Common Mistakes with performances of Telemann's F Dorian (F Minor)
Sonata. Terry B. Ewell discusses the best edition, using
accompaniments, and common mistakes by pianists. BDP #302.
www.2reed.net.
<music: Telemann F Dorian Sonata, 3rd movement by Terry B. Ewell,
bassoon, Eva Mengelkoch, harpsichord, and Frances Borowsky, cello.>
I have listened to many student performances of the Telemann F Dorian
Sonata as an adjudicator for solo competitions in Maryland and West
Virginia. Year after year I come across mistakes that are common to
many performers. It will be helpful for you to avoid these mistakes as
you study the Sonata.
The first and in some ways the most serious mistake is to read from a
poor edition of the Sonata. There are many editions of the work
available. Here, for instance, are some of the editions that I have in
my personal library.
However, some of the editions create problems for the performer by
adding dynamics, slurs, and even changing notes that were not in the
original part. For instance, see this version from Russia that is
available on imslp.org. The editor of the bassoon part is Valery Popov,
one of the greatest bassoonists ever seen in Russia.
I have highlighted in yellow here some of the departures from the
authoritative edition of the work. First off, there are four flats in
the key signature instead of three. There is a forte put in the first
measure that is not in the original edition.
Now, I do indeed follow that and I play forte, but I am alerting you to
changes. The parentheses are put around the piano where Telemann does
indicate that. In the next measure, measure 3, there are parentheses
around the forte where again Telemann puts those in.
You will see that there are even changes of notes. A little lower down
you will see that there is a C3 in the part when in the authoritative
edition it is a C2 that is the low C on the instrument.
Now, the International Music Company edition of the Sonata takes even more liberties. Let’s just examine the first line.
The authoritative edition of the work can be found for free on
imslp.org. Since the authoritative edition is free for anyone who has
access to the Internet, there is no excuse today for any bassoonist to
be performing the work without reference to the original composition. I
discussed the unusual features of this authoritative edition in the
last video. If you did not see it yet, please refer to it. There is a
change in the key signature, there are added dashes on notes, there is
a mf given, crescendos and diminuendos, added slurs; all of that. Now,
as a performer you might indeed want to play those, but first you need
to know exactly what Telemann wrote and then you can make the changes.
So, it is quite important to find the authoritative work to read first.
If you looked at the last video, you will know that I have made
reference to this. Here again is the website where you can find the
work on IMSLP. This authoritative edition that was taken from a
collection of works by Telemann. If you are seeking a modern edition of
the work, you need to consult this.
The authoritative version of the work is also reprinted in the Amadeus
edition. If you are seeking a modern version of the work, this is the
only version that I recommend.
Practicing without an accompaniment is a common problem for many students today and particularly for this COVID-19 period.
This problem is quickly remedied by visiting my website 2reed.net. The
greatest variety of files are available in the MIDI format. As you can
see there are older files by others and me and then in December in
preparation for these videos, I created some new files. The mp3 files
are here. You can just click and play them from the website. Notice
that most of the movements here have accompaniments in multiple tempos.
At the bottom there are links music at imslp.org. In the future I will
include the links to these videos here as well.
Let’s select one of the newer files and listen to it. You can
hear two instruments a cello and harpsichord. Although many students
only have experience with a piano accompaniment this version is
actually closer to Telemann’s intensions. The piano was not yet
used as an accompaniment instrument at the time of the composition.
Since I have provided these files to you for free, there is no excuse
not to practice with the accompaniments. This will help you to learn
the piece and better understand the relationship between the solo part
and the accompaniment. If you practice quite frequently with these
files, then it will be an easy matter to rehearse with your live
accompanist at a later time.
Accompanists, however, often do not understand how to perform Baroque keyboard parts.
Here is a page from the International Music Company edition of the
work. Pianists are trained to bring out the melody by playing the top
notes the loudest. Most pianists would then play these notes louder
than the bass part. However, this is entirely incorrect. Let’s
look at the authoritative version for this movement. Notice that only
the bass notes are given for the keyboard player. The numbers indicate
what would be in the right hand of the harpsichord. So, the entire
right hand given in the piano here is not in the original music at all.
Rather it is a realization of the music.
The real melody given by Telemann to the accompanist is in the left
hand, the bass part. Normally this would be doubled by another
instrument and thus louder. The upper notes on the harpsichord are
quieter in any case. So, the accompanist should emphasize the bass
notes and lightly play the upper notes.
For more information on this please see the video titled “Baroque Accompaniments on Piano” BDP #42.
The next video will introduce the subject of ornamentation and provide
examples from the Telemann Sonata. Furthermore, I will point to some
additional resources that can aid your performance of the Sonata.
<music: Telemann F Dorian Sonata, 4th movement by Terry B. Ewell,
bassoon, Eva Mengelkoch, harpsichord, and Frances Borowsky, cello.>