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GEORG PHILIPP TELEMANN Concerto for Viola & Strings Full Score Edited from the urtext by Alan Bonds

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Page 1: GEORG PHILIPP TELEMANN - Voices of the Baroquevoicesofthebaroque.com/music/Telemann, TWV 51-G9 Viola Concerto... · GEORG PHILIPP TELEMANN Concerto for Viola & Strings Full Score

GEORG PHILIPP TELEMANN

Concerto for Viola & StringsFull Score

Edited from the urtextby Alan Bonds

Page 2: GEORG PHILIPP TELEMANN - Voices of the Baroquevoicesofthebaroque.com/music/Telemann, TWV 51-G9 Viola Concerto... · GEORG PHILIPP TELEMANN Concerto for Viola & Strings Full Score
Page 3: GEORG PHILIPP TELEMANN - Voices of the Baroquevoicesofthebaroque.com/music/Telemann, TWV 51-G9 Viola Concerto... · GEORG PHILIPP TELEMANN Concerto for Viola & Strings Full Score

PREFACE

This edition was prepared from the original ms at Darmstadt University and later published by Bärenreiter Verlag (1955).It’s main purpose is to ornament the first movement in the manner of the period.This idea is based on Telemann’s six Method Sonatas for Violin or Flute.The original advertising material stated that “The Sonatas will be very useful to those that wish to apply themselves to cantabile ornamentation”.

Telemann offers two versions of the cantabile movements (usually the first movement) - one unadorned, the other floridly ornamented in accordance with French and Italian taste.Interestingly, none of the ‘slow’ movements (usually the 3rd) has extra ornamentation. They are sometimes quite ornate and sometimes marked with words like semplice.

By good chance, the B flat major Method Sonata 1st movement has the same time signature of 3/2 and marked Largo. It too has the same Chaconne-like phrasing commencing on the 2nd beat of the bar. Likewise, many of the half-notes are marked staccato in the ornamented version. Therefore it provides an excellent model for embellishments in the 1st movement of the Viola Concerto.

My version is a fairly basic attempt. Players should try the B flat Sonata and then try out their own.

But I am certain that the soloist would not have entered playing the same material as the orchestra. It would have been unthinkable to a baroque string player. It provided the ideal opportunity to show off their virtuosic skills of improvization and ornamentation.I am also sure that the staccato markings in the 1st movement indicate a dance-like lilt, perhaps derived from the Chaconne.

Alan BondsPerth, Western Australia

July 2016

[email protected]

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AllegroII

6

Largo

Concerto in G majorI for Viola, Strings and Continuo G. Ph. Telemann

Viola solo

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Viola solo

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IV Presto

Cadenza

III AndanteViola solo

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Viola solo

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Violin 1

Largofor Viola and String OrchestraConcerto in G major

Georg Phillip Telemann

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Allegro2Violin 1

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Presto

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AndanteViolin 1

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Largofor Viola and String OrchestraConcerto in G major

Georg Phillip TelemannViolin 2

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Violin 2

Allegro2

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Presto

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Andante3Violin 2

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Largofor Viola and String OrchestraConcerto in G major

Georg Phillip TelemannViola

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Allegro

2Viola

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Presto

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Andante3Viola

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Largofor Viola and String OrchestraConcerto in G major

Georg Phillip TelemannBasso Continuo

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Presto

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Andante3Basso Continuo

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4Basso Continuo