Telemann - 12 Fantasias for Flute (2007)

1. Fantasía 1 en A mayor: Vivace
2. Fantasía 1 en A mayor: Allegro
3. Fantasía 2 en A menor: Grave
4. Fantasía 2 en A menor: Vivace
5. Fantasía 2 en A menor: Adagio
6. Fantasía 2 en A menor: Allegro
7. Fantasía 3 en B menor: Largo, Vivace, Largo, Vivace
8. Fantasía 3 en B menor: Allegro
9. Fantasía 4 en B bemol mayor: Andante
10. Fantasía 4 en B bemol mayor: Allegro
11. Fantasía 4 en B bemol mayor: Presto
12. Fantasía 5 en C mayor: Presto, Largo, Presto, Largo
13. Fantasía 5 en C mayor: Allegro
14. Fantasía 5 en C mayor: Allegro
15. Fantasía 6 en D menor: Dolce
16. Fantasía 6 en D menor: Allegro
17. Fantasía 6 en D menor: Spirituoso
18. Fantasía 7 en D mayor: Alla Francese
19. Fantasía 7 en D mayor: Presto
20. Fantasía 8 en E menor: Largo
21. Fantasía 8 en E menor: Spirituoso
22. Fantasía 8 en E menor: Allegro
23. Fantasía 9 en E mayor: Affetuoso
24. Fantasía 9 en E mayor: Allegro
25. Fantasía 9 en E mayor: Grave
26. Fantasía 9 en E mayor: Vivace
27. Fantasía 10 en F# menor: A Tempo Giusto
28. Fantasía 10 en F# menor: Presto
29. Fantasía 10 en F# menor: Moderato
30. Fantasía 11 en G mayor: Allegro
31. Fantasía 11 en G mayor: Adagio - Vivace
32. Fantasía 11 en G mayor: Allegro
33. Fantasía 12 en G menor: Grave, Allegro, Grave, Allegro
34. Fantasía 12 en G menor: Dolce
35. Fantasía 12 en G menor: Allegro
36. Fantasía 12 en G menor: Presto

Jed Wentz - flute

Telemann's 12 Fantasias for solo flute are problematical works. They exist in a single Italian manuscript, designated as being for the violin, and with the name of Telemann penciled in after the fact. A flute or recorder seems more likely than a violin for the seventh-to-low-tonic cadences and other turns of phrase that frequently occur in the music, and Telemann does indeed seem a likely composer. The 12 pieces look like sonatas at first glance, with sequences of mostly three or four short movements in with Italian tempo designations (including the intriguing "spirituoso"), but they turn out to be fantasias as advertised; some of the movements are extremely short, and several of the longer ones are broken up into tiny chunks. As so often with Telemann there is a sense of abundant invention, with galant passages bumping up against implied polyphony and virtuosic passagework in a sort of stream of consciousness. The performances here by Jed Wentz, American-born and a former member of Musica Antiqua Köln, are top-notch, largely because he treats the works as fantasias and as true virtuoso pieces. He takes a lot of liberties with tempo, not only in the multipart opening movements but in the more tuneful slow movements. The Presto sections take on quite an edge as they whip around the corners, and Wentz admits that he has taken his flute (a boxwood copy of an instrument of Telemann's time) "to its absolute limits." But he never loses control of the overall line, and he makes a persuasive case for the links between this music and the virtuoso tradition, traditionally considered a less important strand of Telemann's work, and of the early flute repertoire in general. An exciting and innovative recording, decently engineered, and selling for what an LP would have cost in the 1960s. ---James Manheim, Rovi

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