Teleman biography

Biography Films Bibliography of the Todemanov Rod came from the educated Magdeburg families from the Nordhausen region, not far from Erfurt; The composer’s grandfather was a vicar in Kochstedt. Father, Henry Teleman, attended a school in Halbertadt and Kvedlinburg, studied at Helmstedt University since a year, later he was appointed a parish priest in Hakeborne before becoming a deacon in the church of the Holy Spirit in Magdeburg in the year.

In the year, he married Johann Maria Haltmayer, the daughter of a Protestant priest from Regensburg, who, having left the post of Deacon in Frevestadt, near Linz, became a parish priest near Magdeburg in the year. Teleman claimed that he inherited his musical talent from his mother. Of the six children, only the youngest son, Georg Philip, who was born on March 14, and born in the year, Henry Matthias Teeman, reached this marriage.

Later, Georg Philip attended the gymnasium of the Old City and the school of the city cathedral, where Latin was taught, rhetoric, dialectics and German poetry. Especially well young telemane proved himself in Latin and Greek. His high level of literacy is evidenced by the fact that he wrote poetry in German, French and Latin. In Magdeburg, he took part in musical performances, learned to play the violin, flute, harpsichord.

His wonderful musical talent began to appear from the age of ten when he tried to compose for the first time under the leadership of one of the first teachers - Benedict Christiani, Kantor of the local church, who was engaged in singing with him. However, in order to dissuade George Philip from a musical career, his mother and relatives at the end of the city school took all his instruments and forbade the music.

In this short period, the boy continued to secretly write plays at night, as well as music on borrowed tools in secluded places. From an early age, success in his work was accompanied by overcoming obstacles. The very occupation of music, the choice of her profession at first came across her mother’s resistance. Being generally a widely educated person, he studied at the University of Leipzig, Taleman, however, did not receive a systematic musical education.

But this was more than compensated by that thirst for knowledge and the ability to their creative assimilation, which marked his life up to a very old age. In order to finally protect his son from music, at the end of the th, or beginning of the year, Maria sends George Philip to a school near Cellerfeld. She probably did not know that the new local caretaker of Teleman in the humanitarian and land sciences, Caspar Calver The Theologian, the historian, the mathematician and the writer also seriously engaged in music.

He urged Teleman to resume musical classes, but not to neglect studies. During the numerous visits to Hanover and Braunschweig, large princely residences that had exemplary opera theaters and chapels at that time, Teleman gets acquainted with the latest “theatrical” style of French and Italian music, as well as Italian vocal music of Corelli, Caldara, Steffani.

He also got acquainted with the characteristics of various tools; In addition to blockflate, violin and keyboard instruments, now he has mastered the game on the flute, Goboy, Shalyumo, Viola da Gambas and thrombone. In the year, Teleman graduated from his school education, returned to his hometown for a while, and soon entered his mother’s pressure to the University of Leipzig. Probably, the choice of Leipzig, an important center of modern music then, was not accidental.

They made friends, and this friendship was destined to last all their lives. In Leipzig, one of his psalms was performed in the church of St. Thomas Tomaskirshe. The work was so liked that the Leipzig Ober-Burgomister, who was present at the worship, called the author to him and officially invited him to prepare 2 cantatas per month for this church. This unexpected turn of fate was decisive; From now on, Teleman finally decides to devote himself to music.

Just a year after admission to the university, he founded for 40 music students the amateur orchestra Collegium Musicum. In the period - this team was led by Johann Sebastian Bach. He worked as a capmerist at court in Zorau, and from the year he became a capter of Prince Johann Wilhelm Saksen-Eisenakh. In Eisenah, Teleman allegedly met with I. Bach, whose cousin was a city organist and court harpsichordist; On March 8, Teleman became the godfather of Karl Philip Emanuel Bach.

Soon after he was called the secretary and capter of the court in the year, Teleman was given a vacation, and on October 13 he returned to Zorau to marry Amalia Louise Julian Eberlin, Freiline Countess Prominnits and daughter of the composer Daniel Eberlin; She died 15 months later, in January after the birth of her daughter. Since the year, he was appointed musical director and conductor of two churches of Barfuusserkirh and the Church of St.

Catarina in Frankfurt-on-Main. This marriage allowed Teleman to become a citizen of Frankfurt.In the year, Teleman received a proposal to become a bandmaster G. Negotiations continued in the end, however, he remained in Frankfurt and used Goth's proposal to get an increase in the wages that he used to attract additional church musicians. In his letter to the city council, it is noted that due to the lack of musicians, he had to sing and play various instruments during the worship.

John and the musical director of the five main churches of the city. In Hamburg, Teleman begins the most productive phase of his career. From his first years in Hamburg, Teleman took an active part in the life of the city wealthy intelligentsia. Many leading writers of Hamburg provided texts for his vocal works, and these contacts could activate his own literary ambitions.

Between and eight teleman verses and texts for vocal music were published in the Hamburg anthology of poetry of Northern Germany - “Poetry of Lower Saxony” by S. by the beginning of the x years. Soon after, rumors about its large card debts spread, which ultimately amounted to a significant amount of “imperial thalers”, which greatly exceeded Teleman's annual income. Friends in Hamburg helped Taleman in the repayment of these debts.

The marriage, apparently, broke up in the year when Teleman informed his business partner J. Hollander that Maria Katarina left her house. Perhaps she went directly to the Frankfurt Monastery, where she died in the year. In the city of Teleman, he began to implement an ambitious program for publishing his own music. Over the next 15 years, he issued 44 publications, not counting reprints, all but one under his own label.

Teleman himself engraved the plates. At the end of September or early October, Teleman took advantage of a long-standing offer from several Parisian musicians to visit their city, where the biography of G. really remained until the end of May, he apparently invented his retirement: although he continued to fulfill his duties in Hamburg, his musical products fell sharply between and GG.

Relatively little church music generates this period besides two annual cycles. published in and - gg. Teleman took up the occupation popular in Hamburg, asking and receiving rare plants from various friends, including Handel and Pizendel. But he also always tried to keep abreast of the latest musical innovations. Teleman died in his apartment from the "Breast Ailiating" on the evening of June 25.

He was buried on June 29 at the unheard of the cemetery of the St. John's Monastery, where the town hall is currently defeated. A memorial plate was installed in memory of the composer in memory of the composer. His creative and business activity is amazing: the composer, about whom they say that he created as many works as Bach and Handel combined, is also known as a poet, a talented organizer who created and led the orchestra in Leipzig, Frankfurt, who contributed to the opening of the first public concert hall in Germany, founded one of the first German music magazines.

This is not a complete list of activities in which he succeeded. In this vital tone and business grip of teleman - a man of the century of education, the era of Voltaire and Bomarche. Teleman's attention to other people's national styles was not limited to the most valuable then Italian and French. Hearing Polish folklore during the years of bandmasting in Silesia, he admired his “barbaric beauty” and wrote a number of “Polish” works.

At the age of years, he created one of his best works, striking with courage and novelty. Probably, there was no essential area of ​​the work of that time, past Taleman passed. Moreover, in each he thoroughly worked. Thus, more than 40 operas belong to his pen, 44 oratorios are passive, over 20 annual cycles of spiritual cantata, more songs, near orchestral suite, many fugs and various chamber-instrumental music.

Unfortunately, a significant part of this heritage is now lost.