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M11
HISTORY OF THE FANTASIA UNTIL 1735 TOGETHER WITH PERFORMANCES
OF FANTASIAS NO. 1, 3, and 8 FROM THE TWELVE FANTASIAS
FOR UNACCOMPANIED VIOLIN BY GEORG PHILIPP TELEMANN,
A LECTURE RECITAL, TOGETHER WITH THREE RECITALS
OF SELECTED WORKS OF G. TARTINI, J. BRAHMS,
M. RAVEL, J. S. BACH, C. DEBUSSY, L. V.
BEETHOVEN AND OTHERS
DISSERTATION
Presented to the Graduate Council of the
North Texas State University in Partial
Fulfillment of the Requirements
For the Degree of
DOCTOR OF MUSICAL ARTS
By
Denise Neal, B. M., M. M.
Denton, Texas
August, 1982
Neal, Denise E., History of the Fantasia Until 1735
Together with Performances of Fantasias No. 1, 3, and 8
from the Twelve Fantasias for Unaccompanied Violin by Georg
Philipp Telemann, A Lecture Recital, Together with Three
Recitals of Selected Works of G. Tartini, J. Brahms, M.
Ravel, J. S. Bach, C. Debussy, L. V. Beethoven and Others.
Doctor of Musical Arts (Violin Performance), May, 1982,
27 pp., 18 illustrations, bibliography, 17 titles.
The lecture recital was given on March 1, 1982. The
subject was the History of the Fantasia Until 1735 Together
with Performances of Fantasias No. 1, 3, and 8 from the
Twelve Fantasias for Unaccompanied Violin 2y Georg Philipp
Telemann, and it included a brief survey of fantasia compo
sition from the sixteenth century until 1735, comments on
solo violin forms of the period, observations relative to
performance practices of Baroque music, which were followed
by detailed descriptions of Fantasias No. 1, 3, and 8. The
lecture was followed by uninterrupted performances of these
fantasias.
In addition to the lecture recital, three other public
recitals were performed. The first solo recital was on
October 31, 1977,and included works of Tartini, Brahms, and
Mozart. The second program, on September 17, 1979, presented
works by Beethoven, Leclair, and J. S. Bach. The third program
was given on December 1, 1980,and featured sonatas by
Beethoven and Debussy as well as Ravel's Tzigane.
Magnetic tape recordings of all four programs and
the written lecture material are filed together as the
dissertation.
Tape recordings of all performances submitted as
dissertation requirements are on deposit in
the North Texas State University Library.
iii
TABLE OF CONTENTS
Page
INTRODUCTION.. . . ............ -.-.-.-...-.-.-.-.-.-- v
PERFORMANCE PROGRAMS.........................-.....-.-..-vi
LIST OF ILLUSTRATIONS............-............-..-....-.- x
LECTURE RECITAL: HISTORY OF THE FANTASIA UNTIL
1735 TOGETHER WITH PERFORMANCES OF FANTASIAS
NO. 1, 3, AND 8 FROM THE TWELVE FANTASIAS
FOR UNACCOMPANIED VIOLIN BY GEORG PHILIPP
TELEMANN......-.............-.-..-.-.-..-...... - 1
Origins of the Fantasia Solo Violin Forms in the Baroque Period
State of Violin Technique Circa 1730 Telemann's Life General Comments about the Fantasias
Fantasia No. 1 in B-Flat Major
Fantasia No. 3 in F Minor Fantasia No. 8 in E Major Concluding Remarks
APPENDIX. ..............-.-..-.-.-.-..-.-... ...... 25
BIBLIOGRAPHY. ..............-.-.-.-.-.-.-.-...-...... 26
iv
INTRODUCTION
The dissertation consists of four recitals: three solo
recitals and one lecture recital. The repertoire chosen
demonstrates the performers ability to project musical
style and interpretation of different historical periods.
The lecture recital, the History of the Fantasia Until
1735 Together With Performances of Fantasias No. 1, 3, and
8 From the Twelve Fantasias for Unaccompanied Violin 1y
Georg Philipp Telemann, begins with a brief survey of the
fantasia form until 1735. A general discussion of baroque
solo violin literature is followed by discussions of the
works to be performed.
Uninterrupted presentations of Fantasias No. 8, 3, and
1 conclude the lecture recital.
V
North Texas State University School of Music
presents
DENISE NEAL, Violin
Susan Dennis, Piano
Monday, October 31,1977 8:15 p.m. Recital Hall
PROGRAM
Devil's Trill....................................... Giuseppe Tartini
Sonata No. 2 in A major, Opus 100 .. Johannes Brahms Allegro amabile Andante tranquillo-Vivace Allegretto grazioso (quasi andante)
Adagio, K. 216
Rondo, K. 373.................... Wolfgang Amadeus Mozart
Scherzo-Tarantella, Opus 16............. Henri Wienawski
This program is presented in partial fulfillment of the requirements for the Doctor of Musical Arts degree.
Vi
North Texas State University School of Music
presents
Denise Neal
in a
DMA Violin Recital
Lynne Lauderdale-Hinds, Piano
Monday, September 17, 1979 8:15 P.M. Concert Hall
Sonata no. 3 in D major ................................. Jean Marie Leclair Un poco andante Allegro Sarabande Tambourin
Sonata no. 7 in C minor, Op. 30, no. 2 ........... Ludwig van Beethoven Allegro con brio Adagio cantabile Scherzo (A llegro) Finale (A allegro)
Intermission
Chaconne, from Partita no. 2 in D minor . Johann Sebastian Bach
Poem e, Op. 25 .............................................. Ernst Chausson
This recital is presented in partial fulfillment of requirements for the degree Doctor of Musical A rts.
vii
North Texas State University School of Music
presents
2)enise ?Aea!
in a
D ioin
7,Izry f1ios.er 97
Je cila!
mm, J'iano
Monday, December 1, 1980 5:00 P.M. Concert Hall
Sonata no. 9 in A, Op. 47........................... Ludwig van Beethoven Adagio, Presto Andante con variazioni Finale (Presto)
Intermission
Sonata........................................................... C laude D ebussy Allegro vivo Intermade Finale (T rs anim )
Tzigane, Rapsodie de Concert ................................ Maurice Ravel
This recital is presented in partial fulfillment of requirements for the degree Doctor of Musical Arts
viii
North Texas State University School of Music
Lecture Recital
DENISE NEAL
Monday, March 1, 1982 6:30 p.m. Concert Hall
HISTORY OF THE FANTASIA UNTIL 1735 TOGETHER WITH
PERFORMANCES OF FANTASIAS NO. 1, 3, AND 8 FROM
THE TWELVE FANTASIAS FOR UNACCOMPANIED VIOLIN
BY GEORG PHILIPP TELEMANN
Fantasia No. 8 in E Major. . . . . Georg Philipp Telemann
Piacevolmente (1681-1767) Spirituoso Allegro
Fantasia No. 3 in F Minor Adagio Presto Grave Vivace
Fantasia No. 1 in B Flat Major Largo Allegro Grave Allegro
This Recital is Presented in Partial Fulfillment of the Requirements for the Degree
Doctor of Musical Arts
ix
LIST OF ILLUSTRATIONS
Figure Page
1. Luys Milan, lute fantasia, mm. 1-6 . . . . . . . 2
2. Hans Newsidler, Preamble or Fantasy, mm. 29-31 . . . . . . . . . . . ...... . 2
3. Frescobaldi, Ricercare dopo il Credo
for Organ, mm. 1-5. . . . . . . . . . . . . . 4
4. G. Frescobaldi, Fantasia sopra quattro
soggetti (1608), mm. 1-3. . . . . . . . . .. 4
5. A. Vivaldi, Op. 2, No. 11, Allegro movement, mm.1-4 . . . . . . . . ......... .. 6
6. Telemann, Fantasia No. 1, Largo, mm. 1-4 . . . . 15
7. Telemann, Fantasia No. 1, Allegro, mm. 1-3 . . . 16
8. Telemann, Fantasia No. 1, Allegro, passagework, mm. 10, etc. . . . . . . . . .. 17
9. Telemann, Fantasia No. 3, Adagio, mm. 1-3. . . . 18
10. Telemann, Fantasia No. 3, Presto, mm. 1-7. . . . 18
11. Telemann, Fantasia No. 3, Presto, Secondary Themes, mm. 22-25, and mm. 29-36. . . . . . . 19
12. Telemann, Fantasia No. 3, Grave, Followed by an Ornamented Version . . . . . . . . . . . . 20
13. Telemann, Fantasia No. 3, Vivace, Theme A
(mm. 1-4), Theme B (mm. 9-12), plus the Formal Structure. . . . . . . . . . . .... 21
14. Telemann, Fantasia No. 8, Piacevolmente. . . . . 22
15. Telemann, Fantasia No. 8, Use of bariolage, mm. 16-17.. ................ 22
16. Telemann, Fantasia No. 8, Spirituoso, mm. 1-4; mm. 19-22. . . . . . . . ... ......23
x
HISTORY OF THE FANTASIA UNTIL 1735 TOGETHER WITH
PERFORMANCES OF FANTASIA NO. 1, 3 AND 8 FROM
THE TWELVE FANTASIAS FOR UNACCOMPANIED
VIOLIN BY GEORG PHILIPP TELEMANN
Origins of the Fantasia
The Twelve Fantasias for unaccompanied violin by Georg
Philipp Telemann were written in 1735. They combine impro
visatory and imitative elements indigenous to the fantasia
form as well as elements of solo violin literature. Accord
ing to Willi Apel fantasia designated a type of sixteenth
century music for lute, keyboard, or ensembles. The term
first appeared in keyboard tablatures of Hans Kotter and
Leonhard Kleber around 1520.1 The first fantasias signify
an effort to abandon the rules and regulations of musical
theory of the Middle Ages. Fantasias were therefore of an
improvisatory nature owing to reactions against rigid theo
retical specifications. Thomas Morley wrote:
The most principal and chiefest kind of Music which is
made without a ditty is the Fantasey, that is when a
musician taketh a point at his pleasure and wretcheth
it and turneth it as he list, making either much or little of it according as shall seem best in his own conceit. In this way may more art be shown than in
1Willi Apel, Harvard Dictionary of Music, 2nd edition
(Cambridge, 1969), p. 308.
1
2
any other music because the composer is tied to nothing, but that he may add, diminish, and alter at his pleasure. And this kind will bear allowances whatsoever allowable in other music.2
In the sixteenth century the efforts to create a new
instrumental music were especially pronounced in music for
lute. The direction of music being taken can be illustrated
in the following examples. Luys Milan from Valencia wrote a
lute fantasia which is an imitative work with several soggetti
or musical themes (Figure 1).
Fig. 1--Luys Milan, lute fantasia, mm. 1-6
However Hans Newsidler composed a Preamble or Fantasy which
is mostly chordal progressions and bravura runs, therefore
lacking imitative traits (Figure 2).
29
Fig. 2--Hans Newsidler, Preamble or Fantasy, mm. 29-31
2 Thomas Morley, A plaine and Easie Introduction to practicall Musicke (London, 1597), Part III, p. 293.
4
3
These works show a novelty not to be found within the realm
of vocal music, although there was a fantasia type which
paraphrased vocal models and which remained in existence
even into the seventeenth century. One such fantasia by
Claude le Jeune paraphrased a motet by Josquin Desprez.3
The imitative principle continued as the underlying factor
coupled with the free characteristics of the fantasia, that
is, to alter contrapuntal ideas, to make the ideas more
sophisticated, or to interrupt counterpoint with freer
.4 sections.
In the seventeenth century techniques of thematic modi
fication became foundations for fantasia compositions.
Seldom were fantasias confined to one soggetto "except it
either be to show their variety at some odd time to see what
may be done upon one point without a ditty, or at the request
of some friend to show the diversity of sundry men's viens
upon one subject." 5 Additional examples of this species of
fantasia can be seen in Sweelinck's fantasias on chromatic
soggetti and in those on hexachord soggetti by Froberger.
Frescobaldi (1583-1643) did not distinguish clearly
between the forms of fantasia and ricercare. A ricercare
3 Peter Schleuning, "The Fantasy, 16th through 18th
Centuries," Das Musikwerk (Cologne, 1971), Vol. 42, pp. 8-9.
4 Schleuning, "The Fantasy," p. 8.
5 Morley, A plaine and Easie Introduction, Part III, p. 270.
4
at this time was an imitative work of one or more themes, a
counterpoint to the vocal motet and a forerunner of the
instrumental fugue (Figure 3).
Fig. 3--Frescobaldi, Ricercare dopo i Credo for organ, mm. 1-5.
Fantasia did, however, imply freedom from a vocal model.6
Girolamo Frescobaldi began his Fantasia sopra quattro
soggetti with several themes simultaneously and modified
them later (Figure 4).7
I_ _ _ _
N.E I3 _____________
Fig. 4--G. Frescobaldi, Fantasia sopra quattro soggetti
(1608), mm. 1-3.
Regarding string ensembles the aristocracy much preferred
viol music to that of the emerging family of violin instruments.
6Manfred F. Bukofzer, Music in the Baroque Era (New York,
1947), p. 49.
7 Schleuning, "The Fantasy, " p. 9.
I I I - IA IIrlo
5
But violins began to be introduced into viol music. William
Lawes (1592-1662) wrote a Fantazya for two violin, bass viol
and organ. 8 It is really a "fantasia-suite" because it is a
fusion of the polyphonic viol music and the dance music
associated with the violin.9 Stylistic changes can be
observed in fantasias by another important English composer,
John Jenkins (1592-1678). His earlier fantasias were very
much like ricercares and were written for viols. Jenkins'
later fantasias were for violins specifically and had a trio
sonata texture. 1 0
The chorale fantasia for organ (such as those by Scheidt
and Buxtehude) continued the traditional imitative style
owing to its connection with church music. Other imitative
fantasias for keyboard survived in Germany in the first half
of the eighteenth century. The best examples of this type
are J. S. Bach's three-part Sinfonien, originally titled
Fantasien in the first version of the Clavierbuchlein fur
Wilhelm Friedemann Bach. 11
The term fantasia retained no specific connotations
around the turn of the eighteenth century as an imitative
work or one in variation form. It was seldom used to denote
8 David D. Boyden, The History of Violin Playing From its
Origins to 1761 (London, 1965), p. 124.
9 Ibid., p. 140.
1 0Bukofzer, Music in the Baroque Era, p. 193.
1 1 Schleuning, "The Fantasy," pp. 12-13.
6
progressive works but instead became a broad term for compo
sitional types which were dying out, were being modified, or
had not yet been classified. For example, transitional
fantasias could be virtuoso movements like a sonata movement
from Vivaldi's Op. 2, No. 11 (1710) for violin and basso
continuo (Figure 5). Such a movement was often called a
caprice. 1 2
A bi
Vne
B.c.
Fig. 5--A. Vivaldi, Op. 2, No. 11, Allegro movement, mm. 1-4
The keyboard fantasias (1733) by Telemann were unique
for that time because the standard sequence of suite and
sonata were combined.1 3 These thirty-six fantasias fuse
French style galant with the Italian concerto form. Fur
thermore, Telemann achieved a semblance of cyclic form by
1 2 Ibid., p. 13.
1 3These were titled Fantaisies pour le Clavessin:
3 Douzaines. Telemann engraved and printed them himself
in 1733.
7
having them performed in pairs. For instance Fantasias
No. 1 and 2 would be played, then Fantasia No. 1 would be
repeated. 14
After seventeenth-century fantasia types and transi
tional types waned the free fantasia appeared. It included
aspects of the prelude, toccata, capriccio, cadenza, tombeau,
and instrumental recitative. All these genres were referred
to as fantasia around1700. The first free fantasias by
Johann Pachelbel and Georg Friedrich Kaufmann were super
seded by J. S. Bach's Chromatic Fantasy and Fugue (BWV 903),
circa 1730.
Solo Violin Forms in the Baroque Period
The Twelve Fantasias represent one of the few examples
of that form written specifically for violin. They emerged
during a time when much attention was focused on solo violin
music. The Fantasias bear no relation to the free fantasia
form, but do resemble solo sonatas and suites, or partitas.
The sonata exploited idiomatic virtuosic writing for the
violin. By the middle of the seventeenth century the sonata
had become either a sonata da camera or a sonata da chiesa.
The sonata da chiesa, or church sonata, was purely an instru
mental development. The chamber sonata, the sonata da
camera, developed along the same lines as the dance suite.
14Bukofzer, Music in the Baroque Era, p. 265.
8
Violin sonatas were either for solo violin and basso continuo
or for two violins and basso continuo (trio sonata instru
mentation).
The sonata's last stage of development involved a merger
of church and chamber elements. Sonata da Camera, Op. 1
(1692) by Antonio Veracini of the generation following
Corelli, almost effects a fusion with the sonata da chiesa
through the inclusion of free movements, Fantasia-Allegro
Allemanda-Pastorale-Giga.15 For solo sonatas and trio
sonatas the first movements were always the most important.
First movements consisted of mixed homophonic and imitative
styles. As differences between church and chamber sonatas
were minimized in the early decades of the eighteenth
century, those terms were dropped and replaced with "trio
sonata," scored for two treble instruments and basso continuo.
The solo violin sonata followed suit regarding the merging
of church and chamber elements.
J. S. Bach wrote three solo sonatas and three solo
partitas which are truly solo works--senza basso, without
accompaniment. The partitas are suites1 6 and the sonatas
are church sonatas. These six works point historically to
1 5 Apel, Harvard Dictionary of Music, p. 816.
1 6 The term partita derives from the French word partie, the seventeenth- and eighteenth-century name for suite. In the autograph Bach designated the violin suites as Partie. Only later were they erroneously labelled partita.
9
the time when the church and chamber sonata forms were
clearly delineated.
State of Violin Technique Circa 1730
Two treatises from the eighteenth century about violin
performance are Francesco Geminiani's The Art of Playing
on the Violin (published in London, 1751) and Versuch einer
grundlichen Violinschule by Leopold Mozart which was pub
lished in Augsburg in 1756. These treatises reveal what
had already been common practice for some time.
Geminiani and Mozart believed that left hand technique
could be fostered through the practicing of scales in all
of the first seven positions. Open strings were used to
facilitate scale passages, shifts, and the execution of
double stops.1 7
It is certain that Geminiani advocated a continuous
vibrato even though Mozart had a disdain for continuous
vibrato. According to Mozart vibrato should be restricted
to closing notes or to long sustained notes. His instructions
point to the fact that the eighteenth-century vibrato was,
generally speaking, slower than it is today.1 8
The eighteenth-century bow produced a natural articu
lation owing to its inherent crescendo at the beginning of
the stroke and the consequent diminuendo at the end of the
1 7 Boyden, The History of Violin Playing, p. 375.
1 8 Ibid., p. 387.
10
stroke. Therefore, the strokes would have had a separation
and clear articulation which is lacking in the modern bow.
The eighteenth-century d6tache was non-legato with a light,
clearly articulated sound, The modern martele is out of
place in Baroque music.1 9
Telemann's Life
In Magdeburg on March 14, 1681 Georg Philipp Telemann
was born to Heinrich and Maria Telemann. Heinrich died
when Georg was four and the child grew up rebelling against
his mother's constant suppression of his musical inclinations.
Music was considered a lowly profession and Maria had aspir
ations for Georg to follow in his father's footsteps as a
minister. He taught himself to play the violin and recorder
before he could even read music, and soon learned many other
instruments. When Georg had written his first opera at the
age of twelve his mother was frightened enough to give away
his music and instruments. However, Caspar Calvor, with
whom Georg studied four years, recognized his musical gifts
and encouraged him to practice.
Telemann began attending the University of Leipzig in
1701 at the age of twenty. That same year Telemann met
Georg Friedrich Handel and they nurtured a lifelong friend
ship. The cantorship at St. Thomas officially belonged to
Johann Kuhnau, but Telemann quickly established himself as
1 9 Ibid., pp. 386-387.
11
Kuhnau's equal and undertook some of the cantor's duties.
In 1705 Telemann worked at the Court at Sorau. Afterwards
he was located in Eisenach where his main task was to compose
church music.
Frankfurt, a city very much alive musically, became
Telemann's home in 1712. He was director of municipal music,
composed music for the Church of the Barefoot Friars, and
also became music director of St. Catherine's Church. He
channeled his energies further into the Collegium Musicum,
for which he served as musical director and secretary.
Telemann was more renowned in his own lifetime than was
J. S. Bach. In fact, Telemann was offered the cantorship
in Hamburg in 1721, having been chosen over Bach. In
Hamburg he supervised music at the grammar school and
directed musical activities in Hamburg's five principal
churches. He died of what was described as "severe chest
sickness" on June 25, 1767 after having held the Hamburg
cantorship for forty-six years.2 0
Among his works are forty operas and forty-four Pas
sions. He wrote twelve complete cycles of cantatas and
motets (over 3,000 works). Over 600 overtures flowed from
his pen as well as a large number of oratorios and other
church compositions. He wrote hundreds of orchestral and
chamber works such as trio sonatas. The Appendix contains
2 0 Richard Petzoldt, Georg Philipp Telemann (New York, 1974), p. 657.
12
a partial list of concerti and chamber works involving
violin.
General Comments About the Fantasias
The Twelve Fantasias constitute an interesting collection
which shows much diversity of form. Each fantasia ia a multi
movement work and some of the movements have a free impro
visatory character. In the free-form movements it is unlikely
that an initial hearing will provide the listener with a clear
idea of formal structure. Themes or motives are organically
unified in a natural progression of musical flow. Other
movements incorporate the imitative principle of sixteenth
and seventeenth-century fantasias. Still others elude
analysis. The diversity in this collection results because
types of movements and formal structures are inconsistent
from one fantasia to another.
Level of Technique
The Fantasias provide excellent teaching material for
students who are not yet ready to play the Bach unaccompanied
sonatas and suites. Each of the fantasias employs double and
triple stopping in addition to difficult string crossings.
None of the fantasias extends past fourth position. The
difficulty in performing this music lies in the skillful
execution of multiple stops and in the projection of the
musical ideas.
13
Performance Practices
Vibrato.--Without a doubt vibrato was a reality for
string instrument performance in the Baroque period.
Geminiani wrote that vibrato should be used as often as
possible while Leopold Mozart did not favor its continuous
use. 21
An agitated virtuosic vibrato is out of place for
Baroque music, a slow wide vibrato would disrupt the clarity
of tone for which one should be striving. A moderately wide
and even vibrato is in keeping with the transparent articulate
playing required for Baroque performance.2 2
Ornamentation.--In slow movements of solo or trio
sonatas the composer often provided merely a structural
skeleton of notes with the intent that the performer pro
vide ornamentation. This is the case in the Grave movement
of Fantasia No. 3. The Grave is really a three-measure
bridge between movements. Generally, the Fantasias are
not in need of much ornamentation. Fast movements have
enough figuration so that further ornamentation is useless.
In movements of moderate tempo occasional trills and
roulades may be added to enhance musical interest.
2 1 Robert Donington, String Playing in Baroque Music
(New York, 1977), p. 67.
22 Donington, String Playing, p. 68.
14
Volume.--The eighteenth-century violin and bow did not
produce the great volume to which twentieth-century audiences
are accustomed. Lesser volume was due to a flatter finger
board and shorter neck resulting in less string tension and
therefore less projection. Bridges were cut lower than at
present and gut strings were used (except the G string was
gut-wound). The twentieth-century performer is faced with
decisions concerning appropriate methods of playing Baroque
music with a modern bow and instrument. The goal is to
imitate the clear articulation of the Baroque bow. Regarding
volume of sound the performer must adapt to the hall. A
recital in a large hall requires a soloistic twentieth
century approach regarding volume while still preserving
correct articulation and style. To play with an inten
tionally reduced volume aimed towards authenticity would
result in a timid lackluster affect.
Tempo.--Regarding tempi care should be taken to recognize
movement headings such as "largo" and "allegro" to be charac
ter indications. "Largo" means "large, broad" so that a
tempo must be chosen to impart that feeling. "Vivace" is
often confused as being synonymous with "presto" but this
is a misconception. "Presto" truly means "fast" but "vivace"
simply means "lively, with life." Care must be exercised
when one is performing music from any style period to dis
cover the original meaning of such indications instead of
15
eagerly accepting ideas which may have evolved about move
ment titles.2 3
Fantasia No. 1 in B-Flat Major
This fantasia consists of a Largo and Allegro in B-flat
major and a Grave movement in G minor. The phrase "Si
replica l'allegro" at the end of the Grave instructs the
performer to repeat the Allegro. Therefore, the standard
plan of solo violin sonatas of that time, a slow-fast-slow
fast movement scheme is formed.
First Movement, Largo
The indication "largo" is a character indication which
means for the movement to be presented in a broad style.
The movement is formally free but achieves cohesion through
structural similarities shared among some of the themes,
particularly the triplet activity. A "spinning out" tech
nique provides organic unity for the movement. Pseudo
polyphony is prevalent. For example measures 1-4 feature
a descending bass line which is answered by a second higher
voice (Figure 6).
Laigo
Fig. 6--Telemann, Fantasia No. 1, Largo, mm. 1-4
2 3 Georges Janzer, "Reflections on Tempo Indications," from Concepts in String Playing (Bloomington, 1979), pp. 58-61.
16
Tonally the Largo is unstable so that it effects a feeling
of constant motion. It begins in B-flat major but in
measure 9 there begins a series of modulations. A B-flat
major chord is not reestablished as the tonic chord until
measure 38. Harmonic tension is sustained in the codetta
because attention is focused on V of V until a final reso
lution in measure 46 on the tonic chord.
Second Movement, Allegro
This movement begins with a fugue-like theme accompanied
by a second voice (Figure 7).
AllegroL
Fig. 7--Telemann, Fantasia No. 1, Allegro, mm. 1-3
The unifying device in this movement is the fugal idea when
it appears in G minor (m. 17) and in B-flat major (m. 36).
This B-flat rendition is a slight surprise because the
listener has been prepared to hear G minor harmony. The
other unifying factor in this movement is a passagework
bridge in measure 10 (Figure 8). Similar passagework will
be in the dominant key in measure 29.
17
Fig. 8--Telemann, Fantasia No. 1, Allegro, passagework, mm. 10, etc.
Third Movement, Grave
The Grave is a sarabande with five-measure phrase
lengths instead of the more usual four measure phrases.
It is homophonic with harmonic support by second and third
voices. The phrases combine to form an AABA plan, a written
out rounded binary form. The Grave is the only movement in
G minor in this fantasia.
Fantasia No. 3 in F Minor
The overall scheme, beginning with an Adagio movement,
is once again slow-fast-slow-fast, but the third movement,
Grave, is nothing more than a three-measure respite between
the Presto and Vivace. All movements bear a key signature
of three flats, one less than is necessary for the corrent
spelling of F minor, but this reflects a common Baroque
practice derived from the influence of modal harmonic
writing. This fantasia includes a dance movement, the
Vivace, which is a gigue.
18
First Movement, Adagio
The Adagio is a stately movement with a trio sonata
texture, meaning that there is melodic interest found in
the upper of two melodic lines while the second voice sup
plies harmonic support (Figure 9).
Adagio
Fig. 9--Telemann, Fantasia No. 3, Adagio, mm. 1-3
The initial theme is presented on the minor dominant (C minor)
in measure 6, after which the Adagio becomes formally free.
A half-cadence on C major effects an attacca to the Presto.
Second Movement, Presto
The unifying factor in this fantasia's most complex
movement is the recurrence of the initial theme between new
and completely unrelated themes. The first theme is a two
voiced contrapuntal idea six measures in length (Figure 10).
Imitative counterpoint characteristic of a solo sonata's
second movement is especially prevalent.
Presto
Fig. 10--Telemann, Fantasia No. 3, Presto, mm. 1-7
19
The principal theme is heard in E-flat major (m. 36), in
B-flat minor in measure 45, and reappears on the tonic,
F minor, in measure 64. Figure 11 illustrates the new
interjected themes.
J15
iI 1WT _N _ i
Fig. 11--Telemann, Fantasia No. 3, Presto, secondary themes, mm. 22-25, and mm. 29-36.
Third Movement, Grave
Only three measures long this Grave provides an oppor
tunity for ornamentation. Figure 12 shows the "bare bones"
version which is followed by a copy of my ornamentation for
the performance.
20
Grave
CL f2.J
Fig. 12--Telemann, Fantasia No. 3, Grave, followed by an ornamented version.
Fourth Movement, Vivace
This movement clearly shows the rounded binary structure
of dance movements, each large section to be repeated. It
3 is a gigue with a - time signature. Figure 13 shows the two
8
themes, followed by a diagram of the movement's form.
Fantasia No. 8 in E Major
Fantasias No. 8 through 12 all exhibit three-movement
schemes. All the movements in Fantasia No. 8 are in E major.
The second movement, Spirituoso, is a preludio not unlike
the Preludio from J. S. Bach's E Major Partita. This
fantasia's last movement, Allegro, is really a corrente.
First Movement, Piacevolmente
"Piacevolmente" means "pleasingly" or "agreeably" and
is a character indication for this moderate-tempo movement
21
CQcd C) so S
E- E
ILm
OC co,.o
rS
Q) C) C)
CQd -)
0
Sp CO
m d C
c d >) C)
fivJ cC
ONOH H 0 0i H
o C) P;4
22
with a - time signature. It is a free-form movement with the 4
initial motive (Figure 14), making only one other appearance
in measure 12. There are no outstanding features harmonically
or structurally that warrant further analysis.
Piacevolmente
Fig. 14--Telemann, Fantasia No. 8, Piacevolmente
Second Movement, Spirituoso
Sixteenth-note passagework and bariolage abound in this
movement as they do in the previously mentioned E Major
Preludio by Bach. Bariolage is a technique which involved
quick shifting back and forth between two or more strings
(Figure 15).
Fig. 15--Telemann, Fantasia No. 8, use of bariolage, mm. 16-17.
This is a binary form, each large section to be repeated.
The initial theme of the movement (Figure 16a) appears after
the repeat sign in inverted form (Figure 16b). This isfairly
common between A and B sections of a binary form work.
23
Spirituoso*
.? - 4 d.Rff U.. AM I --- -_ NdTtbt II __Fr____ .a Nis
I Piz Aen TI of* Add ; I mw I I I P-W _ m I adm"w 60
Fig. 16a--Telemann, Fantasia No. 8, Spirituoso, mm. 1-4; Fig. 16b, mm. 19-22.
The only other important thematic material (Figure 17) is
on the dominant level and reappears near the end of the
movement on the tonic (E major).
10t I I IWill' I li :J-H140
Fig. 17--Telemann, Fantasia No. 8, Spirituoso, secondary thematic material, mm. 8-11, on the dominant.
Third Movement, Allegro
The Allegro is simply a corrente, rounded binary in
structure. Theme A (Figure 18a) has a repeat indication and
of course returns to close the movement. The secondary theme
material is too nebulous to describe in detail and lasts
from measures 9-24. Figure 18b shows the formal structure.
.0 ~.40AEfiL.
7 . 1 dF vmljljzt-!f at waitil of -.%- -.4- lw AM IIW
--- - -.. I I , - -- a AD -,m
it IF p- I
w
-Ac; -Z-&A- g-mil -M
24
Theme A
Allegro
Formal Structure
, Theme A. .Secondary theme material Theme A , 4bars, 16 bars 1 4 bars
Fig. 18a--Telemann, Fantasia No. 8, Allegro, Theme A, mm. 1-4; Fig. 18b, formal structure.
Concluding Remarks
The Twelve Fantasias exemplify some of the experimen
tation in which Telemann was engaged regarding solo violin
literature and the fantasia, a form which had no specific
structure at that time. The interesting and varied results
provide a pleasing musical experience. The collection was
transcribed for viola and are more frequently performed by
violists. The violin student would gain greatly from
studying the works prior to attempting the Bach unaccompanied
works. The Fantasias certainly offer sufficient challenge
regarding the execution of multiple stops and difficult
string crossings. However, violinists of all levels, from
student to artist, would benefit from becoming more familiar
with the Twelve Fantasias.
APPENDIX*
(Concerti)
Works by Telemann Involving Violin
21 for solo violin 8 for two violins 1 for violin, violoncello 1 for violin, trumpet, violoncello 1 for 2 flutes, oboe, violin 1 for oboe and violin 1 for three violins
(Works without basso continuo) Sonates sans basse for 2 flutes, violin, recorder Suite in D for 2 violins Twelve Fantasias for violin Duo for 2 violins Concerto for 4 violins
(Works for
(Works for
(Quartets)
one instrument and basso continuo) Six Sonatas for violin and b.c. Sei Suonatine for violin, harpsichord Solos, violin, b.c. Sonate metodiche, flute or violin, b.c. Three solo sonatas for flute, violin, or oboe in
Musique de Table XII Solos, violin or flute
two instruments and basso continuo) Six trio sonatas, violin, oboe Sonates en trio, flutes, violins, oboes Twelve trio sonatas in Essercizii musici
Quadri, violin, flute, viola da gamba or violoncello, b.c.
Three quartets in Musique de Table Six quatuors ou trios, two flutes and violin;
two violoncelli and bassoon Quatrieme livre de quatuors, flute, violin,
viola, b.c.
*Extracted from "Telemann" by Martin Ruhnke, The New Grove Dictionary of Music and Musicians, pp. 657-658.
25
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26
27
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