12 Fantasias for Solo Violin (Telemann)

Collection of fantasias composed by Georg Philipp Telemann thumb|Title page of 12 Fantasias for Solo Violin. Georg Philipp Telemann's collection of 12 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.Anon. 2015. This collection consists of the following works: Fantasia in Bflat major (Largo—Allegro—Grave—Si replica l'allegro) Fantasia in G major (Largo—Allegro—Allegro) Fantasia in F minor (Adagio—Presto—Grave—Vivace) Fantasia in D major (Vivace—Grave—Allegro) Fantasia in A major (Allegro—Presto—Allegro—Presto—Andante—Allegro) Fantasia in E minor (Grave—Presto—Siciliana—Allegro) Fantasia in Eflat major (Dolce—Allegro—Largo—Presto) Fantasia in E major (Piacevolumente—Spirituoso—Allegro) Fantasia in B minor (Siciliana—Vivace—Allegro) Fantasia in D major (Presto—Largo—Allegro) Fantasia in F major (Un poco vivace—Soave—Da capo un poco vivace—Allegro) 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.Zohn 2008 427 & 428 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.Zohn 2008 430 Telemann's violin fantasias exhibit mastery of not only compound melodic lines, but also of idiomatic writing for violin,Zohn, Grove. 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:Parish 2000 297 & 298 fantasias 2, 3, 5, 6, and 10 all include fugues and employ much double-stopping. References Notes Sources http://www.telemann.org/telemann-zentrum/news/109.html Sensationelle Wiederentdeckung Anon. 2015-08-10 Zentrum für Telemann-Pflege und -Forschung Magdeburg 2016-02-21 2016-03-03 https://web.archive.org/web/20160303164843/http://www.telemann.org/telemann-zentrum/news/109.html dead Parish Carl A Treasury of Early Music 2000 Courier Dover Publications 978-0-486-41088-3 Georg Philipp Telemann Zohn, Steven Zohn Steven 2008 Music for a Mixed Taste: Style, Genre, and Meaning in Telemann's Instrumental Works Oxford University Press US 978-0-19-516977-5 registration https://archive.org/details/musicformixedtas00zohn_0 External links 12 Fantasias for Violin without Bass, TWV 40:14-25 (Telemann, Georg Philipp) 12 Fantasias for Solo Violin Classical music Fantasia Telemann Telemann