Twelve Fantasias - Telemann/Klages for unaccompanied BC Euphonium In the baroque era the distinction between performers and composers was not nearly as clear as it has since become. Telemann was typical of most composers in that he was also a professional performer--at a very high level, in fact--and most performers were far better versed in composition and improvisation than their twentieth-century counterparts. Accepting the invitation implicit in the title, I like to think of Telemann's Fantasias as written-down improvisations by a very quick-witted composer/flutist, able to imply two-part counterpoint (not so far-fetched, when we recall that Bach could improvise at the keyboard in strict four-part counterpoint), and with a variety of surprises in store for the attentive listener. - JK

Originally for 2 horns and strings, this arrangement now features the 2 trumpets with the remainder of the ensemble performing the string parts. The first trumpet part works best when played on E-flat trumpet to keep the lightness and grace in the writing and an agile trombone player is required to perform the arpeggiated string lines. The stately maestoso is an often performed work especially by period instrument ensembles and the fanfare-type figures lend themselves well to the brass quintet. At less than 3 minutes in length, this work is not too strenuous but is an interesting addition to the quintet repertoire.

Originally scored for trumpet, 2 oboes and basso continuo, the sound of this instrumentation remains close to Telemann's original writing. It is suggested that a bassoon play the continuo line (which again is offered in B-flat, C and D) and three trumpets of same or different pitches play the trumpet and oboe parts. An exciting work for solo trumpet, now for trumpet ensemble, the nimble and interesting oboe parts are also given to trumpets. Three equally competent performers are required to execute the 33 top lines as the contrapuntal writing has all parts contributing to the melody line as well as in a supporting role. Either three piccolo trumpets in the key of D or 3 E-flat trumpets in the key of B-flat make this a new found gem in the trumpet ensemble repertoire.

This is the beautiful slow movement from the famous trumpet concerto arranged for 2 trumpets and keyboard. In this movement the oboes, replaced here by trumpets, play an elegant duet over a simple wandering continuo line. This is a Da Capo aria in which the D.C. has been written out with some suggested ornaments. This is a gem of a piece that would work well at a church or wedding service as well as on a concert.

Georg Philipp Telemann: Autobiographie. "1718, 1729, 1739"

Edition Holzinger. Taschenbuch

Berliner Ausgabe, 2013

Vollstandiger, durchgesehener Neusatz bearbeitet und eingerichtet von Michael Holzinger

Autobiographie 1718: Erstdruck in: Johann Mattheson: Grosse General-Bass-Schule. Oder: Der exemplarischen Organisten-Probe. Zweite, verbesserte und vermehrte Auflage, Hamburg (Johann Christoph Kissner) 1731.

Autobiographie 1729: Erstdruck in: Johann Gottfried Walther: Musicalisches Lexicon Oder Musicalische Bibliothec, Leipzig (Wolffgang Deer) 1732.

Autobiographie 1739: Erstdruck in: Johann Mattheson: Grundlage einer Ehren-Pforte, Hamburg (Verfasser) 1740.

Textgrundlage sind die Ausgaben: Telemann, Georg Philipp: Lebens-Lauff. In: Johann Mattheson: Grosse General-Bass-Schule. Oder: Der exemplarischen Organisten-Probe. Zweite, verbesserte und vermehrte Auflage, Hamburg: Johann Christoph Kissner, 1731, S. 168-180 (Nachdruck in: Studien zur Auffuhrungspraxis und Interpretation von Instrumentalmusik des 18. Jahrhunderts. Heft 3: Georg Philipp Telemann, Autobiographien 1718, 1729, 1739, Herausgegeben von Eitelfriedrich Thom, Blankenburg/Harz 1977, S. 10-22). Artikel Telemann (Georg Philipp). In: Johann Gottfried Walther: Musicalisches Lexicon Oder Musicalische Bibliothec, Leipzig: Wolffgang Deer, 1732, S. 596-597 (Nachdruck in: Studien zur Auffuhrungspraxis und Interpretation von Instrumentalmusik des 18. Jahrhunderts. Heft 3: Georg Philipp Telemann, Autobiographien 1718, 1729, 1739, Herausgegeben von Eitelfriedrich Thom, Blankenburg/Harz 1977, S. 33-34). Telemann. In: Johann Mattheson: Grundlage einer Ehren-Pforte, Hamburg: Verfasser, 1740, S. 354-369 (Nachdruck in: Studien zur Auffuhrungspraxis und Interpretation von Instrumentalmusik des 18. Jahrhunderts. Heft 3: Georg Philipp Telemann, Autobiographien 1718, 1729, 1739, Herausgegeben von Eitelfriedrich Thom, Blankenburg/Harz 1977, S. 36-51).

Herausgeber der Reihe: Michael Holzinger

Reihengestaltung: Viktor Harvion

Umschlaggestaltung unter Verwendung des Bildes: Georg Philipp Telemann, koloriertes Aquatintablatt von Valentin Daniel Preisler nach einem verschollenen Gemalde von Ludwig Michael Schneider (1750)