The Aesthetics of Baroque Music

In the history of European music, the period from approximately 1600 to 1750 is referred to as the Baroque era. Vocal works such as operas and instrumental music emerged, and a vibrant culture flourished, centered around the courts of royalty and nobility. The word "Baroque" originally derives from the Portuguese word "barroco," meaning "misshapen pearl." Baroque music is characterized by abundant ornamentation, complex forms, a continuous and unbroken flow of harmony, and the maintenance of a single affect (emotion) throughout a piece.

When performing such music, unlike Romantic music which embodies personal emotions beyond formal constraints, it is crucial to maintain a steady tempo and clearly articulate the meter, rhythm, and melodic figures.

About the Composer

Georg Philipp Telemann (1681-1767) was one of the leading German composers of the late Baroque period. He left behind numerous works in a unique style woven from a sense of polyphonic structure and graceful melodies. He composed in various genres, including operas, concertos, instrumental music, and sacred music, demonstrating diverse styles such as Italian, French, and German.

Keyboard Instruments of the Baroque Era

In addition to the pipe organ, which produces sound by sending air through pipes, various other keyboard instruments were used:

• Clavichord: The clavichord is the oldest and smallest of the keyboard instruments. It produces sound by tangents (metal blades) striking the strings. It allows for delicate dynamic changes and nuances, and is the only keyboard instrument capable of producing vibrato.
• Harpsichord (Italian: cembalo, French: clavecin): This keyboard instrument produces sound by plectra (quills made from bird feathers) plucking the strings. Different dynamics can be achieved by varying the number of strings plucked.
• Fortepiano: The fortepiano, the prototype of the modern piano, was developed around 1700 by Bartolomeo Cristofori, an instrument maker in Florence, Italy. As it produced sound by hammers striking the strings, it allowed for flexible dynamic control.

When performing works written for the harpsichord, pay attention to clarity of sound. Be careful to avoid a rough touch that produces noise or, conversely, an ambiguous attack; strive for a transparent and clear tone.

Fantasia in G minor

In 3/4 time. It possesses a free improvisatory character, with lively melodies appearing one after another, and the piece progresses without interruption. The music is only interrupted by rests at measure 48. Note that the music flows continuously until it reaches this diminished seventh chord.

Free Form and Flowing Style

The overall structure presents A (measures 1-8) and B (measures 9-20), followed by an interlude (measures 21-26), then a re-exposition of A (measures 26-33) and B (measures 33-48), concluding with a coda (measures 49-54).

Looking at the elements that constitute A and B, a significant connection between them can be observed. After clearly establishing G minor by beginning majestically on the tonic (I) and repeating the dominant note, the right hand ascends by a fourth while the left hand descends by a fourth, creating a pulling motion. It is important to strongly propel into the next measure with the energy of the third beat. Since the harmony changes with third-doubled chords, you must clearly change the 'color' as you proceed; however, if the third beat of the 3/4 meter becomes heavy, the musical momentum will be lost. Proceed with clear notes and a lively sense of rhythm. This motif appears as a sequence three times. Each starting note is D, B, and G, corresponding to the constituent notes of the G minor tonic (I). This also results in clearly bringing out the G minor color. Measures 4 and 5 repeat the same melody, so by playing measure 5 like an echo (p), you can add contrast to the music. The small cadence in measure 6 involves an interplay of fourths consisting of the tonic and dominant, but the frequent use of the fourth motif creates a sense of unity. Clearly articulate the fourth leaps with non-legato. The A section ends with the cadence in measure 7. However, the left hand immediately enters the next B section without rest, and the right-hand melody enters B with an anacrusis.

In this B section, similar to the beginning of A, the right hand ascends by a fourth while the left hand descends; however, the right hand displays graceful motion over the bass rests, creating a light flow. Ascending fifths in the bass are seen in measures 10 and 12, giving impetus to the music. When the left hand rests, it tends to lose support and the tempo can become unstable; however, maintain a flexible motion and keep the tempo steady, avoiding stiff or awkward movements.

The interlude from measure 20 is constructed from elements introduced earlier. Strive for a clear touch so that the fourth and fifth progressions, and their motifs, are distinct and clear, avoiding muddy or blended sounds. From measure 26, it can be considered a recapitulation with developmental elements. A appears in D minor, and the motif from measure 12 is expanded in measures 36-38.

Throughout the piece, common rhythmic motifs appear frequently, further enhancing the unity of the piece. The quarter rest in measure 48 halts the preceding flow, creating a silent tension. Finally, the latter half of A (from measure 4 onwards) is recapitulated, bringing the piece to a close.

When playing this piece, it is important to maintain the tempo and delicately control touch and pedaling. However, I believe the most important thing is not to play rigidly or constrainedly, but to broadly enjoy the charm of the piece, including its majestic sound, graceful movements, light rhythmic motifs, and rich harmonic variations.