 Ces Douze Fantaisies pour la Basse de Violle, ainsi qu’en est le titre original en français en 1735, ont été redécouvertes en 2015. Alors qu’elles ont été écrites pour la viole de gambe, les Fantaisies ont été ici transposées au violoncelle. C’est historiquement intéressant : Telemann, qui faisait la mode musicale de son époque, avait choisi entre ces deux instruments d’opter pour celui qui était jugé par le public comme du passé, la viole de gambe. Peu de temps avant, Bach avait fait le choix inverse lorsqu’il a composé ses Suites pour violoncelle ! Ainsi cet enregistrement invite à rechercher les analogies et différences entre les deux compositeurs. Comme Bach l’a fait au violoncelle, Telemann a exploré le potentiel de l’instrument solo avec la viole de gambe. Dans ses œuvres, il avait l’intention de créer un nouvel et authentique style germanique, mélangeant les meilleurs éléments stylistiques des écoles nationales dominantes de l’époque : la France et l’Italie. Le son du violoncelle s’ajoutant au talent mélodique de Telemann, à sa richesse d’invention et liberté d’exécution rend ces joyeuses Fantaisies puissantes et universelles. (Mathieu Niezgoda) This recording provides a special occasion to discover a bundle which was deemed lost until a few years ago. The “Fantasies pour le Basse de Violle” was published with the French title in Hamburg (1735) and was discovered in 2015 by the French musicologist François- Pierre Goy. Since then, the bundle has been added to the other bundles for solo instruments composed by Telemann over many years. All of those are titled “Fantasie” and are written for diff erent instruments – transverse fl ute, violin, harpsichord and the viola da gamba (viol). This recording has been made with the consideration of a cello. The transposition from the viola da gamba to the cello should not be surprising. Although they do not belong to the same family, the bounds between them are strong and marked an entire epoch. In a surprising fact, Telemann dedicated an entire bundle for an instrument that was no longer in fashion in 1735. The audience and the instrumentalists turned to cello, whereas the viola da gamba belonged to a past time. Yet, between 1717 and 1723, J.S. Bach composed the famous Suites for cello solo and it seemed that his fi rst thought was to dedicate them to the Viola da Gamba! Thus, this recording provides a further stimulus to research the analogies and diff erences between Bach and Telemann. Telemann explored the potential of the solo instrument as Bach did. He recreated an imaginary polyphonic structure given by melodic instruments and used patterns taken from diff erent forms, from the Sonata to the Concerto, with structures that consisted of three sections or with fugato parts, where the counterpoint matched with the melodic talent of Telemann.
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