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DMA Violin Recital M11 HISTORY OF THE FANTASIA UNTIL 1735 TOGETHER WITH PERFORMANCES OF FANTASIAS NO. 1, 3, and 8 FROM THE TWELVE FANTASIAS FOR UNACCOMPANIED VIOLIN BY GEORG PHILIPP TELEMANN, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF G. TARTINI, J. BRAHMS, M. RAVEL, J. S. BACH, C. DEBUSSY, L. V. BEETHOVEN AND OTHERS DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Denise Neal, B. M., M. M. Denton, Texas August, 1982 1735 Neal, Denise E., History of the Fantasia Until Together with Performances of Fantasias No. 1, 3, and 8 from the Twelve Fantasias for Unaccompanied Violin by Georg Philipp Telemann, A Lecture Recital, Together with Three Recitals of Selected Works of G. Tartini, J. Brahms, M. Ravel, J. S. Bach, C. Debussy, L. V. Beethoven and Others. Doctor of Musical Arts (Violin Performance), May, 1982, 27 pp., 18 illustrations, bibliography, 17 titles. The lecture recital was given on March 1, 1982. The 1735 Together subject was the History of the Fantasia Until with Performances of Fantasias No. 1, 3, and 8 from the Twelve Fantasias for Unaccompanied Violin 2y Georg Philipp Telemann, and it included a brief survey of fantasia compo sition from the sixteenth century until 1735, comments on solo violin forms of the period, observations relative to were followed performance practices of Baroque music, which and 8. The by detailed descriptions of Fantasias No. 1, 3, lecture was followed by uninterrupted performances of these fantasias. In addition to the lecture recital, three other public recitals were performed. The first solo recital was on October 31, 1977,and included works of Tartini, Brahms, and Mozart. The second program, on September 17, 1979, presented works by Beethoven, Leclair, and J. S. Bach. The third program was given on December 1, 1980,and featured sonatas by Beethoven and Debussy as well as Ravel's Tzigane. Magnetic tape recordings of all four programs and the written lecture material are filed together as the dissertation. Tape recordings of all performances submitted as dissertation requirements are on deposit in the North Texas State University Library. iii TABLE OF CONTENTS Page INTRODUCTION.. ............ -.-.-.-...-.-.-.-.-.-- v PERFORMANCE PROGRAMS.........................-.....-.-..-vi LIST OF ILLUSTRATIONS............-............-..-....-.- x LECTURE RECITAL: HISTORY OF THE FANTASIA UNTIL 1735 TOGETHER WITH PERFORMANCES OF FANTASIAS NO. 1, 3, AND 8 FROM THE TWELVE FANTASIAS FOR UNACCOMPANIED VIOLIN BY GEORG PHILIPP TELEMANN......-.............-.-..-.-.-..-...... - 1 Origins of the Fantasia Solo Violin Forms in the Baroque Period State of Violin Technique Circa 1730 Telemann's Life General Comments about the Fantasias Fantasia No. 1 in B-Flat Major Fantasia No. 3 in F Minor Fantasia No. 8 in E Major Concluding Remarks 25 APPENDIX. ..............-.-..-.-.-.-..-.-... ...... 26 BIBLIOGRAPHY. ..............-.-.-.-.-.-.-.-...-...... iv INTRODUCTION The dissertation consists of four recitals: three solo recitals and one lecture recital. The repertoire chosen demonstrates the performers ability to project musical style and interpretation of different historical periods. The lecture recital, the History of the Fantasia Until 1735 Together With Performances of Fantasias No. 1, 3, and 8 From the Twelve Fantasias for Unaccompanied Violin 1y Georg Philipp Telemann, begins with a brief survey of the fantasia form until 1735. A general discussion of baroque solo violin literature is followed by discussions of the works to be performed. Uninterrupted presentations of Fantasias No. 8, 3, and 1 conclude the lecture recital. V North Texas State University School of Music presents DENISE NEAL, Violin Susan Dennis, Piano Monday, October 31,1977 8:15 p.m. Recital Hall PROGRAM Devil's Trill....................................... Giuseppe Tartini Sonata No. 2 in A major, Opus 100 .. Johannes Brahms Allegro amabile Andante tranquillo-Vivace Allegretto grazioso (quasi andante) Adagio, K. 216 Rondo, K. 373.................... Wolfgang Amadeus Mozart Scherzo-Tarantella, Opus 16............. Henri Wienawski This program is presented in partial fulfillment of the requirements for the Doctor of Musical Arts degree. Vi North Texas State University School of Music presents Denise Neal in a DMA Violin Recital Lynne Lauderdale-Hinds, Piano Monday, September 17, 1979 8:15 P.M. Concert Hall Sonata no. 3 in D major ................................. Jean Marie Leclair Un poco andante Allegro Sarabande Tambourin Sonata no. 7 in C minor, Op. 30, no. 2 ........... Ludwig van Beethoven Allegro con brio Adagio cantabile Scherzo (A llegro) Finale (A allegro) Intermission Chaconne, from Partita no. 2 in D minor . Johann Sebastian Bach Poem e, Op. 25 .............................................. Ernst Chausson This recital is presented in partialfulfillment of requirements for the degree Doctor of Musical A rts. vii North Texas State University School of Music presents 2)enise ?Aea! in a D ioin Je cila! 7,Izry f1ios.er 97 mm, J'iano Monday, December 1, 1980 5:00 P.M. Concert Hall Sonata no. 9 in A, Op. 47........................... Ludwig van Beethoven Adagio, Presto Andante con variazioni Finale (Presto) Intermission Sonata........................................................... C laude D ebussy Allegro vivo Intermade Finale (T rs anim ) Tzigane, Rapsodie de Concert ................................ Maurice Ravel This recital is presented in partial fulfillment of requirements for the degree Doctor of Musical Arts viii North Texas State University School of Music Lecture Recital DENISE NEAL Monday, March 1, 1982 6:30 p.m. Concert Hall HISTORY OF THE FANTASIA UNTIL 1735 TOGETHER WITH PERFORMANCES OF FANTASIAS NO. 1, 3, AND 8 FROM THE TWELVE FANTASIAS FOR UNACCOMPANIED VIOLIN BY GEORG PHILIPP TELEMANN Fantasia No. 8 in E Major. Georg Philipp Telemann Piacevolmente (1681-1767) Spirituoso Allegro Fantasia No. 3 in F Minor Adagio Presto Grave Vivace Fantasia No. 1 in B Flat Major Largo Allegro Grave Allegro This Recital is Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts ix LIST OF ILLUSTRATIONS Figure Page 1. Luys Milan, lute fantasia, mm. 1-6 . 2 2. Hans Newsidler, Preamble or Fantasy, mm. 29-31 . ...... 2 3. Frescobaldi, Ricercare dopo il Credo for Organ, mm. 1-5. 4 4. G. Frescobaldi, Fantasia sopra quattro soggetti (1608), mm. 1-3. .. 4 5. A. Vivaldi, Op. 2, No. 11, Allegro movement, mm.1-4 . ......... .. 6 6. Telemann, Fantasia No. 1, Largo, mm. 1-4 . 15 7. Telemann, Fantasia No. 1, Allegro, mm. 1-3 . 16 8. Telemann, Fantasia No. 1, Allegro, passagework, mm. 10, etc. .. 17 9. Telemann, Fantasia No. 3, Adagio, mm. 1-3. 18 10. Telemann, Fantasia No. 3, Presto, mm. 1-7. 18 11. Telemann, Fantasia No. 3, Presto, Secondary Themes, mm. 22-25, and mm. 29-36. 19 12. Telemann, Fantasia No. 3, Grave, Followed by an Ornamented Version . 20 13. Telemann, Fantasia No. 3, Vivace, Theme A (mm. 1-4), Theme B (mm. 9-12), plus the Formal Structure. .... 21 14. Telemann, Fantasia No. 8, Piacevolmente. 22 15. Telemann, Fantasia No. 8, Use of bariolage, mm. 16-17.. ................ 22 16. Telemann, Fantasia No. 8, Spirituoso, mm. 1-4; mm... .....19-22.23 . x HISTORY OF THE FANTASIA UNTIL 1735 TOGETHER WITH PERFORMANCES OF FANTASIA NO. 1, 3 AND 8 FROM THE TWELVE FANTASIAS FOR UNACCOMPANIED VIOLIN BY GEORG PHILIPP TELEMANN Origins of the Fantasia The Twelve Fantasias for unaccompanied violin by Georg Philipp Telemann were written in 1735. They combine impro visatory and imitative elements indigenous to the fantasia form as well as elements of solo violin literature. Accord ing to Willi Apel fantasia designated a type of sixteenth century music for lute, keyboard, or ensembles. The term first appeared in keyboard tablatures of Hans Kotter and Leonhard Kleber around 1520.1 The first fantasias signify an effort to abandon the rules and regulations of musical theory of the Middle Ages. Fantasias were therefore of an improvisatory nature owing to reactions against rigid theo retical specifications. Thomas Morley wrote: The most principal and chiefest kind of Music which is made without a ditty is the Fantasey, that is when a musician taketh a point at his pleasure and wretcheth it and turneth it as he list, making either much or little of it according as shall seem best in his own conceit. In this way may more art be shown than in 1Willi Apel, Harvard Dictionary of Music, 2nd edition (Cambridge, 1969), p. 308. 1 2 any other music because the composer is tied to nothing, but that he may add, diminish, and alter at his pleasure. And this kind will bear allowances whatsoever allowable in other music.2 In the sixteenth century the efforts to create a new instrumental music were especially pronounced in music for lute. The direction of music being taken can be illustrated in the following examples. Luys Milan from Valencia wrote a lute fantasia which is an imitative work with several soggetti or musical themes (Figure 1). Fig. 1--Luys Milan, lute fantasia, mm. 1-6 However Hans Newsidler composed a Preamble or Fantasy which is mostly chordal progressions and bravura runs, therefore lacking imitative traits (Figure 2). 29 4 Fig. 2--Hans Newsidler, Preamble or Fantasy, mm. 29-31 2 Thomas Morley, A plaine and Easie Introduction to practicall Musicke (London, 1597), Part III, p. 293. 3 These works show a novelty not to be found within the realm of vocal music, although there was a fantasia type which paraphrased
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