Ancient and Modern Overture

Many Baroque composers were particularly enamored of a growing cosmopolitan awareness of musical style. Germans took their turn writing Italian concertos and operas; Italians adapted the grace of French song and dance; the French imported some of the structural power of German counterpoint; and so on. From this time we see increasing numbers of geographically titled pieces and collections, including the Ouverture des nations anciens et modernes by Georg Philipp Telemann (1681-1767). A contemporary of J. S. Bach and Handel, Telemann composed more music than either, as staggering as that achievement may seem.
With his wide erudition and experience, Telemann was ideally poised to benefit from the growing international music trade. The reference to Ouverture indicates how important the opening French Overture was in establishing the mood of the entire collection. In this form, the outer sections are in slower tempo characterized by dotted rhythm and homophonic texture. In the central section, the tempo is quicker and the material much more contrapuntal. Audiences across Europe delighted at the mixture of stately grandeur with spirited virtuosity. Stereotypically, of course, these contrasting moods were linked to the French nobility on one hand and, on the other, to fiery Italians who pioneered the dazzling displays of concerto form.

(c) Jason Stell