Taught by renowned flutist
Rachel Brown
Telemann was a pioneer in creating the illusion of polyphony with a single voice. For this course, Brown explores each of his twelve fantasias, delves into the dances that inspired them, and performs exquisitely on her baroque flute.
Introduction
These fantasies are designed to be played without bass accompaniment, which was quite uncommon at the time. Brown discusses what we know about the pieces' history and how she approaches them on a baroque flute.
1. Fantasia in A major
The bright & merry first fantasy often relies on strong, dissonant notes to create emotion. Brown also shares how to play the fugal theme.
2. Fantasia in A minor
In the parallel minor of the first, the second fantasy takes on a somber and serious tone.
3. Fantasia in B minor
The key of B minor is often associated with melancholy and snake-like chromaticism, which Brown highlights in the opening Largo – two bars that should be played like a lute.
4. Fantasia in B-flat major
Returning to brightness, the fourth fantasy is one of the slower movements in the suite. Brown shares how to handle cross fingerings, and where slight improvisation might be helpful.
5. Fantasia in C major
Complete with a Shakespeare analogy, Brown describes how this fantasy reminds her of cheery laughter. There are multiple characters coming in and out, a challenging yet powerful dynamic.
6. Fantasia in D minor
In one of the most extreme keys in classical music, the sixth fantasy allows us to explore nuanced colors on the flute, which Brown always grounds in visual imagery and the unique nature of her baroque instrument.
7. Fantasia in D major
Written in a French style reminiscent of Lully, the 7th fantasy is a remarkable display of Telemann's contrapuntal writing. Brown shares how we can over-dot the rhythms to add character and bring a sense of orchestral grandness to a solo performance.
8. Fantasia in E minor
Full of uneasy chromaticism and sorrowful symbolism, the 8th fantasy requires deliberate articulation techniques and careful analysis of mood.
9. Fantasia in E major
Bach used the key of E major when he wanted to be luminous – on the one-keyed flute, it has a special color. Brown discusses how we capture this essence and combine disparate elements to achieve a compelling performance.
Click here to download the course workbook PDF and see the full syllabus →A leading exponent of historical flutes, Rachel Brown is in great demand worldwide, as a soloist, orchestral player and teacher. As principal flute and recorder player with the Academy of Ancient Music, the Hanover Band, the Brandenburg Consort, Collegium Musicum 90, Ex Cathedra and, more recently, Arcangelo, she has recorded extensively and performed throughout Europe, North and South America, Japan, China and Australia.
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