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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)
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