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12 Fantasias for Solo Violin (Telemann)

Georg Philipp Telemann’s collection of12 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:

  1. Fantasia in B-flat major (Largo—Allegro—Grave—Si replica l’allegro)

  2. Fantasia in G major (Largo—Allegro—Allegro)

  3. Fantasia in F minor (Adagio—Presto—Grave—Vivace)

  4. Fantasia in D major (Vivace—Grave—Allegro)

  5. Fantasia in A major (Allegro—Presto—Allegro—Andante—Allegro)

  6. Fantasia in E minor (Grave—Presto—Siciliana—Allegro)

  7. Fantasia in E-flat major (Dolce—Allegro—Largo—Presto)

  8. Fantasia in E major (Piacevolumente—Spirituoso—Allegro)

  9. Fantasia in B minor (Siciliana—Vivace—Allegro)

  10. Fantasia in D major (Presto—Largo—Allegro)

  11. Fantasia in F major (Un poco vivace—Soave—Da capo un poco vivace—Allegro)

  12. 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

[1]

Citation Linkopenlibrary.orgAnon. 2015.

Sep 20, 2019, 11:42 PM
[2]

Citation Linkopenlibrary.orgZohn, Steven (2008).Music for a Mixed Taste: Style, Genre, and Meaning in Telemann’s Instrumental Works. US: Oxford University Press. ISBN 978-0-19-516977-5., p. 427 & 428

Sep 20, 2019, 11:42 PM
[3]

Citation Linkopenlibrary.org, p. 430

Sep 20, 2019, 11:42 PM
[4]

Citation Linkopenlibrary.orgZohn, Grove.

Sep 20, 2019, 11:42 PM
[5]

Citation Linkopenlibrary.orgParish, Carl (2000).A Treasury of Early Music. Courier Dover Publications. ISBN 978-0-486-41088-3., p. 297 & 298

Sep 20, 2019, 11:42 PM
[6]

Citation Linkwww.telemann.org“Sensationelle Wiederentdeckung”

Sep 20, 2019, 11:42 PM
[7]

Citation Linkarchive.orgMusic for a Mixed Taste: Style, Genre, and Meaning in Telemann’s Instrumental Works

Sep 20, 2019, 11:42 PM
[8]

Citation Linkwww.telemann.org“Sensationelle Wiederentdeckung”

Sep 20, 2019, 11:42 PM
[9]

Citation Linken.wikipedia.orgThe original version of this page is from Wikipedia, you can edit the page right here on Everipedia.Text is available under the Creative Commons Attribution-ShareAlike License.Additional terms may apply.See everipedia.org/everipedia-termsfor further details.Images/media credited individually (click the icon for details).

Sep 20, 2019, 11:42 PM