slow-fast. All four movements are also related to Italian ritornello form, which is characterized by the orchestra or piano stating thematic material and the solo part responding to that statement with its own material (usually similar but sometimes different). The opening Largo is characterized by a stately theme utilizing a sarabande rhythm. The second movement Allegro features a jaunty arpeggiated theme which is constantly traded off and developed by both solo and tutti parts. The third movement Andante is the only movement of the four in a minor key and is also characterized by the solo line replying to the opening ritornello with different thematic material. The closing Presto returns us to G major and also to an exchange between solo and tutti part similar to that in the first and second movements.
-Program notes by Dr. Daniel Doña