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Georg Philipp Telemann's collection of 12 Fantasias for Solo Violin, TWV 40:14–25, was published in Hamburg in 1735. It is one of Telemann's collections of music for unaccompanied instruments, the others being twelve fantasias for solo flute and thirty-six for solo harpsichord that were published in Hamburg in 1732–33, as well as a set of twelve fantasias for solo viola da gamba that was published in the same city in 1735, but were considered lost until a copy of the print was found in a private collection in 2015 by viola da gamba player and musicologist Thomas Fritzsch.[1]This collection consists of the following works: - Fantasia in B-flat major (Largo—Allegro—Grave—Si replica l'allegro)
- Fantasia in G major (Largo—Allegro—Allegro)
- Fantasia in F minor (Adagio—Presto—Grave—Vivace)
- Fantasia in D major (Vivace—Grave—Allegro)
- Fantasia in A major (Allegro—Presto—Allegro—Andante—Allegro)
- Fantasia in E minor (Grave—Presto—Siciliana—Allegro)
- Fantasia in E-flat major (Dolce—Allegro—Largo—Presto)
- Fantasia in E major (Piacevolumente—Spirituoso—Allegro)
- Fantasia in B minor (Siciliana—Vivace—Allegro)
- Fantasia in D major (Presto—Largo—Allegro)
- Fantasia in F major (Un poco vivace—Soave—Da capo un poco vivace—Allegro)
- Fantasia in A minor (Moderato—Vivace—Presto)
This scheme does not resemble that of the twelve flute fantasies, which progress in a roughly stepwise direction from A major to G minor.[2] However, some overall structure seems to be implied: the first movement of Fantasia 7 subtly references the opening of the first fantasia in the collection, indicating that Telemann possibly conceived this work as two groups of 6 fantasias. He has, indeed, described the collection as "12 fantasias [...] of which 6 include fugues and 6 are Galanterien," with "fugues" referencing the contrapuntal style of certain fantasias.[3] Telemann's violin fantasias exhibit mastery of not only compound melodic lines, but also of idiomatic writing for violin,[4] as Telemann himself was a self-taught violinist. Much of the music reveals the influence of Italian sonatas and concertos, but the typical tendency of German solo violin music to rely on polyphony is still present:[5] fantasias 2, 3, 5, 6, and 10 all include fugues and employ much double-stopping. References- Notes
1. ^Anon. 2015.
2. ^{{harvnb|Zohn|2008|p=427 & 428}}
3. ^{{harvnb|Zohn| 2008|p=430}}
4. ^Zohn, Grove.
5. ^{{harvnb|Parish|2000|p=297 & 298}}
- Sources
- {{cite web|url=http://www.telemann.org/telemann-zentrum/news/109.html|title=Sensationelle Wiederentdeckung|author=Anon.|date=2015-08-10|publisher=Zentrum für Telemann-Pflege und -Forschung Magdeburg|accessdate=2016-02-21}}
- {{cite book|last=Parish|first=Carl|title=A Treasury of Early Music|year=2000|publisher=Courier Dover Publications|isbn=978-0-486-41088-3|ref={{harvid|Parish|2000}}}}
- {{GroveOnline|title=Georg Philipp Telemann|author=Zohn, Steven|access-date=5 October 2006}}
- {{cite book|last=Zohn|first=Steven|year=2008|title=Music for a Mixed Taste: Style, Genre, and Meaning in Telemann's Instrumental Works|publisher=Oxford University Press|location=US|isbn=978-0-19-516977-5|ref={{harvid|Zohn|2008}}}}
External links- {{IMSLP2|work=12_Fantasias_for_Violin_without_Bass,_TWV_40:14-25_(Telemann,_Georg_Philipp)|cname=12 Fantasias for Solo Violin}}
{{Georg Philipp Telemann}} 3 : Compositions by Georg Philipp Telemann|Solo violin pieces|Fantasias (music) |