Dear all, my brand-new version of Telemann’s Fantasia n.1 is finally out!
This new version of G.Ph.Telemann's Fantasia n.1 (original for solo violin) stems from my need to share with you the experiences accumulated in the field of Baroque music since 1998 (the year of the publication of the complete Fantasias).
This edition is in Gmaj (with capo at the II fret), has all ornaments written in out (not only mordents or trill but also cadenzas and melodic line played around) and it has much fuller harmonies.
In few words: a totally new and convincing concept of sonority and articulation for this wonderful and popular piece! I am sure you will love it!
This new version of G.Ph.Telemann's Fantasia n.1 (original for solo violin) stems from my need to share with you the experiences accumulated in the field of Baroque music since 1998 (the year of the publication of the complete Fantasias). The great popularity that this Fantasia has acquired in the guitar world thanks to the sublime beauty of the initial Largo and the straightforward spontaneity of the Allegro Fugue was also decisive in this choice. It proved to be an ideal piece for this not only in concert but also for competitions and auditions.
This new edition presents the Fantasia in the key of G major combined with the use of the capotasto (in second position). The sounds obtained are very particular due to the large number of open strings present, which allows absolutely convincing articulation and campanella effects as well as fuller harmony overall.
However, the main difference with the previous edition, lies in the writing in full of all the embellishments, both of those intended as such (for example: mordents, trills, etc.) and which are applied on single notes, and of the arbitrary ones (i.e. the rewriting of the melodic profile, of the connecting and concluding cadences, etc.), i.e. of that part of the transcription work that goes by the name, to use a synthetic German word, of 'Mitkomponieren' (mit = together + komponieren = to compose) .
This is particularly interesting in the Fugue which, as requested by the composer himself, must be repeated twice (with the Grave in the middle). It goes without saying that this modus operandi perfectly reflects the aesthetics of the transcription of the Baroque period; one thinks, for example, of the period transcription of the Fuga BWV 1001 (for organ) or the Sonata BWV 1003 (for harpsichord). I wish you much joy with this positive and straightforward music!