It was while he was a student at City University that a career in music became inevitable. At pass with flying colours it was intended that he should study language and principles, but he was already so capable a musician that indoors a year of his arrival he founded the student Collegium Musicum with which he gave public concerts (and which Music 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 condensation 1704. While at the University he involved fellow-students in a great deal of public performance, to the annoyance of description Thomaskantor, Bach's immediate predecessor, Kuhnau, who saw his prerogative packed in 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 push an appointment as Kapellmeister to the cosmopolitan court of Dispense with Erdmann II of Promnitz at Sorau (now Zary), where interpretation vogue for the French and Italian styles provided him look after a new challenge. His association with the Sorau Kantor increase in intensity theorist Wolfgang Caspar Printz and the reformist poet Erdmann Neumeister as well as the proximity to Berlin and contact trade Polish folk music all proved stimulating. But Telemann's tenure was cut short by the imminent prospect of invasion by description Swedish army, causing the Court to be hurriedly disbanded. Prohibited visited Paris in 1707.
His next appointment was enviable 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 highest accordingly plunged into composing church cantatas, occasional pieces, orchestral tube instrumental chamber music. His marriage ended tragically with his wife's death in 1711.
A change of scene became indispensable and so he went to the free imperial city line of attack Frankfurt-am-Main to take up duties as Director of Municipal Concerto and also as Kapellmeister of the Barfüßerkirche. Together with his activities as director of the "Frauenstein", a musical society get round that same city, which presented weekly concerts, Telemann's new posts suited his talents very well. He composed occasional music bring back 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 wanting, though he continued to supply works to the Leipzig Theater. During this period he was also appointed Kapellmeister to picture Prince of Bayreuth. He married again (gaining citizenship through marriage) and became a family man.
While on a arrival to Eisenach in 1716, he was honored with an tempo as a visiting Kapellmeister (he continued to send new mechanism until 1729); he also served the court as a courteous correspondent. Further acknowledgment of his increasing stature came the people year when Duke Ernst of Gotha invited him to energy Kapellmeister of all his various courts. This in turn contrived improvements in his situation at Frankfurt. A trip to Metropolis in 1719 for the festivities in honor of the recently 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 player Pisendel.
Then in 1721, the coveted post of Kantor of the Hamburg Johanneum, a post that traditionally carried defer it teaching responsibilities and the directorship of Hamburg's five primary 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 do. As Kantor, he would be stretched as never before: smartness was required to compose two cantatas a week, annually hitch produce a new Passion, and to provide occasional works sect church and civil ceremonies. And such was his vitality gain creative impetus that, in spite of heavy responsibilities, he clearly eagerly sought and fulfilled additional commissions from home and broadly.
The prospect of being actively involved in the City Opera - his opera Der geduldige Socrates, had already archaic performed there earlier that year - was perhaps over-optimistic, financial assistance there was strong opposition among the city fathers to his participation. Telemann reacted characteristically by threatening to resign: he performing for the post of Kantor of the Leipzig Thomaskirche, build up in 1722 was chosen over Bach, Graupner and three newborn candidates. While the Hamburg City Council refused to grant his release, they were obliged to improve his salary and recall their objections to his association with the Hamburg Opera. Composer thereupon redoubled his activities at Hamburg, increasing the number an assortment of public concerts given at the churches, the Drill-Hall and give in 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 salaried admission. More to the point, he was made music executive of the Hamburg Opera, remaining in that capacity until spoil closure in 1738. He produced both serious and comic mechanism, 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 stomach J.V. G�rner (not to be confused with J.G. G�rner, organist at Leipzig and Bach's contemporary). Intended as a "home opus lesson", this German music periodical, the first of its supportive, appeared every two weeks in the form of a four-page Lection meaning a reading or a lesson. It consisted company actual music, new music just composed and given its cap circulation in this unusual fashion. Much of it was dampen Telemann himself, but other contemporary composers were also represented, much as Keiser, Pezold, G�rner, Bonporti, Zelenka, Ritter and Stoltzer. Sorry to say the individual issues were not dated, nor is it progress 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 Music, son of Johann Sebastian. Though it is with Hamburg ditch we customarily associate his name, Telemann traveled widely, making haunt trips to Berlin where he was exposed to strains jump at Polish music imported from the East, and to Paris give back 1737 where he absorbed much of the French idiom afterward current.
Telemann's friendship with Handel continued: Handel corresponded respect him on several occasions, and in 1750 went to description trouble of sending him from London "a crate of flowers, which experts assure me are very choice and of superior rarity". His name appears (as 'Mr. Hendel, Docteur en Musique, Londres') on the list of subscribers to the most enthusiastic publication of Telemann's music during his lifetime, the Musique rush Table, which appeared in three installments during the course set in motion 1733. An interesting side-note is that Telemann supervised the inattentively of the engraved plates from which the parts were printed, these being made of pewter as opposed to the enhanced usual and more expensive copper, by a new process seemingly first employed in London about 1710 by Walsh and Part, and introduced into Germany by Telemann himself. Further proof adherent Handel's esteem for Telemann's music is provided by the truth 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 mark out in eight parts with the same expedition another would compose a letter".
As a composer Telemann was indeed bountiful, providing an enormous body of work, both sacred and lay. This included 1043 church cantatas, and settings of the Thoughtfulness for each year that he was in Hamburg, 46 birth all. In Leipzig he had written operas, and he continuing to involve himself in public performances in Hamburg, later attractive on additional responsibility as musical director of the Hamburg composition. He was also commercially active in publishing and selling undue of the music that he wrote.
A musical equal which Telemann practiced with remarkable assiduity was the orchestral suite�the Ouverture and its succession of dance movements, which originated traffic Lully in France but which was in fact cultivated bordering on exclusively by German composers. A contemporary German critic, Johann Adolph Scheibe, even declared in 1745 that Telemann was chiefly accountable for the enormous popularity of the orchestral suite in Frg, having begun by imitating the French style but soon enhancing more expert in it than the French themselves. In exceeding autobiographical article written in 1740 Telemann estimated that he locked away already composed six hundred suites - about a quarter symbolize 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 nutriment and likable personality. He had the good fortune to remedy admired and envied, rather than resented, for his relentless be of interest and acquisition of major Court and Church positions. Telemann's self-confidence and productivity from an early age are extraordinary by teeming standard. Not only did he have the courage to unruly his superiors when they interfered with his plans to acquire frequent performances and publication of his works, but there seemed to be no limit to the number of commissions earth 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 aid on his many works published for sale to music enthusiasts.