Bladmuziek
Componist(en):
Uitgever('s):
Uitgavenummer:
BPA2820
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Overige informatie:
Viacheslav Dinerchtein
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“The four collections of fantasias for flute, keyboard, violin, and viola da gamba published by Telemann between 1732 and 1736 include some of the most original and successful music for unaccompanied melody instrument from the eighteenth century. Hence the loss of the viola da gamba fantasias is especially unfortunate,” wrote music historian Steven Zohn in 2008 in his comprehensive study of Telemann’s life and work.
Little could anyone imagine at the time that a few years later the entire set, Fantaisies pour la Basse de Violle, thought to have perished for almost three centuries, would fortuitously be rediscovered in a
private collection in Germany in a perfectly preserved copy.
The extraordinary finding, which appeared promptly before Telemann’s 250 year commemoration, was celebrated in 2016 in Telemann’s hometown of Magdeburg with a facsimile release, along with a concert and recording presentation by the gambist Thomas Fritzsch, regarded as largely responsible for making the Fantasias available to the musical fraternity. The set was further welcomed with eight CD releases within only two years of the discovery, an arrangement for flute, and a documentary, 12 Fantasies, the Magic of Notes, in which the legendary da gamba virtuoso Paolo Pandolfo, having already recorded the Fantasias, is seen observing, “This is new music for everybody; new music for me too – it is not yet part of my repertoire. We are still in a big work-in-progress phase.” Clearly, the collection’s rise excels
our capacity to assimilate its arrival.
The viol fantasias are works of remarkable inventiveness and variety of styles, ranging from simple binary movements to complex fugal counterpoint. Although originally written for advanced amateur gambists, this music is a challenge for any professional player, as it demands from the performer both mature thinking and an absolute technical mastery of the instrument. The collection is structured to progress through tonalities in a more or less stepwise ascending order. Akin to the fantasias for flute and violin solo, it gravitates toward the keys that are more practical and resonate better, invariably due to the instrument’s tuning. This is one point of interest for modern violists, in that two of the viola’s strings are tuned identically to those of the da gamba and two others with a one octave difference.
A yet more pronounced parallel between the viola and the viola da gamba is their largely matching register, which is to some extent the raison d’être of the present arrangement, as, of all modern
strings, the viola finds itself in the most privileged position for such an adaptation.
Preparing this edition rendered a number of behind-the-scene obstacles. While sharing much of the register with the viola, the fretted seven-stringed viola da gamba is an entirely different instrument, with its own characteristics and origins. In what concerns technical matters, both are truly worlds apart. For this adaptation that meant walking a fine line between adherence to the original text and its playability on the viola.
One technicality to overcome concerned octave transpositions. The viol’s register extends beyond that of the viola and each compulsory detour needed to blend organically into the larger musical picture. Another often encountered type of decision had to do with chord layout. The departing point was the
belief that Telemann’s written-out chords serve as more than merely decorative frills; that they have a special intended place in the musical narrative. And so it is in the spirit of loyalty to the original that numerous chords were preserved intact, albeit being unconventional in the modern viola practice.
Viacheslav Dinerchtein
Componist(en):
Uitgever('s):
Uitgavenummer:
BPA2820
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ISBN:
9790015282003
Volgnummer:
921997
Thema('s):
Overige informatie:
Viacheslav Dinerchtein
