Telemann: Fantasie a flauto e basso

(1681-1767)

1.

Fantasia TWV40/25, D Minor Moderato-Vivace-Presto

[04:45]

Sergio Candia – Camilo Brandi – Eduardo Figueroa

2.

Fantasia TWV40/3, D Minor Grave-Vivace-Adagio-Allegro

[04:56]

Sergio Candia – Camilo Brandi – Eduardo Figueroa

3. Fantasia TWV40/23, F Major Presto-Largo-Allegro

Sergio Candia – Camilo Brandi – Eduardo Figueroa – Florencia Bardavid

[05:00]

4.

Fantasia TWV40/24, F Major Un poco vivace-Soave(Un poco vivace)-Allegro

[06:30]

Fantasie a flauto e basso

Sergio Candia – Camilo Brandi – Eduardo Figueroa – Florencia Bardavid

5.

Fantasia TWV40/5, B flat Major Andante-Allegro-Presto

[03:51]

Sergio Candia – Camilo Brandi – Eduardo Figueroa

6. Fantasia TWV40/17, F Major Vivace-Grave-Allegro

[04:38]

Sergio Candia – Camilo Brandi – Eduardo Figueroa – Florencia Bardavid

7.

Fantasia TWV40/9, E Minor Largo-Spirituoso-Allegro Sergio Candia – Camilo Brandi

[05:01]

8.

Fantasia TWV40/22, E Minor Siciliana-Vivace-Allegro

[07:41]

Sergio Candia – Camilo Brandi

9. Fantasia TWV40/8, G Major Alla Francese-Presto

[05:36]

Sergio Candia – Camilo Brandi – Eduardo Figueroa – Florencia Bardavid

10. Fantasia TWV40/14, D Major Largo-Allegro-Grave –(Allegro)

Sergio Candia – Camilo Brandi – Eduardo Figueroa – Florencia Bardavid

[07:07]

Sergio Candia recorder

Camilo Brandi harpsichord

Eduardo Figueroa

archlute, theorbo, baroque guitar

Florencia Bardavid viola da gamba

- 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.

T

he recording of this selection of the 24 fantasias TWV40 forfluteorviolinbyG.Ph.Telemann(168-7)exposes amusicalarrangementgeneratedbymeansofanalysisand reconstruction procedures according to the principles of historicallyinformedinterpretation.

Our interpretative proposal of the fantasias - written byTelemannforasolomelodicinstrumentwithout accompaniment-placessomeoftheirformalandexpressive characteristicsonanewperceptualplane.Thus,itcouldbe said that this “version” of the fantasias -provided with a basso continuo- shows us a new facet of these canonical works in “aliomodo”,withoutbetrayingtherhetoricalandstylist canonsoftheirauthor.

Thearrangementswerebasedonthedocumentarysources ofthetime,particularlythecorpusofworksthatTelemann publishedforinstructionalordidacticpurposes.Int editionsTelemannemployedsimilarcompositionalproced

and interpretative suggestions, part of the concert repertoire especiallyinthecollectionsand countless recordings in of sonatas, suites, concertos which their performance has and other genres published in generallyremainedconfined “Der Getreue Musikmeister”, tothemodeoriginallydefined “Essercizii musicii” and bythecomposer,i.e.as “MethodischeSonaten”. unaccompaniedsoloinstrume 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,andtheyareavailableonthe IMSLP/PetrucciMusicLibrary website(imslp.org).

A more detailed consideration oftheseworksfromananalytical andstylisticpointofview shows us their close links with other musical genres cultivated byTelemann,whichinclude the accompaniment of basso continuo, or the consideration of two or more voices in G.Ph.Telemann’sfantasiasfor harmoniccounterpoint.In unaccompanied instrument these works we also notice (flute,oboe,violin,violada atypicalcharacteristicofth gamba,harpsichord)constitute composition of the period, which a canonical repertoire for consists in the quotation and performersofearlyandmodern “recycling”,moreorlessliteral instruments.Assuch,theyform of phrases, melodic motifs and

even complete movements from sonatas or concertos that arereusedbytheauthor,often with the clear intention that the listeners recognise the origin of thethematicmaterialreused.

to a minor third for recorder workswrittenintransverseflute notation.Similarpracticeisa creditedinsonatasbyHandel, SchickhardtandQuantz(Kuijken, 1987).

On the other hand, the eventual Telemann’sfantasiasasawhole performanceofmanyof constitute a compendium of Telemann’sworksonalternativevarious forms of elaboration of instruments is attested to in musical discourse on different his own publications, where at levels(Kuijken,“pseudo1987): the beginning of each piece he polyphonic”writinginthe records the Italian treble clef melodic line; various formal (inthesecondline)andthe schemes of the late baroque “violin” or French treble clef period, such as the French (inthefirstline)thus , indicating overture, the church sonata, the to the reader the transposition “vivaldian” sonata and concerto possibilities that are most in three contrasting movements, comfortableforeachinstrument. the suite of dances and even the In this respect, Telemann toccata and fugue; and a great closelyfollowsthepractice diversityofformalschemes recommendedbytheflautist associated with individual Jacques-Martin Hotteterre, movements, corresponding to who recommended transposing dances characteristic of the

various“nationalstyles”oftheReference editions: EuropeanBaroque.AsBarthold Kuijkenpointsoutinhisedition Kuijken, Barthold: G. P. ofthe12fantasiasforsoloflute Telemann.12 fantasias for Flute Solo (with facsimile). Monteux, Musica (Monteux,MusicaRara,1987), Rara, 1987. alltheseformsaretreatedby Telemannwithvaryingdegrees Quantz, Johann Joachim: offreedom,whichisperhapswhy he never indicates the name of Caprices et autres pièces pour l’exercises de la flûte. Facsímil. Basel, thecorrespondingdance.

Musica Musica, ca.1725.

Based on this background, we Telemann, Georg Philipp: have developed a version of the (1) Fantasie per il violino senza fantasias with basso continuo Basso, Hamburg, 1727. (2) Fantasie accompaniment, which, far from per il violino senza Basso, Hamburg, detracting from their formal 1735. (3) Fantaisies pour le clavessin, andstylisticcharacteristics, Hamburg, 1732-33. (4) Fantaisies provides a new approach and pour la basse de violle, Hamburg, theopportunityforanin-depth 1735. (5)Sonate Metodiche, appreciation of their artistic Hamburgo, 1728. (6) Der getreue qualitiesandexpressivepotential.

Music-Meister, Hamburg, 1728.

Sergio Candia

(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.

Basso continuo arrangement

Score edition

Sound recording, mastering

C a milo Brandi E d uardo Figueroa Félix Rodríguez

Artistic direction

Photography

Carlos Arriagada Graphic design Mary Paz Albornoz

Sergio C a ndia

Alio Modo

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Early Music Project – Chile 2022 aliomodoproject@gmail.com YouTube channel: Alio Modo Project

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