Caroline Eidsten Dahl -12 Fantasien für Flöte solo -Lawo Classics CD Grooves.land/Playthek

详情/曲目清单：

Fantasie C-Dur TWV 40:2

01. "1. Vivace"

02. "2. Allegro"
Fantasie d-moll TWV 40:3

03. "1. Grave"

04. "2. Vivace"

05. "3. Adagio"

06. "4. Allegro"
Fantasie d-moll TWV 40:4

07. "1. Largo - Largo - Vivace"

08. "2. Allegro"
Fantasie Es-Dur TWV 40:5

09. "1. Andante"

10. "2. Allegro"

11. "3. Presto"
Fantasie f-moll TWV 40:6

12. "1. Presto - Largo - Presto - Dolce"

13. "2. Allegro"

14. "3. Allegro"
Fantasie F-Dur TWV 40:7

15. "1. Dolce"

16. "2. Allegro"

17. "3. Spirituoso"
Fantasie D-Dur TWV 40:8

18. "1. Alla Francese"

19. "2. Presto"
Fantasie g-moll TWV 40:9

20. "1. Largo"

21. "2. Spirituoso"

22. "3. Allegro"
Fantasie a-moll TWV 40:10

23. "1. Affettuoso"

24. "2. Allegro"

25. "3. Grave"

26. "4. Vivace"
Fantasie a-moll TWV 40:11

27. "1. A tempo giusto"

28. "2. Presto"

29. "3. Moderato"
Fantasie B-Dur TWV 40:12

30. "1. Allegro"

31. "2. Adagio"

32. "3. Vivace"

33. "4. Allegro"
Fantasie b-moll TWV 40:13

34. "1. Grave - Allegro - Grave - Allegro - Dolce - Allegro"

35. "2. Presto"

光盘数量：

描述：

Minuets, sarabands, bourrées, gigues, gavottes, hornpipes and polonaises. Like many other composers, Georg Philipp Telemann (1681-1767) used dance as a foundation for his compositions and this is no more evident than in his fantasias for flute, where we find several examples. Although the music is written for neither the ballroom, theatre nor opera, references to the baroque French court dance are clear and abundant. The music therefore invites something more than a pure listening experience, also evoking movement and corporeal responses. When music of the 18th century is interpreted today it is not necessarily the qualities of dance which set the framework for the performance. Nor were the fantasias for flute written specifically for dance. Even though the form is free, the references to dance can still provide indications and inspiration for further ways to experience the music. One of these is tempo. If dance tune is played too slowly, the dance will be affected by it. For example, balancing on one leg and pirouetting will require a stronger technique. Too slow a tempo could lead to a certain stiffness, but a tempo can also be too fast, in which case it would be challenging for the dancer to perform all steps with the required precision. It is not always as easy to recognize the underlying dance in the music, but given the required effort the rhythms and different characteristics of the dances can be sensed - the swing, flow and movement in the basic structures of the music can be perceived. Let your fantasy unwind, open up the creative space, and allow the music to move both body and soul!, Runningtime: 00:00:00, Booklet Editor: Hege Wolleng, Composed By: Georg Philipp Telemann, Design [Cover], Photography By: Anna Julia Granberg, Engineer [Balance], Mastered By: Thomas Wolden, Liner Notes: Elizabeth Svarstad, Liner Notes [Translation]: Paul Holden (7), Producer, Editor [Recording]: Vegard Landaas, Recorder: Caroline Eidsten Dahl, Labelcode LAWO1212.2 (LWC 1212), Phonographic Copyright (p) Lawo, Copyright (c) Lawo Classics, Made By Dicentia, Recorded At Bragernes Kirke

Manufacturer No.:

LWC1212

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