Telemann Lesson 3
Additions and ornamentation in Telemann's F Dorian (F Minor) Sonata. Terry B. Ewell discusses the addition of dynamics, articulations, and ornaments. Music by Terry B. Ewell, Eva Mengelkoch, and Frances Borowsky. BDP #303. www.2reed.net.
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Additions and ornamentation in Telemann’s F Dorian (F Minor) Sonata. Terry B. Ewell discusses the addition of dynamics, articulations, and ornaments. Music by Terry B. Ewell, Eva Mengelkoch, and Frances Borowsky. BDP #303. www.2reed.net.
The original transcript is available here.
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Captions are unavailable. The complete transcript follows.
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Transcript
00:00Introduction
0:04 music: Telemann F Dorian Sonata, 3rd movement by Terry B. Ewell, bassoon, 0:09 Eva Mengelkoch, harpsichord, and Frances Borowsky, cello. 0:12 In this video I will provide an overview of ornamentation 0:17 in the solo part for the Telemann F Dorian Sonata. Then I will conclude with information 0:25 on resources that I have prepared for you to better understand and perform Baroque music.
00:34Authoritative Edition and Performer Additions
0:34 The starting point, of course, for ornamenting the Sonata is with the authoritative edition of the 0:41 work. You can see here that the solo part is quite sparse. Few dynamics, slurs, and articulations are 0:52 given. In addition, ornaments need to be added in required locations as well as optional locations. 1:03 Let’s take each of these issues one by one.
01:07Baroque Dynamics
1:07 Baroque music features two dynamic markings: piano and forte. 1:19 If you ever see an edition of Baroque music with pp, mp, 1:26 or mf you know immediately that this edition includes many markings not given by the composer. 1:38 However, as a performer you might want to play these dynamics in your performance. 1:44 In general, however, contrast been quiet and loud, piano and forte will work well.
01:54Echo Dynamics
1:54 In my performance of the first movement, for instance, I add these dynamics which appear in 2:01 red. Telemann provides a good example for how to make use of dynamics in the first three measures. 2:10 The echo dynamic, piano, in the second measure is a common way to add interest in Baroque music. 2:20 The first statement in measure 1 is loud and the second statement is quiet. I use that idea 2:28 for the dynamics in measures 11-12, forte, and then the echo in measures 13 and 14. 2:40 Also, later in the movement measures 27-28 are an echo to measures 25 and 26.
02:50Dynamics between Movements
2:50 You might also make use of dynamics to provide contrast between 2:54 movements. Although Telemann gives no dynamics for the third movement it is 3:00 appropriate to perform this movement more quietly than the fourth movement.
03:09Crescendos, Diminuendos, and Terraced Dynamics
3:09 Be aware that crescendos and diminuendos on the whole were not employed much in Baroque music. 3:16 The Mannheim School of composers and musicians in the latter part of the 18th century developed 3:24 innovations including the use of a group crescendo. This was not, however, common in the 3:31 Baroque period and in fact the principal keyboard instrument of the time, the harpsichord, could 3:37 not crescendo or diminuendo. Dynamics tended to be terraced or in steps. My suggestion is to make use 3:46 of crescendos sparingly and mostly feature diminuendos at the ends of phrases or movements.
03:55Messa di Voce
3:55 The one important exception, however, is messa di voce. This is a crescendo and diminuendo over 4:06 a single held note. Appropriate places for this are given in the green boxes on the first line. 4:14 The B flat 3 in measures 3 and 4 is a dissonance by Baroque standards. It is a 4:20 sustained note that can be highlighted with this dynamic and then resolved downwards. 4:26 The D flat 4 in measure 7 and 8 is non-scale note in the Dorian mode mentioned in the first 4:38 video in this series. The accidental indicates that it is not part of the scale collection 4:45 and like the earlier B flat 3 it should be featured in a special way and then resolved. 4:55 music: first movement, Telemann 5:01 Sonata
05:35Adding Slurs
5:35 Composers of Baroque music generally allowed the musicians to put in slurs 5:40 as needed. Since some music such as this Sonata was performed by 5:47 different instruments it makes sense for musicians to determine what will work best. The slurs 5:55 that I use for this Telemann Sonata might not work as well on the flute, for instance. 6:04 In general, I place more slurs in slower movements than faster 6:09 movements. This better expresses the lyrical feelings of the slower movements.
06:19Varying Slurs and Articulations
6:19 Different slurs and articulations can also be a way to vary the music and keep interest. 6:26 For instance, in the opening of the second movement I vary the slurring of 6:31 the repeated figure. The first time I give no slurs, but the second time I add slurs. 6:40 Later in the second movement the green box highlights music that I perform in two different 6:45 ways. The first time I perform it with slurs. The second time I perform it with staccato notes. 7:01 music: second movement, Telemann Sonata
07:27John Miller on Articulation
7:27 John Miller’s lecture on the Mozart Bassoon Concerto 7:30 contains important ideas about articulation that can be applied to Telemann’s works as well. 7:38 John Miller, a famous USA bassoonist, 7:41 has provided great service to the profession with his lectures, articles, and performance editions.
07:48Slurs in Technical Passages
7:48 Slurs can also facilitate technical passages. In measure 7:55 35 and later it makes sense to slur the adjacent 16th notes rather than tongue all the notes. 8:04 Also, be aware that in Baroque practice it is more common to slur adjacent notes rather than leaps.
08:12Variety of Baroque Articulations
8:12 Last of all, is something to consider that cannot be notated. Baroque performance practice 8:20 includes a greater variety of articulations than common for later periods of music. 8:28 Treatises of that period discuss different types of tonguing strokes. 8:34 The harpsichord itself allows for little variety apart from note lengths and timings and so 8:42 great players of this instrument are quite sophisticated with their articulations.
08:50Tabuteau Drive and Note Lengths
8:50 My article “A Bassoonist’s Expansions upon Marcel Tabuteau’s ‘Drive’” hints at this 8:57 when I discuss varied note lengths in a passage of Vivaldi’s A minor Concerto. The figure indicates 9:05 note lengths with numbers. The higher the number the longer the note. So, numbers 5 are played 9:13 the longest and numbers 1 are the shortest. These subtle changes in note lengths allow the performer 9:23 to emphasize certain notes above others and shape the musical line in different ways. 9:31 The longer numbers provide for notes that receive more emphasis.
09:38Required Ornaments and Trills
9:38 There are certain ornaments that are required in Baroque music that are often not in original 9:46 manuscripts. These ornaments were so common that the composer didn’t bother to waste the ink. 9:54 Everyone at that time knew that they had to be included. 9:58 We find examples of this in the first movement of the Sonata. Trills are required at the ends 10:04 of sections and movements. Thus, trills are needed in measures 18, 33, and 37.
10:16Florid Ornamentation and Diminution
10:16 Now we get to the most interesting part of performing Baroque music. Florid ornamentation 10:23 or diminution was a craft practiced by all musicians at the time the Sonata was written. 10:31 I will not spend time here on ornamentation because I have already addressed the subject in 10:37 five other videos. Please do have a look at these and the Baroque music resource page on 2reed.net.
10:49John Miller's Edition
10:49 Please also consider John Miller’s edition of the Sonata. 10:53 In it Mr. Miller gives his suggested ornamentation as well as the original version of the passage.
11:03Ewell Performance Edition
11:03 Also, I provide my performance edition to the last two movements 11:08 that accompany the last video in this series.
11:14Next Video: Cadenzas and Flourishes
11:14 Well, I hope that these comments are helpful to you. In the next video we 11:19 will conclude our discussion of ornamentation 11:22 by looking at cadenzas and what I am calling “flourishes,” which are virtuosic passages. 11:29 Also, the importance of tempo relationships between the movements will be considered. 11:41 music: Telemann F Dorian Sonata, 4th movement 11:50 by Terry B. Ewell, bassoon, Eva Mengelkoch, harpsichord, and Frances Borowsky, cello.
Credits
- author Terry B. Ewell
- composer Georg Philipp Telemann
- performer Terry B. Ewell
- performer Eva Mengelkoch
- performer Frances Borowsky