Viola Fantasies

Telemann’s Fantasies for Bass Viol (1735) are the first and, so far, the only known solo works by a major Baroque composer that fit the modern viola ideally in range and tonal characteristics. As such, they will surely become indispensable for violists.

While preparing the pieces for a recording, I made decisions and discoveries as outlined below:

REPEATS
I decided not to repeat sections for my performances and for this recording, except when different endings were specified.

ORNAMENTATION AND IMPROVISATION
At Telemann’s time, performers improvised and added their own embellishments and ornamentation to that which was written by a composer. For example, see Telemann’s educational Sonate Melodiche à Violino Solo ò Flauto traverso and 3 Trietti methodici e 3 Scherzi with written out optional ornamentation by Telemann in all slow movements. Many movements in the Fantasies call for such a flight of fancy, especially Grave from Fantasia 9, Andante movements from Fantasia 7 and 12, and several others.

I believe that ornamentation and improvisation should be implemented on repeats, so that the audience is able to differentiate between notes originally written by a composer and those added by the performer. Since I did not take repeats, I felt it was my obligation to present all notes in their original form. I improvised a little when musical phrases were repeated in exactly the same way within a section. I also included my own extended cadenzas when it seemed that Telemann gave freedom for it in Fantasia 2 Vivace Da Capo, Fantasia 3 Largo, and in Fantasia 11 Allegro. I improvised short passages during fermatas and added trills in cadences if they are missing (but implied) in the manuscript.

GUT STRINGS AND TUNING
I used natural gut strings for all performances and for the recording. My viola is tuned to the modern A = 440 Hz.

DYNAMICS AND TEMPO
There are almost no dynamics in the manuscript. A performer has to use her or his own imagination and creativity.

Decisions about speed depend on the character of pieces, texture of music, resonance, and many other factors. How fast is an Allegro? One must be sensitive to the complexities of voicing and nature of one’s instrument to determine an appropriate speed for each individual section, as well as for each individual performer. There are many correct solutions!

FUGUES AND DANCES
Each odd-numbered Fantasia includes a fugue. In fact, Fantasia 11 features a fugue (Allegro) and fugato (Grave). All of the fugues are quite inventive and complex, especially considering that Telemann limited himself only to one printed page per each complete Fantasia!

Most movements, including the fugal ones, were composed with dance rhythms in mind. It is fun for a performer to try to figure out what dances they play. Working on the Fantasies, one can find Allemande, Bourrée, Gavotte, Rigadoon, Passacaglia, Sarabande, Passepied, Gigue, and other dances hidden under the common titles of Allegro, Grave, Vivace, etc. Understanding specific dance rhythms that underline each movement goes a long way towards determining a convincing interpretation of the works.

FANTASIES AS EDUCATIONAL TOOLS
The Fantasies are invaluable for learning techniques of polyphony on viola, practices of ornamentation and improvisation, and studies of dance rhythms. It is also a great “toolbox” for working on double stops, bow techniques, dexterity, cantilena, and many other components of string playing.

I hope this album will inspire you to explore the colorful and beautiful world of Telemann’s music.