1. Fantasia in B-Flat Major: Largo – Allegro – Grave – Si replica l’allegro
2. Fantasia in G Major: Largo – Allegro – Allegro
3. Fantasia in F minor: Adagio – Presto – Grave – Vivace
4. Fantasia in D Major: Vivace – Grave – Allegro
5. Fantasia in A Major: Allegro – Presto – Allegro – Presto – Andante – Allegro
6. Fantasia in E minor: Grave – Presto – Siciliana – Allegro
7. Fantasia in E-Flat Major: Dolce – Allegro – Largo – Presto
8. Fantasia in E Major: Piacevolmente – Spirituoso – Allegro
9. Fantasia in B minor: Siciliana – Vivace – Allegro
10. Fantasia in D Major: Presto – Largo – Allegro
11. Fantasia in F Major: Un poco vivace – Soave – Da capo un poco vivace – Allegro
12. Fantasia in A minor: Moderato – Vivace – Presto
Telemann: 12 Fantasias for Solo Violin
Maya Magub’s accounts confirm her musical allegiances in both modern and period camps – she uses a modified c.1760 Gagliano violin tuned to modern concert pitch, a relatively modern bow, a combination of gut and metal strings and a mixture of Baroque and contemporary performing practices. She brings to these intricate miniatures an aristocratic poise, and her technical command, extempore ornamentation and flexibility of pulse admirably capture the improvisatory character of each. She also commands a powerful dynamic range and uses vibrato sparingly, producing a varied palette of tonal colours.
This recording sheds new light on these much neglected gems of the solo violin repertoire. Maya Magub brings her experience of older performance style to this essentially modern recording. The works are miniature character pieces brimming with Baroque charm, lyricism and virtuosity displaying Telemann at his best.
| Artist | Maya Magub - violin |
|---|---|
| Reviews | "Magub skilfully conveys the voice-leading in Telemann’s polyphony, not only in the quasi-fugal movements (such as the second movements of nos.1, 2 and 5), but also in movements in which dialogue is implicit – sample, for example, the opening movements of nos.3 and 6. She also deftly captures the humours of individual movements, whether dance-inspired, as in the Vivace of no.3, or folk-influenced as in the final Allegro of no.10. ................... these polished, stylish performances bring Telemann’s music to life in an unforced, natural way." The Strad "Maya Magub proposes a halfway house between period- and modern-instrument performance. She uses a modern but appropriately lightweight bow, and mixes gut and steel strings to produce a rich yet bright sound." BBC Music Magazine "These pieces were dismissed as student exercises for generations...with Magub's endless inventiveness driving each movement, they shine here for what they really are: free-standing, varied concentrations of beautiful melody and sonority." Gramophone "Using a modern but light bow and a mixture of gut and steel strings, Magub's elegant performance reassesses these delicately flavoured miniatures. Telemann's appetite for stylistic experimentation produces some striking textural contrasts, while Magub's decorations are exquisitely understated." The Independent "Maya Magub’s polished, colourful accounts of these complex, quasi- improvisatory miniatures combine modern and period instruments, accessories and performance practices. It demonstrates technical assurance, elegance and well-considered use of vibrato, extempore ornamentation, rubato and other expressive devices." Early Music Today |
