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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27

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