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Quartetto in D: TWV 43 : D7 - Composed by Georg Philipp Telemann
Edition by Russell Gilmour
“Since the best man could not be obtained, mediocre ones would have to be accepted”
Above: the announcement that J S Bach would be appointed as Cantor of the Thomaskirche in 1723 made by City Councillor Platz of Leipzig.
When Platz mentioned the “best man” he was referring to Georg Philipp Telemann - the most highly regarded composer in Germany at the time. Telemann declined the position in Leipzig after using the offer to secure a pay raise for his position in Hamburg. It is in Hamburg, between 1720 and 1730, that this piece was composed. Very few further details are known about the origin of this work or when it was originally performed. The original manuscript score survives in the Sächsische Landesbibliothek - Staats und Universitätsbibliothek in Dresden.

The Largo is a rhetorical exchange between the oboes and the trumpet. The oboes play exceptionally lyrically only to be interrupted by the trumpet, which seems to be asserting its role as a signalling instrument of the battlefield. The movement ends as it began with a hint of reflective introspection. The Vivace is a lively march-style fuge. The trumpet occasionally co-operates with the oboes in the passage-work and on other occasions it reverts to its more traditional role of sounding the arpeggio of D major in the low (principalé) register. The Siciliano is calmer in spirit, which runs without interruption from the trumpet. The movement contains a beautiful section of rhetorical sequential dissonances. The final Vivace is a rhetorical dance with a celebratory feel.

I. Largo
II. Vivace
III. Siciliano
IV. Vivace

Telemann’s original parts are legible and neat. However, they are quite difficult to read in a performance situation as the original facsimile (unless printed in high resolution and in colour) is not easily viewable, as the background is not white. There is also no original score (nor bar numbers or rehearsal markings). This can make rehearsing from the manuscript into a painstaking affair. The present edition was undertaken as a personal project, primarily to familiarise myself with this work and to attempt to make a clear edition with standardised bar numbers from which to rehearse with ease. The present edition also deals with the issue of difficult page-turns.

Oboe Primo
Oboe Secondo
Tromba (Trumpet)
Basso Continuo

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