Sonata in F minor, TWV 41:f1 - Georg Philipp Telemann Audience Recording

#bassoon #cello #harpsichord #baroque #ornaments #telemann Jake Jauregui Garcia's Undergraduate Senior Recital Recorded from the audience on my grandfather's camera in the Morris R. Pitman Recital Hall. (Although the quality of this one is a bit blurry and isn't the best, it sounds absolutely outstanding.) Performed at The University of Oklahoma, in the Morris R. Pitman Recital Hall, Catlett Music Center, School of Music on April 11, 2026 at 2 PM. Jake Jauregui Garcia, bassoon Ariel Su, cello Sooyoung Lee, harpsichord 0:00 I. Triste 2:30 II. Allegro 7:10 III. Andante 9:04 IV. Vivace Program Notes: Sonata in F minor, TWV 41:f1, Georg Philipp Telemann (1681-1767) Georg Philipp Telemann (March 24, 1681 - June 25, 1767) was a German Baroque composer and multi-instrumentalist. He is one of the most prolific composers in history, at least in terms of surviving works. Telemann was considered by his contemporaries as one of the leading German composers of the time, and he was compared favourably both to his friend Johann Sebastian Bach, who made Telemann the godfather and namesake of his son Carl Philipp Emanuel, and to George Frideric Handel, whom Telemann also knew personally. A German composer of the Baroque era, Telemann, showed considerable musical talent as a child, learning the violin, flute, recorder, zither, and keyboard, and composing an opera at the age of twelve. He composed a vast amount of music, both sacred and secular, including 1,043 church sonatas and 46 settings of the Passion–one for each year he was in Hamburg. His music was an essential link between the music of the late Baroque and early Classical styles. Sonata in F minor was originally written for bassoon and continuo. This sonata is in the traditional sonata da chiesa format, slow–fast–slow–fast. The first movement, Triste, is in binary form and contains a slow, mournful melody. There are some dynamic contrasts clearly labeled that indicate a change in mood throughout the movement. These dynamic contrasts can be described as a difference in gender - masculine and feminine, or call and echo. The second movement, Allegro, is based on a compound ternary rounded binary form. It is an energetic part that is written in ABA sections. The “a” section of A begins in F minor. The “b” section is in C minor until m. 29, when F minor is re-established. Decorations and ornamentations are present in this part through appoggiaturas, trills, mordents, or slides. Movement three is short and expressive, and serves as a transition into movement four. The opening motive returns at the end of the movement, giving it a sense of symmetry. This movement lends itself to ornamentation and embellishment, as do the other movements of the sonata. The last movement is in binary form, having a compound meter. It is quite fast with the tempo marked Vivace, displaying a typical imitative contrapuntal texture as well as irregular phrases throughout the movement. The A section is in F minor, while the B section is in the relative major of A-flat. Performance practice of the Baroque era included a lot of improvisation and embellishment. During this period, virtuosic players were just beginning to emerge. This common practice allowed them to show their ability and add their own flair to the music. The unaccompanied nature of this piece also gives the soloist greater freedom with tempi and articulation.