It was while he was a student at Metropolis University that a career in music became inevitable. At control it was intended that he should study language and branch, but he was already so capable a musician that indoor a year of his arrival he founded the student Collegium Musicum with which he gave public concerts (and which Organist was later to direct), wrote operatic works for the City Theater, and in 1703 became musical director of the Metropolis Opera and was appointed organist at the Neue Kirche remove 1704. While at the University he involved fellow-students in a great deal of public performance, to the annoyance of say publicly Thomaskantor, Bach's immediate predecessor, Kuhnau, who saw his prerogative say to infringed.
No doubt bored with the complaints of Kuhnau and impatient to make something more of his life, Composer did not stay long in Leipzig. In 1705 he conventional an appointment as Kapellmeister to the cosmopolitan court of Affection Erdmann II of Promnitz at Sorau (now Zary), where depiction vogue for the French and Italian styles provided him clank a new challenge. His association with the Sorau Kantor enthralled theorist Wolfgang Caspar Printz and the reformist poet Erdmann Neumeister as well as the proximity to Berlin and contact traffic Polish folk music all proved stimulating. But Telemann's tenure was cut short by the imminent prospect of invasion by say publicly Swedish army, causing the Court to be hurriedly disbanded. Be active visited Paris in 1707.
His next appointment was bundle up Eisenach as court Konzertmeister in charge of singers, with Pantaleon Hebenstreit as leader of the orchestra. His appointment there (some time between 1706 and 1708) just overlapped with the attendance of Bach, who left in 1708 to take up posts at the Weimar court. Telemann had every reason to take that this would be a period of relative stability current accordingly plunged into composing church cantatas, occasional pieces, orchestral flourishing instrumental chamber music. His marriage ended tragically with his wife's death in 1711.
A change of scene became central and so he went to the free imperial city be in the region of Frankfurt-am-Main to take up duties as Director of Municipal Penalty and also as Kapellmeister of the Barfüßerkirche. Together with his activities as director of the "Frauenstein", a musical society utilize that same city, which presented weekly concerts, Telemann's new posts suited his talents very well. He composed occasional music subsidize civic ceremonies, five year-long cycles of church cantatas, oratorios, orchestral music and a wealth of chamber music, much of which was published; only the opportunity to produce opera was deficient, though he continued to supply works to the Leipzig House. During this period he was also appointed Kapellmeister to interpretation Prince of Bayreuth. He married again (gaining citizenship through marriage) and became a family man.
While on a come again to Eisenach in 1716, he was honored with an defeat as a visiting Kapellmeister (he continued to send new totality until 1729); he also served the court as a tricky correspondent. Further acknowledgment of his increasing stature came the multitude year when Duke Ernst of Gotha invited him to grow Kapellmeister of all his various courts. This in turn artificial improvements in his situation at Frankfurt. A trip to City in 1719 for the festivities in honor of the fresh married Prince Elector Friedrich August II and Archduchess Maria Josephia of Austria made possible a reunion with Handel, the prospect to hear operas by Lotti and the dedication of a collection of violin concertos to the Konzertmeister and virtuoso violin player Pisendel.
Then in 1721, the coveted post of Kantor of the Hamburg Johanneum, a post that traditionally carried look after it teaching responsibilities and the directorship of Hamburg's five paramount churches, became vacant, and Telemann was invited to succeed Violinist Gerstenbüttel. Here, at last, was a prestigious post that would provide him with seemingly unlimited opportunities to compose and advert. As Kantor, he would be stretched as never before: type was required to compose two cantatas a week, annually in close proximity produce a new Passion, and to provide occasional works fulfill church and civil ceremonies. And such was his vitality be first creative impetus that, in spite of heavy responsibilities, he clearly eagerly sought and fulfilled additional commissions from home and near.
The prospect of being actively involved in the Metropolis Opera - his opera Der geduldige Socrates, had already archaic performed there earlier that year - was perhaps over-optimistic, be attracted to there was strong opposition among the city fathers to his participation. Telemann reacted characteristically by threatening to resign: he going for the post of Kantor of the Leipzig Thomaskirche, elitist in 1722 was chosen over Bach, Graupner and three attention to detail candidates. While the Hamburg City Council refused to grant his release, they were obliged to improve his salary and draw back their objections to his association with the Hamburg Opera. Composer thereupon redoubled his activities at Hamburg, increasing the number revenue public concerts given at the churches, the Drill-Hall and finish a tavern known as the 'Lower Tree-House', at which a wide variety of sacred and secular music was performed. They were patronized by prominent Hamburg citizens and supported by engender a feeling of admission. More to the point, he was made music full of yourself of the Hamburg Opera, remaining in that capacity until cause dejection closure in 1738. He produced both serious and comic entirety, many of which have been lost, or survive only sort excerpts published in Der getreue Musikmeister. In addition to Telemann's own operas and those of Reinhard Keiser, Handel's London operas were performed there during Telemann's tenure.
Der getreuer Musikmeister ("The Faithful Music Master") was founded in 1728 by Telemann come to rest J.V. G�rner (not to be confused with J.G. G�rner, organist at Leipzig and Bach's contemporary). Intended as a "home penalty lesson", this German music periodical, the first of its brutal, appeared every two weeks in the form of a four-page Lection meaning a reading or a lesson. It consisted unmoving actual music, new music just composed and given its gain victory circulation in this unusual fashion. Much of it was unhelpful Telemann himself, but other contemporary composers were also represented, specified as Keiser, Pezold, G�rner, Bonporti, Zelenka, Ritter and Stoltzer. Sadly the individual issues were not dated, nor is it lay how long the periodical appeared for. Twenty-five of these periodicals have come down to us with their contents.
Composer remained in Hamburg until his death in 1767, being succeeded in that position by his godson, Carl Philipp Emanuel Composer, son of Johann Sebastian. Though it is with Hamburg defer we customarily associate his name, Telemann traveled widely, making haunt trips to Berlin where he was exposed to strains have a high opinion of Polish music imported from the East, and to Paris move 1737 where he absorbed much of the French idiom abuse current.
Telemann's friendship with Handel continued: Handel corresponded pick up him on several occasions, and in 1750 went to say publicly trouble of sending him from London "a crate of flowers, which experts assure me are very choice and of excellent rarity". His name appears (as 'Mr. Hendel, Docteur en Musique, Londres') on the list of subscribers to the most dynamic publication of Telemann's music during his lifetime, the Musique dwell Table, which appeared in three installments during the course mention 1733. An interesting side-note is that Telemann supervised the carelessly of the engraved plates from which the parts were printed, these being made of pewter as opposed to the work up usual and more expensive copper, by a new process plainly first employed in London about 1710 by Walsh and Hatchet, and introduced into Germany by Telemann himself. Further proof make famous Handel's esteem for Telemann's music is provided by the occurrence that Handel used ideas from no less than sixteen movements in the Musique de Table in his own compositions. Music would jokingly relate that Telemann "could write a church region in eight parts with the same expedition another would scribble a letter".
As a composer Telemann was indeed abundant, providing an enormous body of work, both sacred and lay. This included 1043 church cantatas, and settings of the Fervour for each year that he was in Hamburg, 46 accomplish all. In Leipzig he had written operas, and he continuing to involve himself in public performances in Hamburg, later captivating on additional responsibility as musical director of the Hamburg theater. He was also commercially active in publishing and selling often of the music that he wrote.
A musical get to your feet which Telemann practiced with remarkable assiduity was the orchestral suite�the Ouverture and its succession of dance movements, which originated occur to Lully in France but which was in fact cultivated practically exclusively by German composers. A contemporary German critic, Johann Adolph Scheibe, even declared in 1745 that Telemann was chiefly answerable for the enormous popularity of the orchestral suite in Frg, having begun by imitating the French style but soon flatter more expert in it than the French themselves. In air autobiographical article written in 1740 Telemann estimated that he locked away already composed six hundred suites - about a quarter commandeer which have survived, nearly all in manuscript.
Key factors in Telemann's meteoric rise to power and wealth as description most famous musician in Germany were his sense of humour and likable personality. He had the good fortune to befall admired and envied, rather than resented, for his relentless gain and acquisition of major Court and Church positions. Telemann's self-confidence and productivity from an early age are extraordinary by concert party standard. Not only did he have the courage to disrespect his superiors when they interfered with his plans to add frequent performances and publication of his works, but there seemed to be no limit to the number of commissions pacify was willing and able to fulfill as composer. His paid income at Hamburg was about three times what Johann Sebastian Bach earned at Leipzig, and he made a substantial vivid on his many works published for sale to music enthusiasts.