Telemaiin ra LANA for Unaccompanied Trombone Transeri ibed and Edited by ALANRAPH “CARL FISCHER.GEORG PHILIPP Telemann TWELVE FANTASIES for Unaccompanied Trombone Transcribed and Edited by ALAN RAPH CARL FISCHERe 685 Beecier Street, New Yok, NY 10012 4997 ISBN 0-8258-2601FOREWORD The twelve uneccompaniod “fantasies” of Georg Philipp Telemann (1681-1767) are in effect miniature Baroque suites; each with its own cleerly defined structure. Like the Bach “Cello suites” they represent a major composer's contribution to the literature of a solo instrument and are most suitable for study and performance. Unlike the ‘Bach’, these fantasies are ‘composed for a wind instrument and thereby ask for /ttle compromise on ‘the part of the trombonist. Phrase-breathing is an inherent part of their construction, while double-stops and re-tuning of strings are not. The ‘trombone with its strong full sound in all registers is an excellent instrument to effectively perform these fantasies. ‘An established tradition in Telemenn’s time was to allow freedom of omamentation by the soloist. Many of the slower two-part movements allow for extensive embellishment within the ‘repeat’ of ezch section (e.g. A A’ B B) Seven of the twelve fantasies are in bass clef and the remaining five are in tenor clef. All are playable on the tenor trombone although some fantasies fevor the lower register of the instrument ond will sound well on the bess ‘trombone. The editirig, phrasing, and occasional slide-position markings are for consideration by the player and will lend toward a consistent and cohesive interpretation of the music. Alan Raph, N.¥.C. 1976 * An excellent guide to embellishment, improvisation, and treatment of cadenzes in ‘baroque’ music has been written by a contemporary of Telemann... Johann Joachim ‘Quant2 (“On Playing the Flute” publ. Macmillan ... Cheptars VIII & 1X).