<music: Telemann
F Dorian Sonata, 3rd movement by Terry B. Ewell, bassoon, Eva
Mengelkoch, harpsichord, and Frances Borowsky, cello.>
In this fourth video
on the Telemann Sonata in F Dorian we will consider cadenzas and what I am calling
“flourishes.” Also, this video will conclude with a discussion of tempo
relationships.
Baroque concertos, of course, required the creation of
cadenzas. Please see my website for examples of some cadenzas in Baroque and Classical
music. Baroque sonatas, however, do not normally have cadenzas added although
in the third movement of the Sonata I do see the opportunity for one.
In the last measure of the third movement, I added several
notes that elaborate the dominant chord on C. This cadenza is pretty much in
tempo since the measure moves immediately into the next movement. The music
shown with the performance is from the authoritative version.
<music: Telemann 3rd movement.>
When given the chance, I like to end a virtuosic movement
with a flourish of notes. Thus, in the second movement there is a wonderful
chance to add many notes on the last line of music. The music shown with the
performance is from the authoritative version.
<music: Telemann 2nd movement.>
In the last movement, I enjoy adding a downward scale in the
second repetition at the end. The music shown with the performance is from the
authoritative version.
<music: Telemann 4th movement.>
I also add a trill at the end as is commonly done to
conclude important sections and movements.
The dominant chord
at the end of the third movement provides an unbreakable link to the next
movement. I think this is best played in tempo with the quarter note beat of
the Andante approximating the dotted quarter note tempo of each measure in the
Vivace.
I have written
articles and provided videos that further explain tempo relationships and the
term tactus.
It appears that
performance practice in London during Handel’s time emphasized tempo
relationships. This was evidenced by the barrel organ. Writings by Quantz and
others indicated that they viewed tempos in relationships as well. I think that
there is a strong case to be made that the movements of Vivaldi concertos as
well as the movements of the Mozart Bassoon Concerto are best performed with
tempo relationships. I encourage you to explore this issue further with the
Baroque and Classical music you perform.
I recommend tempos
of 108 to link the first and second movements. That is an eighth note for the
first movement and a quarter note for the second movement. And the tempo of 44
to link the third and fourth movements. That is 44 for the quarter note in the
third movement and 44 for the dotted quarter, which would be an entire measure,
in the last movement.
Well, this concludes
my discussions on the Telemann F Dorian Sonata. I hope that these videos have
provided important information about this work, the performance practice at the
time, and ways in which you can better practice and present the Sonata. The
last video in the series is a recording that I made with colleagues, Drs.
Mengelkoch and Borowsky, in January 2020. I hope that you enjoy the
performance.
God bless you!
<music: Telemann F Dorian Sonata, 4th movement
by Terry B. Ewell, bassoon, Eva Mengelkoch, harpsichord, and Frances Borowsky,
cello.>