12 FANTASIAS TWV 40:26-37

From the Editor: Writing for this instrument - the viola da gamba, which he also played - was rather courageous at the time, as the instrument had already gone out of fashion. The 12 Fantasias were soon considered lost, while the parallel works for flute, harpsichord and violin established themselves in the musical world.
In 2000 a printed copy of the gamba fantasies was found in the library of Ledenburg Castle.
Since Telemann played many instruments himself and it was quite common in his time to play the respective compositions on different instruments (which can be seen particularly clearly in French Baroque music, to which Telemann was very fond), it is very understandable that the flautist Leona Rötzsch made a transcription for flute for Bärenreiter-Verlag (publisher no.: BA 8739). In the edition she dealt a lot with the polyphony of the gamba version specified by Telemann and worked out her solution for unaccompanied flute. However, she raised all of the Fantasias by a third so that they were suitable for the flute.
Inspired by this transcription, which turns out to be generally too high for the oboe, I carried out my own implementation of the Fantasias in the respective original keys. Likewise, with the best possible musical conscience and understanding of the original works, I tried to stay as close to the original text as possible, although of course many decisions had to be made as to which of the respective voices seemed more important at the relevant moment and should be highlighted and which voices then were neglected.
The quality of these Fantasias, Telemann's wealth of ideas, the enormous variety of his compositional forms in these fantasies open up a new musical world of great importance to us oboists.
My thanks go to Marie-Lise Schüpbach and Heinz Holliger, who brought the flute version of these fantasies to my attention.

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