Telemann, 20 petites fugues pour orgue ou clavier : 0:00 Fugue en ré majeur TWV 30: 1 1:25 Fugue en la majeur TWV 30: 2 2:47 Fugue en sol majeur TWV 30: 3 4:40 Fugue en mi mineur TWV 30: 4 5:56 Fugue en ré mineur TWV 30: 5 7:53 Fugue en do majeur TWV 30: 6 9:35 Fugue en si mineur TWV 30: 7 11:18 Fugue en ré majeur TWV 30: 8 12:45 Fugue en la mineur TWV 30: 9 14:26 Fugue en mi mineur TWV 30: 10 15:42 Fugue en do majeur TWV 30: 11 17:09 Fugue en mi mineur TWV 30: 12 18:47 Fugue en do mineur TWV 30: 13 20:09 Fugue en la mineur TWV 30: 14 21:22 Fugue en si mineur TWV 30: 15 22:37 Fugue en ré mineur TWV 30: 16 24:19 Fugue en la mineur TWV 30: 17 25:38 Fugue en fa majeur TWV 30: 18 26:40 Fugue en sol majeur TWV 30: 19 28:11 Fugue en la mineur TWV 30: 20
Thanks for mentioning Bluxtehude. Hitherto I had never heard of that composer, since, I, too, basked and bask most often and sometimes to the exclusion of all else, in the radiance of the great God of Baroque you rightly named :) I am happy, however, to make heretical expeditions into the realm of lesser but equally truthful deities, such as Telemann. :)
Dartme18 Because Bach got more popular in the 19th century, largely thanks to Felix Mendelssohn and advancement of printing press technology. Telemann was highly prolific and in demand in his lifetime.
Great pieces 7'54"-9'30", worthy of Bach (interestng modulation to G major at the end); 14'25"-15'38 A-minor (same effect as the former piece); 21'24"-22?33" E-.minor; 25'38"-26'34" F.-major; 28'12"-end A-minor.
I own a score of these fugues, and interestingly that first fugue you mentioned is one of the most modal things I've ever seen from Telemann or just baroque organ music in general. The entire thing is in G Mixolydian (key signature C Major), with the answer in C Mixolydian (key signature F Major). It sounds like it modulates at the end, but actually it had been in that tonality the entire time, only in mixolydian. This entire collection is full of modal fugues, which makes it quite unique.
The counterpoint is simple, yes, but maybe not too simple. Perhaps Telemann was writing for the average person at Church, and didn't want the music to be too distracting. Short and simple.
Yes, this was written for beginner organists according to his own writing in the preface. This is actually not representative of his normal organ writing abilities, which we can assume were probably more advanced. Just look at his chorale preludes. However, there is something unique about these fugues, in that he consciously wrote each one in a different church mode. These are not straightforward major minor fugues. They range from mixolydian, dorian, phrygian, etc. Try looking at the scores for these, they are fascinating. Modal theory was almost completely obsolete in the time that he wrote this.
From what I can see, the fugues are just for two voices so the pedal is not expected. Moreover he wrote "pour orgue or clavier", clavier is harpsichord...
@@775987mb all the fugues are four voices. You might be thinking of the petite fugues in his French set. You can use pedals at your discretion. It is notated to be played on any organ, with or without pedals. Gabriel, you can find the fugues on IMSLP under an entry called "Telemann complete organ works", it will be bundled together with his 48 chorale preludes, and a few concertos.
Raúl Simón- Georg Philipp Telemann was much more famous Johann Sebastian Bach during his lifetime. Telemann had stronger areas such as operas, cantatas etc and he was more prolific than Bach.
Actually not too simple. It is very sophisticated counterpoint. If one looks at Bach's organ book, and pieces in the BVW 600's they are very similar to these. I also love Bach,.. but in all fairness, it's hard to hold in one's mind the idea that in the late Baroque period, there were scores of composers writing counterpoint, and Fugues of an extremely high caliber! We just want to have a single hero ! But the reality is' George Philippe Telemann, and many others wrote some great pieces, and some great little pieces, that many music scholars would have a great deal of difficulty differentiating from Bach.... if they only had their ears to go by.
Underrated composer.
Telemann, 20 petites fugues pour orgue ou clavier :
0:00 Fugue en ré majeur TWV 30: 1
1:25 Fugue en la majeur TWV 30: 2
2:47 Fugue en sol majeur TWV 30: 3
4:40 Fugue en mi mineur TWV 30: 4
5:56 Fugue en ré mineur TWV 30: 5
7:53 Fugue en do majeur TWV 30: 6
9:35 Fugue en si mineur TWV 30: 7
11:18 Fugue en ré majeur TWV 30: 8
12:45 Fugue en la mineur TWV 30: 9
14:26 Fugue en mi mineur TWV 30: 10
15:42 Fugue en do majeur TWV 30: 11
17:09 Fugue en mi mineur TWV 30: 12
18:47 Fugue en do mineur TWV 30: 13
20:09 Fugue en la mineur TWV 30: 14
21:22 Fugue en si mineur TWV 30: 15
22:37 Fugue en ré mineur TWV 30: 16
24:19 Fugue en la mineur TWV 30: 17
25:38 Fugue en fa majeur TWV 30: 18
26:40 Fugue en sol majeur TWV 30: 19
28:11 Fugue en la mineur TWV 30: 20
Telemann will always be my teacher.
Bach's shadow, that great God of the Baroque overwhelms everyone of the day. But a few great composers surface such as Telemann and Buxtehude.
Thanks for mentioning Bluxtehude. Hitherto I had never heard of that composer, since, I, too, basked and bask most often and sometimes to the exclusion of all else, in the radiance of the great God of Baroque you rightly named :) I am happy, however, to make heretical expeditions into the realm of lesser but equally truthful deities, such as Telemann. :)
Walther, Pachelbel, Kittle, Froberger, Rinck, Hess, Sweelink, Couperin, Cabezon, Nivers, Boely, so many...
@@geneostenkamp1967 Zelenka
Wonderful. Thanks for uploading. Telemann is a most neglected composer.
Perhaps for good reason... ;-)
Dartme18 Because Bach got more popular in the 19th century, largely thanks to Felix Mendelssohn and advancement of printing press technology. Telemann was highly prolific and in demand in his lifetime.
Godlike pieces! Excellent!
These are absolutely beautiful!
Great pieces 7'54"-9'30", worthy of Bach (interestng modulation to G major at the end); 14'25"-15'38 A-minor (same effect as the former piece); 21'24"-22?33" E-.minor; 25'38"-26'34" F.-major; 28'12"-end A-minor.
I own a score of these fugues, and interestingly that first fugue you mentioned is one of the most modal things I've ever seen from Telemann or just baroque organ music in general. The entire thing is in G Mixolydian (key signature C Major), with the answer in C Mixolydian (key signature F Major). It sounds like it modulates at the end, but actually it had been in that tonality the entire time, only in mixolydian. This entire collection is full of modal fugues, which makes it quite unique.
I had no idea that GFT had written 20 little gems like these. Not earth-shattering music, but very fine examples of central European baroque.
Me neither. It was a total surprise at first sight, but it really impressed me. I wonder if there are more organ work of his.
Amazing. I love it.
The counterpoint is simple, yes, but maybe not too simple. Perhaps Telemann was writing for the average person at Church, and didn't want the music to be too distracting. Short and simple.
Yes, this was written for beginner organists according to his own writing in the preface. This is actually not representative of his normal organ writing abilities, which we can assume were probably more advanced. Just look at his chorale preludes.
However, there is something unique about these fugues, in that he consciously wrote each one in a different church mode. These are not straightforward major minor fugues. They range from mixolydian, dorian, phrygian, etc. Try looking at the scores for these, they are fascinating. Modal theory was almost completely obsolete in the time that he wrote this.
I didn't know Telemann wrote solo organ music.
Are these available on CD or for,download anywhere?
Are the pedals used for the lowest voice in the fugues? PDF music isn't clear about that! Can anyone help?
From what I can see, the fugues are just for two voices so the pedal is not expected. Moreover he wrote "pour orgue or clavier", clavier is harpsichord...
Where did you find the sheets? I'm looking for it since a while!
@@775987mb all the fugues are four voices. You might be thinking of the petite fugues in his French set.
You can use pedals at your discretion. It is notated to be played on any organ, with or without pedals.
Gabriel, you can find the fugues on IMSLP under an entry called "Telemann complete organ works", it will be bundled together with his 48 chorale preludes, and a few concertos.
pdf sheet music could you send me?
ks.imslp.net/files/imglnks/usimg/9/99/IMSLP345428-PMLP77107-telemann_fugues_legeres_petits_jeux.pdf ? Check imslp; they have others.
Herlig skøn orgelmusik .....
why tf did this nigga only make 30 mins of organ music while bach made over 9 hrs of it
The counterpoint is too simple; not at all like Bach!
nerd.
Raúl Simón- Georg Philipp Telemann was much more famous Johann Sebastian Bach during his lifetime. Telemann had stronger areas such as operas, cantatas etc and he was more prolific than Bach.
Ignoramus!
I don't know about more famous than Bach, but sure he was a great composer!!!!
Actually not too simple. It is very sophisticated counterpoint. If one looks at Bach's organ book, and pieces in the BVW 600's they are very similar to these. I also love Bach,.. but in all fairness, it's hard to hold in one's mind the idea that in the late Baroque period, there were scores of composers writing counterpoint, and Fugues of an extremely high caliber!
We just want to have a single hero ! But the reality is' George Philippe Telemann, and many others wrote some great pieces, and some great little pieces, that many music scholars would have a great deal of difficulty differentiating from Bach.... if they only had their ears to go by.