Customer Reviews

Telemann: 12 Fantasias

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Telemann's Twelve Fantasias extend far beyond the sound worlds of either Bach or Biber in both depth of emotion and an obvious vulnerability. There is little rhetoric here, only a passionate musical intensity that seems to well up from the composer's very soul. Manze, performing on a Gagliano (1783), continually hypnotizes, his violin captured beautifully in an immensely flattering acoustic, never acerbic, but resonating with a tone much richer and darker-hued and "vocal" than is common with period instruments. The Fantasias, themselves, are marvelous, phantasmagorical "inventions" of infinite wonder and design, yet retain a staggering ability to appear completely improvisational. That Manze is committed to these incredible pieces is unquestionable. His playing is simply stunning, without drawing attention to his own phenomenal virtuosity or the extreme difficulties inherent in each Fantasia. The "Gulliver Suite" for two violins (with Caroline Balding playing a 1783 Amati/Cremona), derived, obviously, from Swift's book, is, at just over seven minutes, a pleasant diversion that brings upbeat closure to the CD.

[Running time: 78:18]

Telemann's 12 Fantasias for solo violin (1735) are intriguingly elusive. Their brief movements offer a whirlwind tour of European manners and styles. The player's resources are laid bare -- no overarching formal design (this isn't Bach), and few openings for virtuosic display.

Andrew Manze is a star of the period-instrument set. Lightning reflexes (and wits) and improvisatory flair are his strengths -- precisely what this music demands. His playing is a catalog of riches. Compare two concluding allegros -- No. 4, with its bustling near-orchestral accompaniment sharply set against the melody, and No. 11, all fantastic lightness. Or the Italianate curves of No. 6's graceful Siciliana. Caroline Balding seconds Manze impeccably in the encore, a playful suite inspired by "Gulliver's Travels."

The sound is typical of Harmonia Mundi's best -- a close, unimpeded perspective, as mellow as it is brilliant.

This is an extremely enjoyable, listenable disk. I love the Bach solo sonatas but they should not be compared to the Telemann, which is a completely different thing, "easy listening" by comparison and full of memorable tunes. The disk does not wear thin. It's sitting in my car CD player right now and I must have listened to it 25 times and simply haven't been motivated to replace it, because I haven't gotten tired of it!

I bought the Fantasias for Solo Violin from three different interprets. The other two were Sarnau and Dubeau. The main difference is IMHO that Manze read the title: he really plays fantasies. I can only recommend this CD. My advice for violinists: get all the three editions and compare it yourself.

If you ever listenned telemann's tafelmusik, I believe you would know what I mean. In past experenice, telemann was often argued lack of depth, and was famous of easygoing music, at least comparied with Bach. However, telemann fantasias had changed my image, it is a depth music, especial after that heard other his music. I don't think its value is lower than Bach uncompanied solo violin music.
Of course maybe it's Manze's technique give me this feeling, but finally, I could say I must reknow telemann and it's Manze's contribution. I recommand it to all.

There is a whole baroque cosmos contained in these little pieces, a grand tour of affects and styles from learned to GALANT: graceful sicilianas alternate with austere SONATA DA CHIESA-like movements, and quasi-fugal pieces are followed fast on the heels by gauche country-fiddle dances. Andrew Manze, the baroque violin superstar of our time, finds an abundance of expressiveness and wit in what seems on the page to be conventional baroque rhetoric. His playing is sparkling, nimble, and characterful. His astounding technique is married to a beautiful CANTABILE tone, a bold sense of fantasy and humor, and a sure feeling for the structure, pacing, and affects of the tiny movements that make up the fantasias. This is an extravaganza not to be missed by any fans of baroque violin playing.

This smart and beautiful music for solo violin deserves a better performance. I don't like the weak projection and the
very tiny sound of Manze. Occasionaly there are too wide volume differences between the tracks. Clearly Manze has admirers. I am not one of them.

Andrew Manze's playing, hailed by petty music critics all over the world as witty and brilliant, blah blah blah, certainly falls flat here. Yes, he's got chops, and he's made it his admirable quest to record everything under the sun, but these beatiful and fun (yes, fun!) Fantasias are rich with rhetorical sentiment, and Manze breezes mechanically and monotonously. If you're a Manze fan already, of course you're going to love this CD. You'll also love it if you have no idea what "rhetorical sentiment" is. However, if you know anything about early music or prefer other things to eat besides vanilla pudding, you may not want to waste your money. I wish one day we could live in a world where recording companies record good music, not just flashy names.