Telemann 12 Fantasias for viola da gamba (Transcription for Guitar)

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Tracklist

1.
Fantasia No.1 TWV 40-26 I. Adagio - Allegro
02:52
2.
Fantasia No.1 TWV 40-26 II. Allegro
02:18
3.
Fantasia No.2 TWV 40-27 I. Vivace
02:09
4.
Fantasia No.2 TWV 40-27 II. Andante
02:10
5.
Fantasia No.2 TWV 40-27 III. Vivace da Capo
02:10
6.
Fantasia No.2 TWV 40-27 IV. Presto
01:17
7.
Fantasia No.3 TWV 40-28 I. Largo
03:07
8.
Fantasia No.3 TWV 40-28 II. Presto
01:37
9.
Fantasia No.3 TWV 40-28 III. Vivace
01:12
10.
Fantasia No.4 TWV 40-29 I. Vivace
04:08
11.
Fantasia No.4 TWV 40-29 II. Grave
00:41
12.
Fantasia No.4 TWV 40-29 III. Allegro
01:22
13.
Fantasia No.5 TWV 40-30 I. Allegro
02:11
14.
Fantasia No.5 TWV 40-30 II. Largo
01:26
15.
Fantasia No.5 TWV 40-30 III. Allegro
01:16
16.
Fantasia No.6 TWV 40-31 I. Scherzando
02:23
17.
Fantasia No.6 TWV 40-31 II. Dolce
04:08
18.
Fantasia No.6 TWV 40-31 III. Spirituoso
01:12
19.
Fantasia No.7 TWV 40-32 I. Andante
04:46
20.
Fantasia No.7 TWV 40-32 II. Vivace
01:26
21.
Fantasia No.7 TWV 40-32 III. Allegro
01:31
22.
Fantasia No.8 TWV 40-33 I. Allegro
01:45
23.
Fantasia No.8 TWV 40-33 II. Grave
02:42
24.
Fantasia No.8 TWV 40-33 III. Vivace
01:44
25.
Fantasia No.9 TWV 40-34 I. Presto
01:56
26.
Fantasia No.9 TWV 40-34 II. Grave
04:01
27.
Fantasia No.9 TWV 40-34 III. Allegro
01:39
28.
Fantasia No.10 TWV 40-35 I. Dolce - Allegro
03:31
29.
Fantasia No.10 TWV 40-35 II. Siciliana
01:58
30.
Fantasia No10 TWV 40-35 III. Scherzando
01:42
31.
Fantasia No.11 TWV 40-36 I. Allegro
01:56
32.
Fantasia No.11 TWV 40-36 II. Grave
01:38
33.
Fantasia No.11 TWV 40-36 III.Allegro
02:04
34.
Fantasia No.12 TWV 40-37 I. Andante
03:12
35.
Fantasia No.12 TWV 40-37 II. Allegro
01:54
36.
Fantasia No.12 TWV 40-37 III. Vivace
02:00

Description

Fantasia

Georg Philipp Telemann (1681-1767) was regarded by his contemporaries as one of the best composers of his time, but today we know that, in addition, he was the most prolific among all of them with more than three thousand works of different styles, many of which have never been known or the manuscripts were lost during the Second World War. Although his works were published both in Paris and in Germany, and these were acquired and distributed by musicians from all over Europe giving him more popularity than Johann Sebastian Bach, he was soon ignored and belittled until interest in his music gradually resurfaced in the twentieth century, thus slowly regaining the place that recognizes him as one of the great composers of his time. In this gradual process of recovering Telemann’s music, it has taken place sporadically and re-highlight the work of the Magdeburg composer. This is the case of the Fantasies pour la Basse de Violle, a collection of twelve fantasies for viola da gamba transcribed for guitar on this CD. The twelve fantasies were written and released by Telemann’s own publishing house in Hamburg in 1735 and considered lost until an original print was found in a private collection in 2015. These fantasies are instrumental compositions with origin from the Renaissance and are characterized by coming ‘only from the fantasy and skill of the author’, with formal and stylistic aspects that can openly vary between a free and improvised character to strict counterpoints and more or less standardized forms. They are therefore part of Telemann’s music collections for unaccompanied instruments, together with the XII Fantasias per il Violino, senza Basso, the twelve fantasias for flute and the thirty-six pieces for keyboard, all written between 1732 and 1735. The young and talented Portuguese gitarist Sandro Rodrigues has taken it upon himself to transcribe the these recently discovered Fantasies pour la Basse de Violle for guitar. After trying the first few transcriptions on guitar he found that this music works very well for this instrument also due to the similarities between the viola da gamba and guitar. On this CD Sandro Rodrigues brings the music of Georg Philipp Telemann to the 21st century on guitar without losing the soul of the 12 Fantasias.

Sandro Rodrigues (1996) started to study guitar, officially, at the age of 10 in the Academia de Música de S. João da Madeira, with Professor Carlos Moreira. In 2011 he entered de Escola Profissional de Música de Espinho, where he studied with Professor Tiago Emanuel Cassola for three years. In 2014 he started at the Conservatorio Superior de Música de Aragón in Zaragoza with the masters Pedro Mateo and Àlex Garrobé. He also studied Ancient Plucked Instruments with the theorbist Daniel Zapico. Sandro is now complementing his studies in the Netherlands with the Maestro Carlo Marchione. Sandro has premiered works from composers like Nuno Peixoto, Bernardo Pérez and Alberto Caracciolo and has been in masterclasses of great guitarists, such as Ricardo Gallén, Judicael Perroy, Dejan Ivanovic, Marco Socías, Marlon Titre, Marco Smaili and many others.

Additional information

Artists

Composers

Genre

,

Label

Production

Mediatrack

Recording engineer

Tom Peeters

Recording location

Renswoude, The Netherlands

Recording date

August & Dec 2019

Analog to digital converter

HAPI, Merging

Recording format

DSD256

Microphones

Bruel & Kjaer 4003, Neumann modified by Rens Heijnis

Cables

Acoustic Revive

Editing

Tom Peeters

Mastering engineer

Tom Peeters

Mastering equiment

Pyramix, Merging

Digital to analog converter

HAPI

Speakers

KEF Reference 105/3

Format

, , ,

Type

, , , , , , , ,

Press reviews

RBB Kultur

Die Notentexte mit Leben zu erfüllen gelingt dem Gitarristen mit seinem Instrument aus der Werkstatt von Paco Santiago Marin ganz vorzüglich. Jede Fantasie spielt Rodrigues mit einer eigenen Klangfarbe. Er überträgt die unterschiedlichen Stimmungen in sein Spiel, lässt ein heiteres Scherzando hell strahlen und gibt dem melancholischen Largo eine dunklere Färbung…Und so hat sich der 24 Jahre alte Musiker statt Profi-Fußballer zu werden, damals dann doch lieber der Gitarre zugewandt. Ein guter Entschluss, der jetzt eines der schönsten Gitarrenalben der letzten Zeit hervorgebracht hat. == ====== De gitarist slaagt er heel goed in om de noten met leven te vullen met zijn instrument uit de werkplaats van Paco Santiago Marin. Rodrigues speelt iedere Fantasie met een eigen timbre. Hij brengt de verschillende gemoedstoestanden over naar zijn spel, laat een opgewekte Scherzando helder klinken en geeft de melancholische Largo een donkerdere kleur … En zo koos de 24-jarige muzikant in plaats van profvoetballer destijds liever gitaar te spelen. Een goede beslissing die nu een van de mooiste gitaaralbums van de afgelopen tijd heeft opgeleverd. Hans Ackermann

Opus Klassiek, april 2020

Dat laatste geldt ook voor de smaakvolle bewerking voor gitaar solo, door de Portugese gitarist Sandro Rodrigues. Hoewel ik niet altijd positief tegen de meest uiteenlopende arrangementen aankijk is deze transcriptie zeker geslaagd te noemen, mede doordat deze fantasieën voor viola da gamba zich relatief gemakkelijk voor uitvoering op de gitaar lenen. Waar nog bijkomt dat Rodrigues ook als uitvoerend musicus in deze stukken het muzikanteske karakter ervan geheel en al intact laat. Of anders gezegd: de oorspronkelijke eigenschappen blijven mede dankzij dit gitaarspel par excellence wel degelijk behouden. Maar misschien wordt dit mede verklaard doordat de gitaar bij uitstek een ‘transcriptie-instrument’ is dat bovendien sterke raakvlakken heeft met zowel de luit als de vihuela, instrumenten die rond de vijftiende eeuw in zwang kwamen en tot in de barokperiode een belangrijke rol vervulden.

Het fijnzinnige gitaarspel van Sandro Rodrigues werd door Tom Peeters in de Koepelwerk te Renswoude evenzo markant vastgelegd.

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