Additions and ornamentation in Telemann's F Dorian (F Minor) Sonata.
Terry B. Ewell discusses the addition of dynamics, articulations, and
ornaments. Music by Terry B. Ewell, Eva Mengelkoch, and Frances
Borowsky . BDP #303. www.2reed.net.
<music: Telemann F Dorian Sonata, 3rd movement by Terry B.
Ewell, bassoon, Eva Mengelkoch, harpsichord, and Frances Borowsky,
cello.>
In this video I will provide an overview of ornamentation in the solo
part for the Telemann F Dorian Sonata. Then I will conclude with
information on resources that
I have prepared for you to better understand and perform Baroque music.
The starting point, of course, for ornamenting the Sonata is with the
authoritative edition of the work. You can see here that the solo part
is quite sparse. Few dynamics, slurs, and articulations are given. In
addition, ornaments need to be added in required locations as well as
optional locations. Let’s take each of these issues one by
one.
Baroque music features two dynamic markings: piano and forte. If you
ever see an edition of Baroque music with pp, mp, or mf you know
immediately that this edition includes many markings not given by the
composer. However, as a performer you might want to play these dynamics
in your performance. In general, however, contrast been quiet and loud,
piano and forte will work well.
In my performance of the first movement, for instance, I add these
dynamics which appear in red. Telemann provides a good example for how
to make use of dynamics in the first three measures. The echo dynamic,
piano, in the second measure is a common way to add interest in Baroque
music. The first statement in measure 1 is loud and the second
statement is quiet. I use that idea for the dynamics in measures 11-12,
forte, and then the echo in measures 13 and 14. Also, later in the
movement measures 27-28 are an echo to measures 25 and 26.
You might also make use of dynamics to provide contrast between
movements. Although Telemann gives no dynamics for the third movement
it is appropriate to perform this movement more quietly than the fourth
movement.
Be aware that crescendos and diminuendos on the whole were not employed
much in Baroque music. The Mannheim School of composers and musicians
in the latter part of the 18th century developed innovations including
the use of a group crescendo. This was not, however, common in the
Baroque period and in fact the principal keyboard instrument of the
time, the harpsichord, could not crescendo or diminuendo. Dynamics
tended to be terraced or in steps. My suggestion is to make use of
crescendos sparingly and mostly feature diminuendos at the ends of
phrases or movements.
The one important exception, however, is messa di voce. This is a
crescendo and diminuendo over a single held note. Appropriate places
for this are given in the green boxes on the first line. The B flat 3
in measures 3 and 4 is a dissonance by Baroque standards. It is a
sustained note that can be highlighted with this dynamic and then
resolved downwards. The D flat 4 in measure 7 and 8 is non-scale note
in the Dorian mode mentioned in the first video in this series. The
accidental indicates that it is not part of the scale collection and
like the earlier B flat 3 it should be featured in a special way and
then resolved.
<music: first movement, Telemann Sonata>
Composers of Baroque music generally allowed the musicians to put in
slurs as needed. Since some music such as this Sonata was performed by
different instruments it makes sense for musicians to determine what
will work best. The slurs that I use for this Telemann Sonata might not
work as well on the flute, for instance.
In general, I place more slurs in slower movements than faster
movements. This better expresses the lyrical feelings of the slower
movements.
Different slurs and articulations can also be a way to vary the music
and keep interest. For instance, in the opening of the second movement
I vary the slurring of the repeated figure. The first time I give no
slurs, but the second time I add slurs.
Later in the second movement the green box highlights music that I
perform in two different ways. The first time I perform it with slurs.
The second time I perform it with staccato notes.
<music: second movement, Telemann Sonata>
John Miller’s lecture on the Mozart Bassoon Concerto contains
important ideas about articulation that can be applied to
Telemann’s works as well. John Miller, a famous USA
bassoonist, has provided great service to the profession with his
lectures, articles, and performance editions.
Slurs can also facilitate technical passages. In measure 35 and later
it makes sense to slur the adjacent 16th notes rather than tongue all
the notes. Also, be aware that in Baroque practice it is more common to
slur adjacent notes rather than leaps.
Last of all, is something to consider that cannot be notated. Baroque
performance practice includes a greater variety of articulations than
common for later periods of music. Treatises of that period discuss
different types of tonguing strokes. The harpsichord itself allows for
little variety apart from note lengths and timings and so great players
of this instrument are quite sophisticated with their articulations.
My article “A Bassoonist's Expansions upon Marcel Tabuteau's
‘Drive’” hints at this when I discuss
varied note lengths in a passage of Vivaldi’s A minor
Concerto. The figure indicates note lengths with numbers. The higher
the number the longer the note. So, numbers 5 are played the longest
and numbers 1 are the shortest. These subtle changes in note lengths
allow the performer to emphasize certain notes above others and shape
the musical line in different ways. The longer numbers provide for
notes that receive more emphasis.
There are certain ornaments that are required in Baroque music that are
often not in original manuscripts. These ornaments were so common that
the composer didn’t bother to waste the ink. Everyone at that
time knew that they had to be included. We find examples of this in the
first movement of the Sonata. Trills are required at the ends of
sections and movements. Thus, trills are needed in measures 18, 33, and
37.
Now we get to the most interesting part of performing Baroque music.
Florid ornamentation or diminution was a craft practiced by all
musicians at the time the Sonata was written. I will not spend time
here on ornamentation because I have already addressed the subject in
five other videos. Please do have a look at these and the Baroque music
resource page on 2reed.net.
Please also consider John Miller’s edition of the Sonata. In
it Mr. Miller gives his suggested ornamentation as well as the original
version of the passage.
Also, I provide my performance edition to the last two movements that
accompany the last video in this series.
Well, I hope that these comments are helpful to you. In the next video
we will conclude our discussion of ornamentation by looking at cadenzas
and what I am calling “flourishes,” which are
virtuosic passages. Also, the importance of tempo relationships between
the movements will be considered.
<music: Telemann F Dorian Sonata, 4th movement by Terry B.
Ewell,
bassoon, Eva Mengelkoch, harpsichord, and Frances Borowsky,
cello.>