
Wydawnictwo: Lawo Classics
Nr katalogowy: LWC 1212
Nośnik: 1 CD
Data wydania: luty 2022
EAN: 7090020182346
Nr katalogowy: LWC 1212
Nośnik: 1 CD
Data wydania: luty 2022
EAN: 7090020182346
Telemann: 12 Solo Fantasias
Lawo Classics - LWC 1212
Kompozytor
Georg Philip Telemann (1681-1767)
Georg Philip Telemann (1681-1767)
Wykonawcy
Caroline Eidsten Dahl, recorder
Caroline Eidsten Dahl, recorder
Utwory na płycie:
12 Fantasias for Solo Flute, No. 4 in D major, TWV 40:2–13 - II. Allegro
12 Fantasias for Solo Flute, No. 4 in D major, TWV 40:2–13 - III. Presto
12 Fantasias for Solo Flute, No. 5 in E-flat major, TWV 40:2–13 - I. Presto – Largo – Presto – Dolce
12 Fantasias for Solo Flute, No. 5 in E-flat major, TWV 40:2–13 - II. Allegro
12 Fantasias for Solo Flute, No. 5 in E-flat major, TWV 40:2–13 - III. Allegro
12 Fantasias for Solo Flute, No. 6 in F minor, TWV 40:2–13 - I. Dolce
12 Fantasias for Solo Flute, No. 6 in F minor, TWV 40:2–13 - II. Allegro
12 Fantasias for Solo Flute, No. 6 in F minor, TWV 40:2–13 - III. Spirituoso
12 Fantasias for Solo Flute, No. 7 in F major, TWV 40:2–13 - I. Alla Francese
12 Fantasias for Solo Flute, No. 7 in F major, TWV 40:2–13 - II. Presto
12 Fantasias for Solo Flute, No. 1 in C major, TWV 40:2-13 - I. Vivace
12 Fantasias for Solo Flute, No. 8 in G minor, TWV 40:2–13 - I. Largo
12 Fantasias for Solo Flute, No. 8 in G minor, TWV 40:2–13 - II. Spirituoso
12 Fantasias for Solo Flute, No. 8 in G minor, TWV 40:2–13 - III. Allegro
12 Fantasias for Solo Flute, No. 9 in G major, TWV 40:2–13 - I. Affettuoso
12 Fantasias for Solo Flute, No. 9 in G major, TWV 40:2–13 - II. Allegro
12 Fantasias for Solo Flute, No. 9 in G major, TWV 40:2–13 - III. Grave
12 Fantasias for Solo Flute, No. 9 in G major, TWV 40:2–13 - IV. Vivace
12 Fantasias for Solo Flute, No. 10 in A minor, TWV 40:2–13 - I. A tempo giusto
12 Fantasias for Solo Flute, No. 10 in A minor, TWV 40:2–13 - II. Presto
12 Fantasias for Solo Flute, No. 10 in A minor, TWV 40:2–13 - III. Moderato
12 Fantasias for Solo Flute, No. 1 in C major, TWV 40:2-13 - II. Allegro
12 Fantasias for Solo Flute, No. 11 in B-flat major, TWV 40:2–13 - I. Allegro
12 Fantasias for Solo Flute, No. 11 in B-flat major, TWV 40:2–13 - II. Adagio
12 Fantasias for Solo Flute, No. 11 in B-flat major, TWV 40:2–13 - III. Vivace
12 Fantasias for Solo Flute, No. 11 in B-flat major, TWV 40:2–13 - IV. Allegro
12 Fantasias for Solo Flute, No. 12 in B-flat minor, TWV 40:2–13 - I. Grave – Allegro – Grave – Allegro – Dolce – Allegro
12 Fantasias for Solo Flute, No. 12 in B-flat minor, TWV 40:2–13 - II. Presto
12 Fantasias for Solo Flute, No. 2 in C minor, TWV 40:2–13 - I. Grave
12 Fantasias for Solo Flute, No. 2 in C minor, TWV 40:2–13 - II. Vivace
12 Fantasias for Solo Flute, No. 2 in C minor, TWV 40:2–13 - III. Adagio
12 Fantasias for Solo Flute, No. 2 in C minor, TWV 40:2–13 - IV. Allegro
12 Fantasias for Solo Flute, No. 3 in D minor, TWV 40:2–13 - I. Largo – Vivace – Largo – Vivace
12 Fantasias for Solo Flute, No. 3 in D minor, TWV 40:2–13 - II. Allegro
12 Fantasias for Solo Flute, No. 4 in D major, TWV 40:2–13 - I. Andante
12 Fantasias for solo flute, TWV 40:2–13 (transposed for recorder):
Fantasia 1 in C major
Fantasia 2 in C minor
Fantasia 3 in D minor
Fantasia 4 in D-flat major
Fantasia 5 in E-flat major
Fantasia 6 in F minor
Fantasia 7 in F major
Fantasia 8 in G minor
Fantasia 9 in G major
Fantasia 10 in A minor
Fantasia 11 in B-flat major
Fantasia 12 in B-flat minor
Fantasia 1 in C major
Fantasia 2 in C minor
Fantasia 3 in D minor
Fantasia 4 in D-flat major
Fantasia 5 in E-flat major
Fantasia 6 in F minor
Fantasia 7 in F major
Fantasia 8 in G minor
Fantasia 9 in G major
Fantasia 10 in A minor
Fantasia 11 in B-flat major
Fantasia 12 in B-flat minor
Dance in Telemann’s Fantasias for Solo Flute
Minuets, sarabands, bourrées, gigues, gavottes, hornpipes and polonaises. Like many other composers, Georg Philipp Telemann (1681–1767) used dance as a foundation for his compositions and this is no more evident than in his fantasias for flute, where we find several examples. Although the music is written for neither the ballroom, theatre nor opera, references to the baroque French court dance are clear and abundant. The music therefore invites something more than a pure listening experience, also evoking movement and corporeal responses.
When music of the 18th century is interpreted today it is not necessarily the qualities of dance which set the framework for the performance. Nor were the fantasias for flute written specifically for dance. Even though the form is free, the references to dance can still provide indications and inspiration for further ways to experience the music. One of these is tempo. If dance tune is played too slowly, the dance will be affected by it. For example, balancing on one leg and pirouetting will require a stronger technique. Too slow a tempo could lead to a certain stiffness, but a tempo can also be too fast, in which case it would be challenging for the dancer to perform all steps with the required precision.
It is not always as easy to recognise the underlying dance in the music, but given the required effort the rhythms and different characteristics of the dances can be sensed – the swing, flow and movement in the basic structures of the music can be perceived. Let your fantasy unwind, open up the creative space, and allow the music to move both body and soul!
Recorded in Bragernes Church, Drammen, 25-26 February & 26 April 2019. Instrumentarium: Alto recorder after P.I. Bressan Hz 415 by Fred Morgan/Nikolaj Ronimus, Denmark; Voiceflute after P.I. Bressan Hz 440 by Luca de Paolis, Italy.
Minuets, sarabands, bourrées, gigues, gavottes, hornpipes and polonaises. Like many other composers, Georg Philipp Telemann (1681–1767) used dance as a foundation for his compositions and this is no more evident than in his fantasias for flute, where we find several examples. Although the music is written for neither the ballroom, theatre nor opera, references to the baroque French court dance are clear and abundant. The music therefore invites something more than a pure listening experience, also evoking movement and corporeal responses.
When music of the 18th century is interpreted today it is not necessarily the qualities of dance which set the framework for the performance. Nor were the fantasias for flute written specifically for dance. Even though the form is free, the references to dance can still provide indications and inspiration for further ways to experience the music. One of these is tempo. If dance tune is played too slowly, the dance will be affected by it. For example, balancing on one leg and pirouetting will require a stronger technique. Too slow a tempo could lead to a certain stiffness, but a tempo can also be too fast, in which case it would be challenging for the dancer to perform all steps with the required precision.
It is not always as easy to recognise the underlying dance in the music, but given the required effort the rhythms and different characteristics of the dances can be sensed – the swing, flow and movement in the basic structures of the music can be perceived. Let your fantasy unwind, open up the creative space, and allow the music to move both body and soul!
Recorded in Bragernes Church, Drammen, 25-26 February & 26 April 2019. Instrumentarium: Alto recorder after P.I. Bressan Hz 415 by Fred Morgan/Nikolaj Ronimus, Denmark; Voiceflute after P.I. Bressan Hz 440 by Luca de Paolis, Italy.