Telemann Fantasias – NFA Chicago 2014
Notes by Elizabeth Walker ([email protected])
By considering the performance practice, guidelines, and genre of baroque
music and by understanding the basic characteristics and technique of the
baroque flute, we can find diversity, expression and freedom – all needed to
release the fantasy in these musical gems.
No 1 - A major
A bold 10 bar improvisatory introduction, followed by a fugue figure, which often
appears in the bass line. The “adagio allegro” markings in the middle section
should flow expressively. The final Allegro is a Passepied. Emphasize the
downbeat, and weaken the second and third beats. An opportunity to add simple
appoggiatura ornaments in the repeats.
No 2 – A minor
The semiquavers should not feel too metronomic here (think French inegale). The
Vivace needs a prominent bass line, swung with a stronger downbeat and lighter,
lifted beats two and three. This movement should sound virtuosic, but also
graceful. A lyrical Adagio follows. Keep the ‘tune’ clearly phrased without
interruption from the harmonic bass notes. The final Allegro needs to sparkle!
No 3 – B minor
I like to imagine a cello bowing throughout this fantasia to keep the bass dominant
and directed. Don’t let the little notes take too much of your attention, tuck them in
with a light articulation – did’ll is what I use. In the final Allegro, contrast the
legato scale passages with the detached arpeggio figures by varying the
articulation.
No 4 – Bb major
Understanding the role of each note depending on the beat that it falls on will help
with the repeated notes in the opening movement. Enjoy the jazzy, Polonaise
dance syncopations. Again, try and emphasize the dance metre with a light second
and third beat. The final Presto should not have too many beats in the bar - two is
plenty! The paired notes can be quite mannered!
No 5 – C major
An explosive, celebratory Presto followed by a Largo that is marked Dolce the
second time. I like to see this short interlude as an ‘in one breath’ passage. The
jagged Allegro that follows contains notes with daggers, which on a baroque flute
work well as vibrant, resonant notes that can be articulated quite firmly. No
vibrato, but lots of resonance and a percussive ‘Tup’ articulation. The final Allegro a
Canarie, should be kept rhythmically tight, with short upbeats and weak second
dotted crotchet beats.
No 6 – D minor
Probably one of the easier Fantasias to play on modern flute, with full melodic
phrases and easy to project bass notes. The Spirituoso draws on the Renaissance
3/2 metre where the notes either fall with three two beats or two three beats. I
like to try and feel one beat in the bar to keep this movement free and lively.
No 7 - D major
Alla francese – In the style of a French Overture, so double
dot and enjoy adding French ornaments such as
coulement and port de voix. Studying Boismortier Suite’s
will help to become familiar with the style. The final
Presto can be viewed as a Musette where the lack of rests
creates a continual sound, like a bagpipe. Try not to let
any extended gaps appear in the sound as you breathe.
No 8 –E minor
In the opening expressive Largo, study the bass line
separately to find the harmonic shape, before adding the
melody line. The fast Spirituoso with punctuated ‘bell-like’ long notes should be
articulated differently, depending on whether these are arpeggio or scale figures.
Try to avoid more than four beats in the bar. The final syncopated Allegro benefits
from metronomic accuracy to accentuate the rhythms. Use a clean, legato
articulation in the rapid semiquavers or 16th notes.
No 9 - E major
Not an easy key on the baroque flute, with a combination of problems relating to
cross fingerings, weak and strong notes and tuning difficulties. However, J.S. Bach
also favored this key (think Sonata BWV 1035 and Esurientes from the Magnificat).
I have chosen to ornament the first movement in the style of Telemann’s
instructive Methodical Sonatas.
No 10 – F sharp minor
Rather than repeat the sections in the Tempo Giusto, I have added ornaments
progressively through this movement. The quavers need to flow. A fast, frolicking
Presto, follows and I have adding dynamics to help characterize the different
repetitions of the tune. In the final dance movement, a Minuet, I have chosen
French style ornaments.
No 11 – G major
Another virtuosic opening, with rapid semiquavers similar in style to the first
Fantasia. I alternately articulate DG or did’ll depending on the pattern, arpeggio or
scale. The low notes are hard to sound with ease on a modern flute, but don’t let
the difficulty make the movement slow and heavy. Keep a fairly steady two beat
feel in the following Vivace and feel the arrival point of the downbeats. The final
Allegro, also in 2, can be quite sprightly.
No 12 – G minor
The most varied Fantasia, with changes of tempo and tonality between major and
minor. We catch a glimpse of the Polish music “in all its barbaric beauty” which so
captured Telemann’s imagination.
I hope you have enjoyed this performance. My CD recording of the
Fantasias can be purchased on iTunes or via my website…
www.lizwalker.co.uk