Just posted an MP3 for my latest efforts. This is the first recording session playing my new Amadeus AF700-BOF. I'm having a blast playing it, but still struggling a little with the low notes. The really hard part of these crazy Fantasias is getting through them cleanly without bobbling up any of the fingerings :-) 3 down, 9 to go...
Not bad effort Jim,
These pieces aren't as easy as some think.
If I were to offer any sort of suggestion,
Keep looking for the phrase structure in these movements for breathing and Telemann's intended meaning. Also, Sometimes the low notes are a bit lower than they should be. Many flutists have a tendency to move their head to reach the ones below the staff thinking that it makes them achievable but it drops the pitch. Many also think that a wider embouchure hole helps to reach them but then it becomes unfocused. So, I'd work on tuning the octaves.
Did you know that he wrote more than one set of 12 Fantasias?
Here is the 2nd set #3. I have an arrangement for Flute/Alto Rec. but it isn't as effective without the violin double stops. http://www.youtube.com/watch?v=t48ErpSYyi0
Yes, the low notes seem off to me listening to the recording. I didn't have so much pitch trouble with them on my DeFord, but have been struggling with the Amadeus. Now that I've heard it for myself in the recordings I'll see what I can do. The new headjoint is much more flexible and is taking some getting used to. One thing I have done is install plugs in the lower two open keys. I was really getting into trouble reaching for the C and B rollers losing the seal on the keys. I still think there's a leak down there somewhere adding to the difficulty.
One thing I have noticed is that between improvements on recording equipment, flutes, and practice/experience, each piece I record seems to get a little better.
I'm not sure I can take more than 12 Telemann Fantasias :-)
I believe that there is a place in the first mvt. where you are playing 32nd notes instead of 16ths. at 00:56, and at 01:11.
In the last mvt. 03:06 the 2nd, third and fourth notes in my music are sounding like a triplet This happens whenever you play this motiv. and I don't think that it is written like that. They are two 16ths and a quarter. I believe that if you investigate, you'd find that this sort of rhythm is distinctive as having an implied accent on the first 16th note. The triplet sound that you're doing changes the intended character to a more relaxed one and it would be a point that he intended this idea in this mvt.I have a reason in a mention of this because he writes a sort of reverse of this rhythm later(Eighth/two 16ths).
A big difficulty in #5 goes to the 9/8 and the theme presented in the first three measures.
It regards how effectively this theme is presented and then reintroduced throughout the movement. For example Ms. (4-5-6) and then again in (7-8-9)& (13-14-15)etc.....
You are correct. I have been playing the wrong timing at the end of the Andante. The mistake is so ingrained in my thinking that it took a while to figure out where your were referencing. I also see where I have made triplets out of two 16ths and an eight. The rhythm as written adds a bit more "bounce" to the piece. Thank you for pointing these areas out. I will certainly mark up my music and practice it correctly. I'm sure a private teacher would be helpful for me in areas like this. I am also struggling lately with intonation and embouchure.
I doubt that I will approach "ludicrous speed" at the beginning of No 5, but we'll see. I have been trying to concentrate on accuracy with these pieces rather than speed. I will listen carefully to my recordings for the 9/8 Allegro.