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12 Fantasias for Solo Flute

Composer: Telemann Georg Philipp

Instruments: Flute

Tags: Fantasia

#Arrangements

Download free scores:

Complete Score PDF 2 MB
Complete Score PDF 0 MB
Complete Score PDF 1 MB
2. Fantasia in A minor PDF 0 MB10. Fantasia in F-sharp minor PDF 0 MB11. Fantasia in G major PDF 0 MB
Complete Score PDF 0 MBEditor's notes PDF 0 MB
1. Fantasia in A major PDF 0 MB2. Fantasia in A minor PDF 0 MB
Complete Score (includes facsimile) PDF 1 MB

Arrangements:

Other

Selections. Recorder + Basso continuo (Eduardo Figueroa)Selections. Viola (Francisco Antonio Esparza Dévora)Selections. Recorder (Hans-Martin Linde)
Wikipedia
Georg Philipp Telemann's 12 fantaisies à traversière sans basse, 12 Fantasias for Solo Flute, TWV 40:2–13, were published in Hamburg in 1732–33. An extant copy of the publication, conserved in Brussels, has a spurious title page reading Fantasie per il Violino senza Basso (Fantasias for Solo Violin). The set is one of Telemann's collections of fantasias for unaccompanied instruments, the others being a set of thirty-six for harpsichord [scores], also published in 1732–33, and two sets published in 1735: twelve for solo violin and twelve for viola da gamba.
Telemann's solo flute fantasias are alone in the Baroque repertoire to include movements seemingly impossible on flute: fugues (fantasias 2, 6, and 8–11), a French overture (fantasia 7) and a passacaglia (fantasia 5). In 2012, an arrangement for viola solo was published by Euprint. In this arrangement, through the use of double stops, some many-voiced parts appear as real polyphonic pieces.
This work comprises the following:
The collection is arranged by key, progressing more or less stepwise from A major to G minor. Telemann deliberately avoided keys that are impractical on the one-key flute, i.e. B major, C minor, F minor and F-sharp major. There are two ways to view the overall structure of the collection: one way, in which the work is divided into two parts, is suggested by the fact that Fantasia 7 begins with a French overture, indicating a start of a new section. This device was also later used by Johann Sebastian Bach in Variation 16 of his Goldberg Variations. Another was proposed by scholar Wolfgang Hirschmann: there are four modal groups of three fantasias: major-minor-minor, major-major-minor, major-minor-major, and minor-major-minor.