Telemann's Lost Gamba Fantasias
by Henry Sloan
First published in 1735, these twelve delightful works were lost until 2016! Learn about their unique history and rediscovery.Introduction
Georg Philipp Telemann (1681-1767) was a German composer during the Baroque period. A contemporary and friend of J.S. Bach, he stands among the greats in the sheer quantity and quality of his compositions. He composed important works ranging from trumpet concertos to operas. With such a massive output (over 3000 works!), it is unsurprising that many have been lost to time. What sets these fantasias apart is that they were rediscovered after almost 300 years!
The Twelve Fantasias for Viola da Gamba Solo, TWV 40:26–37, were published in 1735 under the title Fantaisies pour la Basse de Violle. A fantasia is a loosely structured work meant to sound semi-improvisational. Telemann also wrote sets of fantasias for flute and violin, and all of his fantasias shared a structure of three or four distinct movements.
The viola da gamba (aka gamba or viol) is an instrument that was very common in the Baroque period. Though looking similar to a cello, it usually has six strings rather than four, and features a unique shape. It commonly served as an accompaniment instrument, providing a sonic backdrop in the continuo style (usually improvisation based on a written score). However, it was not uncommon for them to take part in trios, duets, or solo works. Telemann's fantasias are one instance of such solo works, exploring both the melodic and chordal potential of the instrument alone.
(From: https://www.metmuseum.org/art/collection/search/504476, public domain)
Style
The fantasias are reminiscent of classical sonata form, and they indeed closely related to the Baroque sonata da chiesa. Each sonata has three or four movements, each of which has its own tempo, themes, style, and emotional impact. Among them are slow, recitative movements, dance-like movements, and fast fugal movements. These small fugues, where the instrument renders multiple voices imitating a single theme, were extremely common in multi-movement Baroque works. They feature prominently in the sonatas da chiesa of Arcangelo Corelli, as well as in J.S. Bach's sonatas for unaccompanied violin.
Publishing and Rediscovery
Telemann was not only a stylistic innovator, but also made strides in the business side of music. Around 1715, he started a self-publishing business for his music! Among his market innovations were selling his works by subscription, sending out advertisement catalogs, and giving discounts for subscribers. His entrepreneurial spirit contributed to the framing of music as intellectual property.
Fast forward to the 21st century - The gamba fantasias, like much of Telemann's oeuvre, were considered lost. Researchers knew the fantasias existed because they were advertised in Telemann's own catalogs, but neither the original engravings nor any copies were known. That is until 2015, when the joint efforts of French musicologist François-Pierre Goy and gamba player Thomas Fritzsch discovered and procured a copy in a German archive. A facsimile (or historically accurate copy) of the work was published by Edition Güntersberg in 2016, and they were finally recorded in that same year.
Listen
The very same Thomas Fritzsch who helped rediscover the fantasias recorded them in 2016, and you can listen to them here. For this recording, Fritzsch was awarded Germany's prestigious Echo Klassik in 2017, in the "World Premier" category.
Other notable recordings include Jonathan Dunford (volume 1, volume 2) and Robert Smith.