This edition presents Telemann's Fantasias for Solo Flute in double form; first, a facsimile of the only source

(Brussels Conservatory Library, littera T 5823 W), and second, a transcription according to modern practice. This transcription was thought necessary because of the poor quality of the original edition: the print is irregular and occasionally very small, and the engraving is unclear, leaving doubt as to which note is intended. In the Textual Notes these doubtful places are listed, together with my suggested solutions. There are additional problems concerning these Fantasias: the date of publication, the choice of instrument and even the authorship are not determined with certainty. The Date of Publication Telemann mentions 12 Fantasias for the transverse flute in his autobiography, published in Mattheson's "Ehrenpforte'", They are listed between two works composed in 1731and 1733respectively; hence the date 1732,which G. Hausswald assigned to them in the first modem edition of these Fantasias'. However, as Hausswald pointed out', the list of works in this autobiography is not entirely in chronological order. Furthermore, we know that Telemann published his own works, and in fact took an active part in the actual engraving. He used movable letter-type up to his Duets op. 2 of 1727. After this the music was engraved on plates which were at first copper, later pewter. The engraving style of these Fantasias closely resembles that of Telemann and this leaves little doubt about the authenticity. The technical quality, however, is very poor; the "Sonate Metodiche" and "Der getreue Music-Meister", both published in 1728, show engraving which is technically much more advanced, with a better page lay-out, and a more regular and fluent image. Hausswald's suggested date of 1732 therefore seems hardly credible. 1727-28might be more easily acceptable; this would place the Fantasias for Flute among Telemann's first attempts at engraving. The Instrumentation The title page of the Brussels print (probably a later addition to the music) reads, "Fantasie per il Violino, senza Basso", with "Telemann" added in pencil. It is quite evident however that these pieces are intended for the transverse flute rather than for the violin. The range is limited to d! - e3, i.e. from the lowest note of the eighteenth-century one-keyed flauto traverso to its highest "good" note, according to Quantz" and Hotteterre". This means that the violin's lowest string would never be used. In addition, there are no double stops, whereas they abound in Telemann's genuine Violin Fantasias, dated 1735. Instead, frequent use is made of wide intervals, creating the illusion of two or occasionally three-part writing. This is a typical feature of flute music. It may also be significant that Telemann did not give any instructions about transposing as he did for example in "Der getreue Music-Meister"and the Duets op. 2. At the beginning of those pieces two clefs are given, the treble clef for the flute and the french violin c1ef~for the recorder (the latter with a different key signature of course).

Transposing up a third (mostly a minor third) for recorder is recommended by Hotteterre", and is found also in the Handel recorder sonatas", in Schickhardt's "Alphabet de la Musique''8 and as late as 1759 in Quantz' Duets op. 29.Telemann's Fantasias seem to be better suited for the baroque flute than for the German type of baroque treble recorder (as exemplified by Jacob Denner). This type of recorder is used effectively by Telemann in his other works, and by J.S. Bach in his Cantatas and Brandenburg Concertos, where the clear and resonant quality of the high - even extremely high register is exploited more than the relatively thin-sounding lower notes. According to QuantzlO who knew and appreciated Telemann's Fantasias!', on the flauto traverso these low notes should sound strong, male, round, thick, and the high notes soft and sweet; this coincides well with Te1emann's frequent use of stressed bass lines in pseudo-polyphonic passages. The Authorship: Stylistic and Formal aspects There is of course still no absolute proof that Telemann is the composer of these Fantasias. The clues

provided by the style of engraving and the presence of "Telem ann" written in pencil on the(wrong)title .page have already been mentioned. Another point worth considering is: Who else could have written them? We should compare them with other pieces for solo flute. First let us consider J.S. Bach's Partita in a minor BWV 1013. It is clear that the composer ofthe Fantasias does not have the same force, depth, or complexity; on the other hand, he might not have wanted those, and might have preferred to write in a more "gallant" style, in the "vermischter Geschmack", on a smaller scale, and also more freely (hence "Fantasia')' In addition there are two collections of solo pieces, one composed or at least compiled by Johann Joachim Quantz'>, the other published by Braun le Cadet in Paris in 174013• This second collection contains works by his late elder brother, Johann Daniel Braun, and others probably by Quantz and Johann Martin Blockwitz,possibly composed around 1725in Dresden". It strikes one immediately that the author of the Fantasias possesses much more skill and versatility than the composers of the two above mentioned collections. Although less obvious virtuosity is required on the part of the player, the Fantasias show a better and richer idiomatic writing for the flute. On the one-keyed flauto traverso each tonality has its own colour and expressive quality - a result of the difference in sound and resonance between open fingerings (the D-major scale) and forked fingerings (the other notes). Telemann - indeed, who else could it be? - uses this feature to advantage, writing in twelve different keys, in quite the same way as in his flute duets and in the "Sonate Metodiche". There is also more invention, less cumbersome elaboration and more variety on the structural level. Indeed we find in the Fantasias a masterly display of the major formal schemes of eighteenthcentury instrumental music: The French Ouverture (Fantasia No. VII), sonata da chiesa (II), the "modern" sonata in three movements (slow-fast-fast) (IV, VI), suite (VIII, X), and toccata and fugue (I). There is also great diversity in the structure of individual movements, ranging from the strictest fugue possible on a monodic instrument (VI, 2), through various degrees of freer fugato writing (I, 1; V,2), lyrical slow movements (II, 3; IV, 1; VI, 1), alternating slow and fast sections (1,1; 111,1; V, 1; XII, 1) and concerto-like virtuoso pieces (XI, 1),to the typical baroque dances: allemande (VIII, 1),corrente (X; 1),sarabande (IX, 1),minuet (X, 3), passepied (I, 2), gavotte (X,2), bourree (II, 4; IX, 4; XII, 4), rondeau (IV, 3; VI, 3; VII, 2), polonaise (VIII, 3), gigue (III, 2) and canarie (Y, 3)15. All these forms are treated more or less freely - Telemann never gives the name of the dance! As in the "Sonate Metodiche" for flute or violin and basso continuo, Telemann also here splendidly demonstrates his skill in writing for the flute: judicious in his choice of keys, he exhausts the technical abilities of the flauto traverso without ever having recourse to emptyvirtuosity,and shows his versatility and mastery in using forms which are always different - no two pieces are similar! Could there be a didactic ("methodical') intention, as expressed by 1.S. Bach in his Two-part and Three-part Inventions: " .... not alone to have good inventions, but to develop the same well, and above all to arrive at a singing style in playing and at the same time to acquire a strong foretaste of composition.Y'" Notes 1. Johann Mattheson, "Grundlage einer Ehrenpforte", Hamburg, 1740. 2. "G. Ph. Telemann, Musikalische Werke", Band VI, Kassel/Basel, 1955. 3. ibid. critical report, p. x 4. J.1. Quantz, "Versuch einer Anweisung die Flute traversiere zu spielen", Berlin, 1752, chapter IV, §20. 5. 1. Hotteterre le Romain, "Principes de la flute traversiere ..... ", Paris, 1707, chapter III. nd 6. 1. Hotteterre le Romain, Preface to "Premier livre de pieces pour la flute traversiere, oeuvre 2 ", Paris, 1708. 7. C( the critical report in "G.F. Handel: the complete sonatas for treble recorder and basso continuo", D. Lasocki (ed Faber, 1979). 8. J.C. Schickhardt, "L'alphabet de la Musique, op. XXX", London ca. 1735,24 sonatas in all major and minor keys for flute or violin and basso continuo, to be read in the french violin clef for the recorder. The transpositions indicated vary from a diminished third, through minor and major to an augmented third. 9. J.1. Quantz, "Sei Duetti a due Flauti traversi, opera seconda", Berlin, 1759. In the preface the recorder transposition is explained, together with some other alternative instrumentations.

10. J.1. Quantz, "Versuch ... ", chapter IV, § 21 and elsewhere. II. Cf. F.W. Marpurg, "Historisch-kritische Beitrage", Berlin, 1757, Band IV, p. 179. 12. "Caprices et autres pieces pour I'exercises (sic!) de la flute", facsimile Musica Musica, Basel. 13. "Sonate de Mr. Braun a flute traversiere et basse, suivie de differentes pieces sans basse ... tant du meme auteur que de divers autres", Paris, 1740. (facsimile SPES, Firenze, 1982). 14. One link between J.D. Braun and Quantz is the fact that in 1728 Braun was granted the right to publish some ofQuantz'works in Paris. They probably met during Quantz' stay in Paris (1726-7); see E. Reilly, "Quantz and his 'Versuch' ", 1971,p. 146.In addition, several pieces from the Braun collection are included in Quantz' "Caprices et autres pieces ... ", and some fragments of them in Quantz' "Solfeggi pour la flute traversiere avec l' enseignement", (ed. Amadeus, Winterthur, 1978),where he ascribes one piece to his colleague in the Dresden orchestra, J.M. Blockwitz (born ca. 1687, active in the orchestra from ca. 1710 to ca. 1742, first as oboist, later as flautist). 15. For a good analysis of the form, see the article by S. Eppinger in"Tibia",1984, pp. 86-99 and 172-9. 16. Quoted from H.T. David and A Mendel, "The Bach Reader", New York, 1966. Textual Notes list movt, bar 23: 9th note originally e2; corrected by Telemann to e'. bar 31: l st note:

is missing.

bar 32: f under 3rd note; should be under lst, II l st movt, 2nd movt, bar 8: 4th note originally a'; corrected by Telemann to fl. both seem musically more logical under Ist note (lack of space under Ist note in original")

bar 34: p under 2nd note} bar 36: f under 2nd note

bar 40: 4th note originally fl; corrected by Telemann to e'. 3rd movt, IV lst movt, bar bar 5: 6th note Originally) ; corrected to ) by the editor l Oth and 12th notes unclear whether d! or el, should be e'. 4: 13th note: according to the practice in Telemann's time, the ~ before the IOth note c2 is cancelled it is not repeated.

bar 12: 15th note originally c': corrected by Telemann to eb'. bar 13: dot missing after 3rd note. 3rd movt, V 2nd movt, bar 18: 4th note originally) ; corrected to

by the editor.

bar 35: 5th and 6th notes more logically f~? bar 53: originally l st note fl, 4th note a'. Changed by the editor to a' - fl as in measure 3 and all further imitations. bar 26: slur d2 - g' added by the editor, as in measures 4, 18, 24. bar 19: 4th note originally a': Telemann added fl and forgot to delete a' bar 25:-f clearly under Ist note in original; more logical under 2nd note? bar 28: ~ added before 8th note

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bar 23: l st note originally ;corrected by Telemann to bar 34: 4th note originally £1; corrected by Telemann to g2

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bars 7 & 8: original notation to be played approximately (in the French Ouverture,as inmany other pieces,the notes after the dot should be played as short as possible. Cf. Quantz "Versuch ... " chapter XVII, section II, § 13. Likewise the semiquavers in bars 1,2, 85 and 87 and in the figure should be played very short) bar 77: last note originally f#2; corrected by Telemann to g2 bars 85 & 87: see remarks on bars 7 & 8;

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Printed in England