Catapulting into Classical

A headlong leap into music, history, and composing

Newly Rediscovered Telemann Viola da Gamba Fantasias Score, Recording Now Available

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Telemann

Viola da gamba enthusiasts, this is your lucky day!

Over the weekend, Thomas Fritzsch, who rediscovered the lost Telemann solo viola da gamba fantasias, performed them at the annual Telemann conference in Magdeburg, Germany.  The score and CDs were available for sale at the performance.

Couldn’t make it to Magdeburg?  I’m here to help.

Here is a website where the Telemann score can be purchased.  You can see a sample page of the new edition and a sample page of a “complete facsimile” edition there.  Here is another source for the Telemann score.

The publisher’s page has a link for CDs, but it brings you back to the page for the score.  I’m guessing CDs will be available there at some point.  I couldn’t find physical CDs elsewhere at this time.

Can’t wait?  Amazon has an MP3 album available now. So does iTunes (a search for “Telemann Fritzsch” will take you right there).

Short on cash?  You can hear it on Spotify.  Check your favorite music streaming service for availability.

So tell a friend–Telemann is back!

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Image attribution:  Georg Philipp Telemann, watercolor by Valentin Daniel Preisler [Public domain], after a lost painting by Ludwig Michael Schneider (1750), via Wikimedia Commons. https://commons.wikimedia.org/wiki/File%3ATelemann.jpg

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One thought on “Newly Rediscovered Telemann Viola da Gamba Fantasias Score, Recording Now Available

  1. Way neat! Wonderful find, especially for gambists. From a quick perusal of the score, these make an interesting comparison to the Bach cello suites, and give one even more admiration (as if we needed it) for Bach’s supremacy. It’s taking nothing away from Telemann (an extremely facile and productive composer- who at times rises to heights of expressiveness and harmonic daring) to say that these fine fantasias strike at least one person as very well written indeed, and yet not in the same league as to motivic coherence, shaping on all levels, expressivity, and the ability to sustain 2 or 3 implicit contrapuntal voices (or even 4) within a single line. In any case, this is a great find, and I’m sure we’ll hear these a lot in concerts (I would hope, paired with Bach).

    Tom

    Like

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