|Publisher:||Oxford University Press, USA|
death. Yet these works are now among the most popular in the baroque repertory. In Music for a Mixed Taste, Steven Zohn considers Telemann's music from stylistic, generic, and cultural perspectives. He investigates the composer's cosmopolitan mixed taste--a blending of the French, Italian,
English, and Polish national styles-and his imaginative expansion of this concept to embrace mixtures of the old (late baroque) and new (galant) styles. Telemann had an equally remarkable penchant for generic amalgamation, exemplified by his pioneering role in developing hybrid types such as the
sonata in concerto style (Sonate auf Concertenart) and overture-suite with solo instrument (Concert en ouverture). Zohn examines the extramusical meanings of Telemann's characteristic overture-suites, which bear descriptive texts associating them with literature, medicine, politics, religion,
and the natural world, and which acted as vehicles for the composer's keen sense of musical humor. Zohn then explores Telemann's unprecedented self-publishing enterprise at Hamburg, and sheds light on the previously unrecognized borrowing by J.S. Bach from a Telemann concerto. Music for a Mixed
Taste further reveals how Telemann's style polonaise generates musical and social meanings through the timeless oppositions of Orient-Occident, urban-rural, and serious-comic.