Viola Fantasies
Georg Philipp Telemann composer
Misha Galaganov viola
VIOLA FANTASIES from virtuoso Misha Galaganov presents the groundbreaking solo works Fantasies for Bass Viol (1735) by Baroque composer Georg Philipp Telemann. These compositions are the only known solo works from a major Baroque composer to almost ideally complement the modern viola’s range and tonal characteristics. In this album, Galaganov uses natural gut strings and modern tuning to interpret Telemann’s beautiful melodies, inventive polyphony, and dance rhythms. Galaganov uses his scholastic research, knowledge, experience, and musical instincts to inform each performance regarding dynamics, tempi, ornamentation, and other aspects of interpretation. Essential and pleasant listening for all audiences, these works also offer a study in polyphony, ornamentation, bow technique, and more.
Track Listing & Credits
| # | Title | Composer | Performer | |
|---|---|---|---|---|
| 01 | Fantasia 1 (Allegro - Allegro) | Georg Philipp Telemann, arr. Misha Galaganov | Misha Galaganov, viola | 4:12 |
| 02 | Fantasia 2 (Vivace - Andante - Vivace Da Capo - Presto) | Georg Philipp Telemann, arr. Misha Galaganov | Misha Galaganov, viola | 6:18 |
| 03 | Fantasia 3 (Largo - Presto - Vivace) | Georg Philipp Telemann, arr. Misha Galaganov | Misha Galaganov, viola | 5:28 |
| 04 | Fantasia 4 (Vivace - Grave - Allegro) | Georg Philipp Telemann, arr. Misha Galaganov | Misha Galaganov, viola | 5:50 |
| 05 | Fantasia 5 (Allegro - Largo - Allegro) | Georg Philipp Telemann, arr. Misha Galaganov | Misha Galaganov, viola | 4:32 |
| 06 | Fantasia 6 (Scherzando - Dolce - Spirituoso) | Georg Philipp Telemann, arr. Misha Galaganov | Misha Galaganov, viola | 4:41 |
| 07 | Fantasia 7 (Andante - Vivace - Allegro) | Georg Philipp Telemann, arr. Misha Galaganov | Misha Galaganov, viola | 4:00 |
| 08 | Fantasia 8 (Allegro - Grave - Vivace) | Georg Philipp Telemann, arr. Misha Galaganov | Misha Galaganov, viola | 4:30 |
| 09 | Fantasia 9 (Presto - Grave - Allegro) | Georg Philipp Telemann, arr. Misha Galaganov | Misha Galaganov, viola | 4:38 |
| 10 | Fantasia 10 (Dolce - Allegro - Dolce - Allegro - Siciliana - Scherzando) | Georg Philipp Telemann, arr. Misha Galaganov | Misha Galaganov, viola | 4:17 |
| 11 | Fantasia 11 (Allegro - Grave - Allegro) | Georg Philipp Telemann, arr. Misha Galaganov | Misha Galaganov, viola | 5:01 |
| 12 | Fantasia 12 (Andante - Allegro - Vivace) | Georg Philipp Telemann, arr. Misha Galaganov | Misha Galaganov, viola | 3:21 |
Recorded December 26-30, 2023 & January 2-5, 2024
Recording Session Producer Misha Galaganov
Recording Session Engineer Scott Probst
Executive Producer Bob Lord
VP of A&R Brandon MacNeil
A&R Chris Robinson
VP of Production Jan Košulič
Audio Director Lucas Paquette
VP, Design & Marketing Brett Picknell
Art Director Ryan Harrison
Design Edward A. Fleming
Publicity Kacie Brown
Digital Marketing Manager Brett Iannucci
Artist Information
Misha Galaganov
Dr. Mikhail “Misha” Galaganov is Professor of Viola and Chair of Strings at Texas Christian University (TCU). As a soloist and chamber musician he has premiered more than 30 compositions for viola alone, viola with piano, and viola in chamber music, written for him by composers from Israel, Russia, Mexico, Peru, Belgium, Italy, Uruguay, and the United States. He also premiered his own arrangement of the 12 Fantasies for Bass Viol by Georg Philipp Telemann on viola — the first live performance of all bass viola fantasies on viola in one concert. As Principal Viola of the Dallas Chamber Symphony, Galaganov has premiered several pieces written for a small symphony orchestra and for string chamber ensembles.
Notes
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.
