Sergio Candia
- Sopran recorder in c / A=415Hz, after early baroque models
• Andreas Schwob, Swiss, 1997.
- Alto recorder in g / A=415Hz, after Hotteterre
• Francesco Li Virghi, Italy, 2002.
- Alto recorder in f / A=415Hz, after english models
• Francesco Li Virghi, Italy, 2006.
- Alto recorder in f / A=406Hz, after Johannes Hyacinthus Rottenburgh
• Francesco Li Virghi, Italy, 2015.
- Tenor recorder in d / A=415Hz, after Peter Bressan
• Jorge Montero, Chile, 2000
- Tenor recorder in c / A=415Hz, after Johann Schell
• Francesco Li Virghi, Italy, 2015.
- Harpsichord, after Christian Zell
• Matthias Kramer, Germany, 1996.
- Harpsichord, after Andreas Ruckers
• The Paris Workshop / Camilo Brandi, Chile, 2003.
- Archlute, after baroque models
•Juan Carlos Soto, Costa Rica, 2011.
- Baroque guitarre, after Matteo Sellas
•Klaus Jacobsen, England, 2007.
- Theorbo, after Magnus Tieffenbrucker
• Maurice Ottiger, Swiss, 1996.
- Viola da gamba, after Nicolas Bertrand
• Joaquín Taulis, Chile, 1997.
Temperament: Werckmeister III
Pitch: A=406 / 415 Hz
The recording for this publication was made at the San Juan auditorium, Instituto de Música, Pontificia Universidad Católica de Chile, Santiago de Chile, January 2017. The sound recording and digital audio editing was done by Félix Rodríguez Betancourt.
The recording of this selection of the 24 fantasias TWV40 for flute or violin by G. Ph. Telemann (1681-1767) exposes a musical arrangement generated by means of analysis and reconstruction procedures according to the principles of historically informed interpretation.
Our interpretative proposal of the fantasias - written by Telemann for a solo melodic instrument without accompaniment - places some of their formal and expressive characteristics on a new perceptual plane. Thus, it could be said that this “version” of the fantasias -provided with a basso continuo- shows us a new facet of these canonical works in “alio modo”, without betraying the rhetorical and stylistic canons of their author.
The arrangements were based on the documentary sources of the time, particularly the corpus of works that Telemann published for instructional or didactic purposes. In these editions Telemann employed similar compositional procedures
G. Ph. Telemann’s fantasias for unaccompanied instrument (flute, oboe, violin, viola da gamba, harpsichord) constitute a canonical repertoire for performers of early and modern instruments. As such, they form
part of the concert repertoire and countless recordings in which their performance has generally remained confined to the mode originally defined by the composer, i.e. as unaccompanied solo instrument.
A more detailed consideration of these works from an analytical and stylistic point of view shows us their close links with other musical genres cultivated by Telemann, which include the accompaniment of basso continuo, or the consideration of two or more voices in harmonic counterpoint. In these works we also notice a typical characteristic of the composition of the period, which consists in the quotation and “recycling”, more or less literally, of phrases, melodic motifs and and interpretative suggestions, especially in the collections of sonatas, suites, concertos and other genres published in “Der Getreue Musikmeister”, “Essercizii musicii” and “Methodische Sonaten”. In addition to the phonographic record, we have published the digital scores of these 10 arrangements, making them accessible to the public for free use, and they are available on the IMSLP / Petrucci Music Library website (imslp.org).
even complete movements from sonatas or concertos that are reused by the author, often with the clear intention that the listeners recognise the origin of the thematic material reused.
to a minor third for recorder works written in transverse flute notation. Similar practice is also credited in sonatas by Handel, Schickhardt and Quantz (Kuijken, 1987).
On the other hand, the eventual performance of many of Telemann’s works on alternative instruments is attested to in his own publications, where at the beginning of each piece he records the Italian treble clef (in the second line) and the “violin” or French treble clef (in the first line), thus indicating to the reader the transposition possibilities that are most comfortable for each instrument. In this respect, Telemann closely follows the practice recommended by the flautist Jacques-Martin Hotteterre, who recommended transposing
Telemann’s fantasias as a whole constitute a compendium of various forms of elaboration of musical discourse on different levels (Kuijken, 1987): “pseudopolyphonic” writing in the melodic line; various formal schemes of the late baroque period, such as the French overture, the church sonata, the “vivaldian” sonata and concerto in three contrasting movements, the suite of dances and even the toccata and fugue; and a great diversity of formal schemes associated with individual movements, corresponding to dances characteristic of the
various “national styles” of the
European Baroque. As Barthold Kuijken points out in his edition of the 12 fantasias for solo flute (Monteux, Musica Rara, 1987), all these forms are treated by Telemann with varying degrees of freedom, which is perhaps why he never indicates the name of the corresponding dance.
Based on this background, we have developed a version of the fantasias with basso continuo accompaniment, which, far from detracting from their formal and stylistic characteristics, provides a new approach and the opportunity for an in-depth appreciation of their artistic qualities and expressive potential. Sergio Candia
Reference editions: Kuijken, Barthold: G. P. Telemann.12 fantasias for Flute Solo (with facsimile). Monteux, Musica Rara, 1987. Quantz, Johann Joachim: Caprices et autres pièces pour l’exercises de la flûte. Facsímil. Basel, Musica Musica, ca.1725. Telemann, Georg Philipp: (1) Fantasie per il violino senza Basso, Hamburg, 1727. (2) Fantasie per il violino senza Basso, Hamburg, 1735. (3) Fantaisies pour le clavessin, Hamburg, 1732-33. (4) Fantaisies pour la basse de violle, Hamburg, 1735. (5)Sonate Metodiche, Hamburgo, 1728. (6) Der getreue Music-Meister, Hamburg, 1728. (7) Essercizii musici, overo Dodeci Soli e Dodeci Trii à diversi stromenti, Hamburg, 1739.
The editions of the Alio Modo Project offer high quality recordings of the works performed by Estudio MusicAntigua and La Compañía de Céfiro and their guest musicians.
Early
Project CCA2016-5898, financed by the Dirección de Artes y Cultura, Vicerrectoría de Investigación, Pontificia Universidad Católica de Chile.
Santiago de Chile – 2022 All rights reserved
Photography Carlos Arriagada Graphic design Mary Paz Albornoz Basso continuo arrangement Camilo Brandi Artistic direction Sergio Candia Score edition Eduardo Figueroa Sound recording, mastering Félix Rodríguez