Telemann Anniversary 2017
12 Fantasies for Violin solo
Telemann’s Fantasias for Solo Violin and his Fantasias for Solo Flute constitute a varied collection of twelve pieces, half of which follow the model of the ‘sonata da chiesa’ and the other half the model of the ‘sonata da camera’. In these pieces Telemann presents an abundance of different stylistic elements and features of his time which make this collection an extensive compendium of late Baroque violin music.
Sonata for Flute and Basso continuo
Telemann’s Sonata (Solo) for transverse flute and basso continuo comes from his ‘Tafelmusik’ published in 1733, one of the most important instrumental cycles of the late Baroque period. The prominent themes of the Sonata seem to have impressed G. Fr. Handel so much that he took them up in his Organ Concerto No. 15 in D minor. The edition strictly follows the first edition published by Telemann himself, which made it possible to correct several errors in later editions.
12 Fantasies for flute solo
The Wiener Urtext edition of Telemann's Fantasies is based on the first print published by the composer himself. The few obvious mistakes in the music have been corrected. In the critical notes the editor provides information about the source the authorship and authenticity. The notes on interpretation by Mirjam Nastasi provide instructive suggestions for the historically informed performance practice. Discussion based on sources from the 18th century (Quantz, Hotteterre and others) about related works is included as well as about the basic aspects of baroque flute playing which, for every flautist, are indispensable.
Six Sonatas for 2 Flutes (Violins)
Georg Philipp Telemann's Six Sonatas for two flutes of 1726, also known as Flute Duets Op. 2, are dedicated to two young music lovers and, thus, appeal explicitly to a circle of pupils and music lovers. The pieces foster the ability of musical interpretation as well as a playful love of music-making and are thus ideal for music lessons. The sonatas can alternatively be performed on the violin. The new edition of the Wiener Urtext Edition is based on Telemann's original print as well as on two earlier editions which grant insight into the contemporary ornamentation practice. Further suggestions for the performance are given in the Notes on interpretation by Susanne Schrage. The layout of the new edition is clearly designed, page-turns within individual movements have been avoided thanks to fold-out pages. Thus, the proper foundation has been laid both for a historically informed performance and for relaxed music-making.