G.P.Telemann - "Cantata fot Christmas" - Kantate N.72 'Was gleicht dem Adel wahrer Christen'

[MrGer2295]

Legacy -- He was immensely popular not only in Germany but in the rest of Europe as well: orders for editions of Telemann's music came from France, Italy, Holland, Belgium, Scandinavian countries, Switzerland, and Spain. It was only in early 19th century that his popularity came to a sudden halt. Most lexicographers started dismissing him as a "polygraph" who composed too many works, a Vielschreiber for whom quantity came before quality.

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[MrGer2295]

Legacy -- . After the Bach revival, Telemann's works were judged as inferior to Bach's and lacking in religious fervour.[citation needed] Particularly striking examples of such unfair judgements were produced by noted Bach biographers Philipp Spitta and Albert Schweitzer, who criticized Telemann's cantatas and then praised works they thought were composed by Bach—but which were, in fact, composed by Telemann, as was shown by later research.

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[MrGer2295]

Legacy -- Composers he influenced musically included pupils of J.S. Bach in Leipzig, such as Wilhelm Friedmann Bach, Carl Philipp Emmanuel Bach and Johann Friedrich Agricola, as well as those composers who performed under his direction in Leipzig (Christoph Graupner, Johann David Heinichen and Johann Georg Pisendel), composers of the Berlin lieder school, and finally, his numerous pupils, none of whom, however, became major composers.

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[MrGer2295]

Legacy -- By pursuing exclusive publication rights for his own works, he set one of the most important early precedents for regarding music as the intellectual property of the composer. The same attitude informed his public concerts, where Telemann would frequently perform music originally composed for ceremonies attended only by a select few members of the upper class.

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[MrGer2295]

Leaving Italy in 1723, he worked in Paris, and received the first prize for historical painting in 1727 — as did his future rival François Boucher. After again visiting Turin in 1727, he was employed by king Victor Amadeus II of Sardinia, for whom he painted a series of subjects illustrative of Tasso.

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[MrGer2295]

In 1734 he settled in Paris, and in 1735 became a member of the Académie Royale de Peinture et de Sculpture and rose rapidly in the hierarchy of the academy. He was decorated with the Order of Saint Michael and named First Painter to king Louis XV of France in 1762. He died in Paris on 15 July 1765.

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[MrGer2295]

Work -- By his simplicity of style and correctness of design, the result of his study of the great Italian masters, he did much to purify the modern French school; but the contemporary praise that was lavished upon his productions now appears undue and excessive.

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[MrGer2295]

Work -- His patrons included members of the court, the Gobelins factory, private individuals, and the church. In the ensuing centuries, Vanloo's critical fortune has plummeted, although his ability remains admirable, and the quality and variety of his work command respect. His Marriage of the Virgin is preserved in the Louvre.

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