Telemann’s Twelve Fantasies for Violin Without Bass
Georg Phillip Telemann (1681-1767) was one of the most prolific of the prominent late
Baroque composers and was more highly regarded than J. S. Bach during his lifetime. He
could write with ease in the different late Baroque and pre-Classical styles and composed
for most of the common musical media of the time, but not for guitar or lute. His Twelve
Fantasies for Violin Without Bass were composed in 1732. Each fantasie is in a different
key; performers who want to program a set of fantasies may group as many as they want
in any order that makes musical sense to them.
The fantasies are excellent concert repertoire that can be performed on the guitar in their
original keys, sounding one octave lower on the guitar than on the violin. They contain
more fast passages than slow and the slow passages have few long held notes, so the
guitar’s relative lack of sustain is not a problem. The first six fantasies make full use of
the baroque violin’s chordal capabilities resulting in many passages which feel as though
they were written for the guitar. In the last six fantasies the writing is much less chordal,
with near continuous use of implied polyphony, which sounds natural on guitar when
well understood, fingered and performed. In fact, the guitar can sustain so many notes in
the notated and implied polyphony which the violin can’t that, in some ways, the works
may sound better on guitar. In many places I have filled out chords and added bass lines
to the original.
The Guitar Transcription
I attempted to make the polyphony as clear as possible while keeping the score as
uncluttered as possible. Mostly, I have notated two voices but at times I have employed
single line notation with some double stemmed notes to indicate the second voice. Thumb
markings usually indicate the beginning of a bass line. Left hand fingerings usually imply
the multi-voice texture when there are more than two voices. The performer needs to
remain sensitive to polyphonic possibilities that are not explicitly notated.
I have used the symbol ✪ to indicate theme entries in the fugal and quasi fugal
passages, Π to indicate hemiolas, and commas to divide motives and phrases. An
extremely important, and much neglected, aspect of Baroque interpretation is the study of
the small motivic units that make up many larger phrases; knowing and hearing these
units results in a more expressive performance. I have indicated only some of the possible
motivic divisions, primarily the more hidden ones in fast moving lines where many
students might not be aware of the subdivisions within the line. The commas DO NOT
indicate stopping points but merely the hint of a breath with the possibility of a slight
detaching of the last note before the comma and a slight attack on the first note in the new
unit. Small tone or dynamic changes can often be effectively employed at these tiny
“breath” spots. These are usually the logical places to change dynamics in terraced
dynamics passages.
V3:
piv.:
a three string bar at the fifth fret.
pivot into or out of a bar with the first finger.
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Interpretive Markings and Slurs
In addition to providing Italian tempo designations at the beginning of each musical
section Telemann has included some dynamic markings, staccatos, slurs and ornaments.
In these transcriptions all dynamic markings, except for the few bracketed echo effects,
are Telemann’s. I have changed many of the original staccato and slur markings, because
the violin originals didn’t translate well to the guitar. In the fugal and quasi fugal
passages, wherever practical, I suggested the same articulation for each statement of the
theme. In written-out repeats I often gave the repeat a different articulation to give
players a feel for the variety of possibilities. In fast sections a slightly slower tempo with
more varied articulations and motivic groupings can be more interesting and exciting than
a faster tempo with a long row of unvaried notes.
Ornaments
The only two ornament markings Telemann employs in these fantasies are the trill
symbol (tr) and grace notes in small note heads (without slashes). Grace notes can be
interpreted as long or short, depending on the musical context, and in a slow passage a
single grace can work well as a trill or other type of longer ornament. Depending on the
musical situation and the length of the note, trills can be long or short, with or without a
termination, or a long or short appoggiatura, measured or unmeasured. Most ornamented
long notes require trills while some quick notes will receive appoggiaturas. Each of
Telemann’s trills should begin on the note above the main note. Employing small note
heads with slashes I have indicated many one and two note trill terminations. These are
only possibilities; the important thing is that the ornament suits the passage and flows
well into the following note. I have suggested some two string trills; the fingering makes
it obvious which these are. Although it is somewhat standard Baroque performance
practice to improvise extra ornamentation and embellishment, these fantasies are
composed in a highly ornamented style with mostly short note values and need little extra
ornamentation. Some players, depending on their taste and technique, may however want
to do more.
Metronome Markings
Metronome suggestions are mine. I have given very slow quarter note tempos in some
movements because those passages feel better to me when played with a quarter note beat
than with a subdivided eighth beat. With the exception of Fantasie 12, Telemann’s time
signature for prestos is common time but the music flies in cut time so I have made half
note suggestions.
Fingerings
Many different fingerings are possible; I have suggested fingerings that best bring out the
polyphony. Sometimes the fingering suggested is not the easiest possibility but the one I
think best balances musical and technical considerations. I have included almost no right
hand fingering because different fingerings can produce the same musical result. My
thumb indications usually point to the beginning of a bass line that can be brought out in
its entirety with the thumb.
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A Musical Conclusion (and Beginning)
My fingering, slur, staccato, hemiola, comma and voice duration suggestions are only
that, suggestions. Some students may accept most or all suggestions but more advanced
performers may use them as a starting point for their own explorations. As I play through
these pieces I continue to experiment and find new possibilities for fingering, articulation,
motivic grouping and dynamics. I have provided thoughtful musical possibilities; I
encourage guitarists to try the suggestions and then do their own exploring.
Biography
David Letkemann has a Master of Music degree in classical guitar performance from the
University of Western Ontario. He was a long-time teacher at Brandon University and
now teaches primarily in his private studio.
In public performances David Letkemann should be listed on the program as the arranger.
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