On Sun, Feb 22, 2009 at 10:20 PM, David W. Fenton
<[email protected]>wrote:


>>You say it was a copyist's score -- what is the situation with these
>>sources and Telemann's autographs?

Very few of Telemann's instrumental works (and I believe that none of the
orchestral suites) survive in autograph form; Telemann specialist Stephen
Zohn has no ideas on why this happened exactly. Dating of some the Darmstadt
scores/parts indicate they were copied in Leipzig in the early 1700s (they
were likely brought to Darmstadt via Johann Endler who was in Leipzig and
participated in the Collegium Musicum which definitely was performed
Telemann's suites. Endler was at  St. Thomas Church when Christoph Graupner
auditioned there in 1722, and eventually hired Endler, who then took the
Collegium Musicium performance materials to Darmstadt.

This A minor score survives in Darmstadt, and could be connected to
Telemann's brother-in-law Michael Boehm, who was a flute/recorder/oboe
player. Boehm fled Darmstadt when the lack of regular salary was too much to
bear. Ernst Ludwig loved to hunt and have lavish feasts, but apparently
paying his musicians on a regular basis was just too much of  chore ;)  An
arrest warrant for Boehem was issued by the Landgrave, including charges of
theft of musical scores. Boehm gave a disposition where he claimed he took
only t"he Telemann pieces" that were his personal property.  Boehm also
mentioned there was a contest between himself and
Johann Endler to see who could collect the most Telemann scores. Currently
in Darmstadt there are  about 100 Telemann pieces copied in Endler's hand,
so it's a safe bet to think Boehm took at least 100 pieces when he fled-
obviously it was enough to warrant the attention of the Landgrave. None
Boehm's Telemann manuscripts have ever surfaced, so I think they will never
turn up.

David, your point about the Telemann scores being somewhat of a mess is
true. Some of cantatas are even worse, if you can believe that!


Thanks,
Kim
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