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Telemann: Fantasias for Solo Violin
Telemann: Fantasias for Solo Violin in Bloomington, MN
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Listeners to
Telemann
's
12 Fantasias for solo violin
often make the mistake of comparing them to
Bach
's Sonatas and Partitas, which
likely did not know (they were not published until 1802). They are not really comparable works and taken on their own terms,
's are highly enjoyable. They are quite short, for one thing, mostly just around five minutes long, with three or four movements, with some double-stopping and other virtuoso moves, although nothing like what one hears in the works in the tradition in which
was working. Perhaps the most intriguing feature of the set is that
offers, by his own testimony, six works with "fugues" (actually passages in a more or less fugal style) and six in the newer galant mode. What is necessary for the performer is to distinguish these two modes, and here, violinist
Alina Ibragimova
does well, playing a sparkling 1570
Amati
violin that fits her style. Her tempos are quick, and she avoids the temptation to try to make the music sound like
. Instead, the mood is lively throughout, with
Ibragimova
confidently moving through the more difficult passages without letting them become heavy. There is a tone that is quintessential
: warm and elegant, and
catches it here as well as any of the other august players who have essayed this set. ~ James Manheim
Telemann
's
12 Fantasias for solo violin
often make the mistake of comparing them to
Bach
's Sonatas and Partitas, which
likely did not know (they were not published until 1802). They are not really comparable works and taken on their own terms,
's are highly enjoyable. They are quite short, for one thing, mostly just around five minutes long, with three or four movements, with some double-stopping and other virtuoso moves, although nothing like what one hears in the works in the tradition in which
was working. Perhaps the most intriguing feature of the set is that
offers, by his own testimony, six works with "fugues" (actually passages in a more or less fugal style) and six in the newer galant mode. What is necessary for the performer is to distinguish these two modes, and here, violinist
Alina Ibragimova
does well, playing a sparkling 1570
Amati
violin that fits her style. Her tempos are quick, and she avoids the temptation to try to make the music sound like
. Instead, the mood is lively throughout, with
Ibragimova
confidently moving through the more difficult passages without letting them become heavy. There is a tone that is quintessential
: warm and elegant, and
catches it here as well as any of the other august players who have essayed this set. ~ James Manheim
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