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TELEMANN Fantasias for viola da gamba TWV40:26-37. Hamburg, 1735. Paolo Pandolfo. Glossa 2cds

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Telemann Fantasias For Viola Da Gamba Paolo Pandolfo Glossa 2Cds

TELEMANN: Fantasias for viola da gamba TWV40:26-37
Hamburg, 1735


CDI:
1-2 Fantasia no. 1 in C minor | 3-6 Fantasia no. 2 in D major | 7-9 Fantasia no. 3 in E minor
10-12 Fantasia no. 4 in F major | 13-15 Fantasia no. 5 in B flat major | 16-18 Fantasia no. 6 in G major
19-21 Fantasia no. 7 in G minor | 22-24 Fantasia no. 8 in A major

CDII:
1-3 Fantasia no. 9 in C major | 4-6 Fantasia no. 10 in E major | 7-9 Fantasia no. 11 in D minor
10-12 Fantasia no. 12 in E flat major

Bonus
13-17 Sonata in D major, TWV 40:1 (Der getreue Music-Meister, 1728)

Paolo Pandolfo [viola da gamba]

With his new recording of Telemann’s Fantasias Paolo Pandolfo continues to take the viola da gamba in directions little-chartered previously. Following his 'Kind of Satie' release, Pandolfo delves into the prolific instrumental output of Georg Philipp Telemann; a composer so well-versed in the musical diversity of his time that he was more than capable of writing for instruments of which he was not a master. Such was the case when Telemann was writing various sets of Fantasias for solo instruments, and tapping into the demand coming from the burgeoning amateur market in Hamburg.

One of these sets of 12 unaccompanied Fantasias – for the viola da gamba – was known to have been composed around 1735 but had been lost until recently and now modern-day players are exploring Telemann’s approach to a revitalised genre but on what – by the 1730s – was becoming an increasingly outmoded instrument. From fugal writing to the galant idiom and different reflections of the French and Italian styles, Telemann packs a great deal of variety into these typically three-movement Fantasias.

Paolo Pandolfo, who contributes an incisive note to the booklet, additionally records the 1728 D major Sonata from 'Der getreue Music- Meister', the only other work for the viola da gamba known by Telemann, whilst Peter Wollny reflects on Telemann’s compositional development in his own essay.

Glossa GCD920417

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