Telemann and his godson C.P.E. Bach had a lot in common: both studied law before pursuing music, both became key links between late-Baroque and early-Classical styles, and both composed prolifically—Telemann’s output is measured in the thousands. Alongside the reams of sacred music, instrumental suites, operas, and concerti, Telemann also wrote sets of unaccompanied instrumental fantasias, for violin, viola da gamba, harpsichord and flute. 

The second Fantasia of this set of twelve has four sections (Grave, Vivace, Adagio, and Allegro), with tempo changes aligning with changes of mood or character. This Fantasia in particular is a fantastic example of Telemann’s mastery of counterpoint, managing to keep multiple lines of melody spinning concurrently through regular changes of register. 

Hugh Morris 2024