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Georg Philipp Telemann 12 Fantasias for solo Luigi De Filippi

1 Georg Philipp Telemann 12 Fantasias for solo violin Luigi De Filippi Georg Philipp Telemann (1681-1767) One does not often come across a figure like Georg Philipp Telemann: a giant among European of the 18th century, and yet a [1] Fantasia No. 1 in B-flat major, TWV 40:14 7:16 remarkably uncomplicated and serene musician, seemingly lacking most [2] Fantasia No. 2 in G major, TWV 40:15 4:47 of the frenzies we normally associate with a great musical mind. [3] Fantasia No. 3 in F minor, TWV 40:16 4:22 [4] Fantasia No. 4 in , TWV 40:17 4:55 for Telemann was a thoroughly natural process: his being a self-taught [5] Fantasia No. 5 in A major, TWV 40:18 4:29 musician merely meant the awakening of a knowledge which lay dormant, [6] Fantasia No. 6 in E minor, TWV 40:19 7:36 but was already in his possession. At an early age he unravelled his amazing [7] Fantasia No. 7 in E-flat major, TWV 40:20 7:37 technical command as , and in the same easy way he learned to play [8] Fantasia No. 8 in E major, TWV 40:21 5:14 many instruments simply by handling them and rapidly coming to terms with their [9] Fantasia No. 9 in B minor, TWV 40:22 5:44 inner secrets. He did all this despite the strong opposition of his family, [10] Fantasia No. 10 in D major, TWV 40:23 4:24 who insisted that he pursued his studies of law. [11] Fantasia No. 11 in F major, TWV 40:24 5:58 [12] Fantasia No. 12 in A minor, TWV 40:25 4:13 His mother went as far as making him promise not to waver from his jurisprudence studies, but one cannot stop fate: according to Telemann’s own biography, a setting of a Psalm by him inexplicably found its way into his luggage total time 66:58 and was found by his roommate at the university; it was performed there and met with such an immediate success that the mayor of was prompted to ask the young composer for more music, with or without his family’s approbation.

So his carrier as a musician developed in a truly unstoppable fashion, but retribution awaited Telemann in his private life: his first wife died soon after their marriage, and his second wife Maria Catherina amassed a very large gambling debt which brought him to the verge of bankruptcy; in the end, after

4 5 allegations of her having an affair with a Swedish military officer, she left Each Fantasia consists of three or four short movements, with a duration which her husband. goes from as little as four minutes to a maximum of eight minutes: nothing to be compared with Bach’s divine verbosity. Fantasia no. 12 contains a lovely parody of Telemann’s reaction to his unhappy situation was to keep frantically busy: ’s Didone abbandonata, published the year before in : here his output was immense, his oeuvre consisting of more than 3,000 works. Telemann echoes (and makes fun of) Tartini’s shrill dissonances, derived from the When, late in his life, he was asked about his compositions, he affected a Istrian folk repertoire: one more demonstration that these great men were fully candid forgetfulness: it would have been as if one had asked a bird how many aware of all the latest developments that took place in the whole of Europe. miles it had covered in its life… Kept in the highest esteem by the public and the cognoscenti alike, he enjoyed the friendship of Some people will find it a bit strange to hear a violin performed at a (of whose son Carl Philipp Emanuel he was godfather) and Georg Friedrick slightly higher pitch than the customary 415 Hz. The fact is, in the 18th century Händel; this latter paid him a beautiful compliment when he stated that there were comparatively few things that one could call “customary”: the pitch Telemann could write an eight - part motet more quickly than a common varied a lot from one town to the other, according to the tuning of the organ in person could write a letter. the main church.

Telemann’s solo violin Fantasias were published in 1735, some fifteen years It is a fact that some Italian violinists preferred a slightly higher “A” for their after the appearance of Johann Sebastian Bach’s Sonatas and Partitas for performance, and for this reason when I recorded my CD of Giuseppe Tartini unaccompanied violin; we do not know if Bach’s masterpieces were known to unaccompanied sonatas for Challenge Classics I found that a pitch of 425 Hz Telemann, but he certainly didn’t share Bach’s preoccupation to demonstrate was the best suited for that repertoire. This time, for the Telemann CD, I could how a simple solo instrument could handle very extended forms , and how have tuned down to 415, but my personal taste prevailed and I stayed tuned contrapuntal writing could convey the impression of polyphonic constructions. a bit higher. If anything, Telemann’s gems remind one of Bach’s suites: clever music, overflowing with melodic wealth and charm. Telemann also moved swiftly from As far as interpretation goes, the fact that Telemann’s pieces are Fantasias and one source of inspiration to another, pouring out with unhampered ease exquisite not sonatas means that one is not confronted with one style, but rather with many melodies, sketches of learned , folk-like cantilenas, nursery rhymes tunes. styles: within the same piece, the duration of which may well be a mere four minutes, it is not unusual to perform a solemn adagio as first movement,

6 7 a short but complex as second, and then end with a brisk dance movement magazine “Suonare”; a second Schumann CD is expected in April 2015. inspired by folk repertoire. That of course means giving fantasy and improvisation In 2013 Challenge has released the piano trios of Théodore Gouvy. free reins, and renouncing any attempt at dogmatism. Voces Intimae has also recorded three CDs for the label Symphonia: the trios of Schubert and Mendelssohn, and a selection of Fantasias based on Vincenzo Bellini’s ; in 2004 Warner Classics issued a Luigi De Filippi double CD of the complete trios of Johann Nepomuk Hummel, which was elected “CD of the year” for 2006 by BBC Radio 3. The violinist and conductor, Luigi De Filippi has studied violin, piano and composition, showing an early interest in jazz and contemporary music. He De Filippi is the of the Da Ponte Ensemble: with the DPE he subsequently appeared as concertmaster in such orchestras as the Rome has recorded Giacinto Cornachioli’s La Diana Schernita of 1629, for the label House, La Fenice Theatre in Venice, the London Mozart Players, the Flanders Bongiovanni. In 2012 a Cd of rare pieces of Ruggero Leoncavallo, Brise de mer, Orchestra in Antwerp. In London he made his debut as conductor with the and in 2013 a selection of violin and orchestra Fantasias titled Il Violino & l’Opera London Mozart Players, and he appeared as soloist – conductor at the Queen – Hommage à Verdi, have been released by the label Mediterranea Classica. Elizabeth Hall, the Royal Festival Hall and the Barbican Centre in London, the Luigi has taken part in the first ever recording of music of the philosopher Concertgebouw in Amsterdam, the Palau de la Musica in Barcelona. In 2007 Friedrich Nietzsche, for the label Edipan; For Warner – Fonit he has recorded he soloed in the Auckland Festival (New Zealand). He has conducted Antonio some orchestral music by Francesco Saverio Mercadante; for Gold & Lebet the Salieri’s opera Prima la musica, poi le parole at the Minoritenkirche in Vienna, violin Fantasias of Delphin Alard’s on five Giuseppe Verdi operas. In 2012 a Cd the very church for which Salieri wrote all his sacred music. of Giuseppe Tartini sonatas for solo violin has been released by Challenge Classics. Luigi has also appeared in television and radio broadcasts, appearing Luigi De Filippi is the violinist of the Voces Intimae piano trio, a leading in six programmes on contemporary music for the Italian Television, and in ensemble which has performed extensively throughout Europe, has toured radio programmes for BBC Radio 3 and RAI Radio 3, with live performances the USA and China and is among the official cultural testimonials of the Italian and interviews. Republic. Voces Intimae records for Challenge Classics: the first Cd appeared in 2011, featuring two trios of Robert Schumann, and has won the “Period instrument choice” by BBC Radio 3 and “Cd of the month” by the Italian

8 9 Executive producer: Anne de Jong Recorded at Fuscaldo (CS) Italy – Suoneria Mediterranea Studios Recorded 2,3,4 January 2015 Recording producer, engineer & mastering: Daniele Sanfilippo,Suoneria Mediterranea S.r.l. Assistant sound engineer: Gabriele Amendola A&R Challenge Records International: Sarina Pfister Liner notes: Luigi De Filippi Booklet editing: Sarina Pfister Cover photo: Georg Thum (wildundleise.de) Product coordination: Boudewijn Hagemans Graphic Design: Natasja Wallenburg, newartsint.com Art direction: Marcel van den Broek, newartsint.com

www.challengerecords.com / www.luigidefilippi.com

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