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Telemann: Twelve Fantasias, TWV 40: 26–37 (arr. for Viola)
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Telemann: Twelve Fantasias, TWV 40: 26–37 (arr. for Viola)

Telemann: Twelve Fantasias, TWV 40: 26–37 (arr. for Viola)

$12.23

Original: $34.95

-65%
Telemann: Twelve Fantasias, TWV 40: 26–37 (arr. for Viola)

$34.95

$12.23

The Story

Georg Philipp Telemann composed thirty-six fantasias for melody instruments: twelve each for transverse flute, violin and viola da gamba. Today the fantasias for flute and violin are among his most popular works. The fantasias for viola da gamba, on the other hand, have remained largely unknown until now – the only surviving copy of these works was rediscovered in 2015.

For this edition, violist Misha Galaganov has arranged the gamba fantasias for solo viola and in doing so, he has essentially retained the original musical text. for passages that lie outside the range of the viola – such as double stops and other multiple stops – he has found solutions that come as close as possible to Telemann's compositional style.

A Foreword (Eng/Ger) and a detailed Commentary on readings and editorial issues (Eng) explain Galaganov's approach to the arrangement and offer practical playing tips.

Telemann: Twelve Fantasias, TWV 40: 26–37 (arr. for Viola) - Image 2

Details & Craftsmanship

Every detail has been carefully considered to bring you the perfect product.

Description

Georg Philipp Telemann composed thirty-six fantasias for melody instruments: twelve each for transverse flute, violin and viola da gamba. Today the fantasias for flute and violin are among his most popular works. The fantasias for viola da gamba, on the other hand, have remained largely unknown until now – the only surviving copy of these works was rediscovered in 2015.

For this edition, violist Misha Galaganov has arranged the gamba fantasias for solo viola and in doing so, he has essentially retained the original musical text. for passages that lie outside the range of the viola – such as double stops and other multiple stops – he has found solutions that come as close as possible to Telemann's compositional style.

A Foreword (Eng/Ger) and a detailed Commentary on readings and editorial issues (Eng) explain Galaganov's approach to the arrangement and offer practical playing tips.