Tafelmusik (general)

In European courts during the 17th and 18th centuries, cooking competitions were held between neighboring palaces trying to outdo each other in splendor. And with the sumptuous food, of course, came great music. “To supply diversionary music” was often a specific item in a composer’s contractual arrangement, and Telemann was certainly not the first to publish such a collection when he brought out his Tafelmusik (Table-Music) in 1733. He spent a great deal of energy publicizing it and ended up with a great financial, as well as musical, success.
Tafelmusik remains the bedrock of the era’s chamber repertoire. It is precisely this music that has helped to define what the Baroque sounds like, what kinds of pieces comprise a suite, and what stylistic features mark the transition to the emerging cosmopolitan, natural “galant style.” There are seven movements in the B-flat major suite, and while their titles do not easily betray the familiar dances we are expecting (Allemande, Courante, etc.), the music reveals the truth of their deeper nature. The alluring titles were a part of the composer’s marketing effort, and he used the language of the nobility—French—to secure paid subscriptions from some of Europe’s most prominent patrons.
The opening Ouverture sets a regal tone, and the iambic (short-long) figure is its first distinctive feature. This is eminently gestural music, marked by varieties of rhythmic action, an interest in spontaneous decoration, and solo-tutti divisions among the ensemble. (Indeed, the classical concerto derived a great deal of its one-versus-many structural aesthetic directly from the overture form.) The central B section provides contrast in mood, but the return of A is even more intense than the opening, using the minor mode where major is expected. That the overture dwarfs the remaining six dances in size is no accident; Telemann pours many of his best ideas into the opening movement before proceeding to the lighter “Nebenstücke” (accompanying pieces), as he called them.
The Bergerie, which takes its title from the French word for “shepherd,” offers a graceful pastorale in 6/8 meter. Like most of the movements, Telemann sets out alternations between full and solo textures. Allegresse (Elation) is structured as an ABA form contrasting unison writing with a conversational interchange in the middle section. In style it resembles a gavotte. Horn calls are prominent in the rondo theme of Postillons (Postilion), while in Flaterie (Flattery) Telemann has written a clear sarabande with dissonant suspension chains highlighting its middle. The game afoot in Badinage (Flirting) is between the winds and strings, which progress in unison for the entire A section before breaking into more sensual, interlocking solo runs above a throbbing cello bassline in the B section. An exuberant Menuet concludes the suite.

In European courts during the 17th and 18th centuries, cooking competitions were held between neighboring palaces trying to outdo each other in splendor. And with the sumptuous food, of course, came great music. “To supply diversionary music” was often a specific item in a composer’s contractual arrangement, and Georg Philipp Telemann (1681-1767) was certainly not the first to publish such a collection when he brought out his Tafelmusik (Table-Music) in 1733. Telemann spent a great deal of energy publicizing it and ended up with a financial, as well as musical, success.
Tafelmusik remains the bedrock of the era’s chamber repertoire. It is precisely this music that has helped to define what the Baroque sounds like, what kinds of pieces comprise a suite, and what stylistic features mark the transition to the emerging cosmopolitan, natural “galant style.” Each Tafelmusik suite includes the same order of six multi-movement structures: overture, quartet, concerto, trio, sonata, and conclusion.
The Ouverture in D is in five movements. The festive opening is in a slow-fast-slow pattern and is followed by a group of faster movements, three Airs and Allegro. Oboe and trumpet quite frequently play in unison, resulting in an admirable color, not uncommon for Baroque. There is an obvious departure from dense polyphonic texture, with only occasional counterpoint. The Ouverture breaths with spontaneity, frequent dialogs between winds and strings and clarity of formal elements. Telemann was not shy to extend the material through repetition and contrast for those who enjoyed taking their time to savor their meals.
The Quartet in d (performed later on the program) introduces a sharp contrast to the Ouverture, not only by moving to a minor key, but also exploring more transparent tonal colors of flutes and recorder. The work frequently plays with imitative elements, employs flutes in charming duets and allows players to demonstrate expressive and articulation abilities, in particular during the fast movements.
Conclusion in D brings back the oboe and trumpet from the Ouverture, with confident character, denser polyphonic structures, syncopations and long Handel-style phrases. The middle section includes some improvisatory solo lines before returning to dialogs between winds and strings, and bringing the work to a stately ending.

(c) Jason Stell