{"id":28732,"date":"2024-01-29T15:58:02","date_gmt":"2024-01-29T20:58:02","guid":{"rendered":"https:\/\/www.boreades.com\/the-trio-sonata-a-history-copy\/"},"modified":"2024-01-30T09:02:08","modified_gmt":"2024-01-30T14:02:08","slug":"bach-and-telemann-a-brief-essay-in-comparison","status":"publish","type":"post","link":"https:\/\/www.boreades.com\/en\/bach-and-telemann-a-brief-essay-in-comparison\/","title":{"rendered":"Bach and Telemann – a brief essay in comparison"},"content":{"rendered":"

What a strange bias whereby \u2018superficial\u2019 does not signify \u2018of vast dimensions\u2019 but rather \u2018lacking in depth\u2019 while, on the contrary, \u2018deep\u2019 signifies \u2018of great depth\u2019 and not \u2018of small area\u2019. And yet a feeling like love is measured much better, it seems to me, if it can be measured at all, by its surface area rather than by its degree of depth.<\/em><\/p>\n

Michel Tournier,
\nVendredi ou les limbes du Pacifique<\/em>, 1969.<\/h6>\n<\/blockquote>\n
\"\"

Johann Sebastian Bach<\/em><\/p><\/div>\n

In granting to Johann Sebastian Bach\u2014in his day known as the relatively obscure cantor of the Saint Thomas Church in Leipzig\u2014the glory that his contemporaries attributed to Georg PhilippTelemann\u2014who was lionized throughout Europe\u2014we consider that we, today, have corrected an historic wrong. It gives us pleasure to believe that, in reversing the judgement of the men and women of the 18th century, we righted an historic wrong.<\/p>\n

To justify our veneration of the Cantor, we make comparisons\u2014Bach\u2019s profundity versus Telemann\u2019s superficiality, the former\u2019s magisterial<\/p>\n

\"\"

Georg Philipp Telemann<\/em><\/p><\/div>\n

constructions versus the latter\u2019s easy seductions\u2014as if there were always a winner and a loser. The real question is: \u201cWhere does this compulsion to draw up hierarchies, one-dimensional classifications, when dealing with artistic creation or esthetic pleasure, come from?\u201d It would not occur to us, today, to compare, say, Raphael with Michelangelo in this way. And as Romain Rolland already wrote, in 1909: \u201cIt\u2019s not the case that there is only one correct style per century. Let our hearts be big enough to love all that is beautiful: Pergolesi and Rameau, Beethoven and Rossini.\u201d So let us grant Telemann his due place; there is no need to denigrate this marvellous musician in order to assure lasting glory for Bach.
\nBoth composers\u2014who knew and esteemed each other\u2014had a profound understanding of the instruments, styles, and musical genres of their time. But what emerges from their respective works are two totally different and essentially conflicting concepts of the art of sound. They are both so unique as to be\u2014despite the subtitle of this text\u2014incomparable!
\nWe can begin by noting that both Bach and Telemann followed very similar professional careers; the former\u2019s posts, however, were much less prestigious than the latter\u2019s. Both were more or less self taught; both spent the first half of their lives in various courts and cities of central and northern Germany; and, unlike Handel, neither ever visited Italy, then the Mecca for music and musicians. Both settled down around 1720 and, for the rest of their days, worked for a municipal council\u2014Bach in Leipzig, Telemann in Hamburg\u2014composing, as part of their official duties, cantatas and oratorios. Finally, both made important journeys at an advanced age\u2014Bach to Berlin, Telemann to Paris. The<\/p>\n

\"\"

L\u2019Offrande musicale, 1747<\/em><\/p><\/div>\n

works to which these journeys gave rise\u2014Bach\u2019s the Musical Offering<\/em> and Telemann\u2019s New Paris Quartets<\/em> clearly differentiate the composers and reveal their profound differences.
\nBach is timeless. The last representative of the great contrapuntal school founded by the Franco-Flemish composers of the 15th and 16th centuries, his kingdom, one might say, was not of this world. He lived in his own interior universe, one pervaded by his steadfast faith. He was preoccupied to the point of mania by numerology and symbolism. Though the impact of these ideas on his music is imperceptible to an ordinary listener\u2014God, though, discerns them\u2014he constructed worlds charged with more or less esoteric meaning, recreating the harmony of the spheres, and did so with an
\nextraordinarily expressive sense of melody. Bach\u2019s vision is cosmic and theological: he aims to unite human beings with God by means of music, by means of the mysterious powers of ars combinatoria. In<\/p>\n

\"\"

Nouveaux Quatuors, 1738<\/em><\/p><\/div>\n

the first half of the 18th century, when the light of reason was beginning to blaze, the Cantor\u2019s goal and style were becoming ever more obsolete. He watched with mistrust as his sons ventured to write in the nascent Classical style, forms then still untested by time. And, we should add that, as a music teacher, Bach wanted to train specialists, virtuosos, what today we would call professionals. This is the goal of all the didactic masterpieces he wrote for his sons and numerous students.
\nTelemann, for his part, was very much a man of the world, always enthusiastic, constantly renewing himself. \u201cUntil his last days,\u201d according to Gilles Cantagrel, \u201che remained deeply engaged in active
\nlife and participated in the evolution of contemporary music.\u201d He aimed to please, to seduce, and he succeeded in doing so without being either base or precious. The goal of all his tireless activity was,
\nby encouraging people to listen to and play music, to bring them together. He was not interested in training specialists. Rather, he targeted competent and discerning amateurs, helping them communicate and converse by means of the art of sound. Bach\u2019s vision was metaphysical, Telemann\u2019s humanistic. While the former contemplated divine mysteries and the elevation of the soul, the latter
\nencouraged individual expression and collective participation. Telemann certainly wrote a lot\u2014more than Bach and Handel combined\u2014and not everything he wrote was first class. But even his prodigious \"\"prolificacy is fascinating. Besides, genius is not a fixed quantity that can be exhausted by what some deem as excess production. Can we reproach Telemann\u2019s contemporaries, who invented for us the very idea of happiness, for preferring him above all others?
\nTo use Carl Gustav Jung\u2019s classification, we can see Bach as an introvert, drawing his vital forces from within, while Telemann, fuelled and stimulated by constant contact with others, insatiably curious, and tirelessly active, is the epitome of an extrovert. How do we assess two personalities so diametrically opposed, yet so complementary in their world views and in what they want to stimulate<\/p>\n

\"\"

Musique au ch\u00e2teau d\u2019Ismaning<\/em>, par Peter Jacob Horemans, 1733<\/p><\/div>\n

us to do? They interact with each other in a kind of dialectic. When it is a question of our pleasure, we can of course have preferences which vary with the time of day or the mood of the moment. But both Bach and Telemann fully lived out their respective destinies; and the musician who relished the honors showered upon him in Paris is, clearly, every bit as essential for music as the Cantor of Saint Thomas, the constructor of cathedrals of sound. Let us conclude with Cantagrel, who deems them both comrades-in-arms, and asks: \u201cWhy would one want to unpair two such complementary facets of artistic creation?\u201d<\/p>\n

 <\/p>\n

\u00a9 Fran\u00e7ois Filiatrault, 2024<\/b><\/p>\n

Translated by Sean McCutcheon<\/b><\/p>\n

\u00a0<\/strong><\/p>\n

\n

The Bach & Telemann<\/a>\u00a0concert will be presented on March 14, 2024 at 7:30pm at Salle de Concert – Conservatoire de Montr\u00e9al<\/p>\n","protected":false},"excerpt":{"rendered":"

What a strange bias whereby \u2018superficial\u2019 does not signify \u2018of vast dimensions\u2019 but rather \u2018lacking in depth\u2019 while, on the contrary, \u2018deep\u2019 signifies \u2018of great depth\u2019 and not \u2018of small […]<\/p>\n

Read More<\/a><\/p>","protected":false},"author":1542,"featured_media":28725,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[107,246],"tags":[181,281],"class_list":["post-28732","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","category-notes-de-programme-en","tag-johann-sebastian-bach-en","tag-telemann-en"],"yoast_head":"\nBach and Telemann - a brief essay in comparison - Les Bor\u00e9ades de Montr\u00e9al<\/title>\n<meta name=\"description\" content=\"In granting to Johann Sebastian Bach\u2014in his day known as the relatively obscure cantor of the Saint Thomas Church in Leipzig\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.boreades.com\/en\/bach-and-telemann-a-brief-essay-in-comparison\/\" \/>\n<meta property=\"og:locale\" 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