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Track(s) taken from CDA68384

Fantasia No 1 in B flat major, TWV40:14

for solo violin

Alina Ibragimova (violin)
Studio Master FLAC & ALAC downloads available
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Recording details: April 2021
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Oscar Torres
Release date: October 2022
Total duration: 7 minutes 15 seconds

Cover artwork: Photograph by Eva Vermandel


‘Alina Ibragimova brings us an excellent, eloquent interpretation of Telemann’s Fantasias for solo violin. The sound of Henry Wood Hall is gorgeously captured by Hyperion … the Allegro that closes the Fantasia in G is full of punch and flair. The outer movements of the Fantasia in D are similarly athletic. Ibragimova’s playing is efficient yet resonant, and the balance between cultivated, high-art gigue and rustic energy achieved in the Allegro is a thing of genius. The Spirituoso from the Fantasia in E is exactly what it says on the tin. The playing is nimble, and Ibragimova’s subtle syncopations and sparkling filigree are a delight … overall a superb recording’ (Gramophone)

‘Where Ibragimova is often at her most appealing is when addressing dance metres. Here her lightly articulated bowing and her softly spoken melodic declamation make for considerable appeal. These virtues are especially prominent in the second half dozen of the Fantasias, where the dance assumes prominence over the contrapuntal dominance of the first. Elsewhere Ibragimova demonstrates a playful agility in enlivening the kaleidoscope of Telemann’s canvas’ (BBC Music Magazine)» More

‘Alina Ibragimova [uses] her silky skills as a player to show us what magical pieces they are, dancing playfully and singing soulfully in these artful miniatures. It’s a lovely recording as well, a subtle framing of the solo violin that somehow emphasizes the player’s isolation and the intimacy of the music’ (BBC Record Review)

‘Incapable of giving a dull performance in any repertoire, Ibragimova gives every phrase its own colour and character and brings out all the invention and fun in music that effortlessly enlivens old-word procedures with 18th-century elegance and wit. Ibragimova rocks, and Telemann does too’ (The Times)

‘Alina Ibragimova’s new recording of the set’s 41 movements runs to 65 minutes, and she is always judicious in choosing not to probe the music for Bachian profundities that it doesn’t have to offer. Her 'less is more' approach is highly appealing, bringing an attractive dancing lilt to many of the faster movements in a set where actual dance designations are rare indeed. Her eschewal of vibrato even in the slow movements, and her light-fingered dexterity in the fast ones, make the most of the music’s contrasts. So forget Bach: think instead of a sequence of delectable morsels, exquisitely presented’ (The Irish Times)» More

‘Alina Ibragimova has recorded extensively and in a wide variety of repertoire for the Hyperion label, and I particularly enjoyed her Mozart sonatas with Cédric Tiberghien. Recorded with fairly close detail but with a subtle halo of fine acoustic in the Henry Wood Hall, this solo recording is another very fine addition to her discography … Ibragimova's playing embraces Telemann's often playful inventiveness, giving us sprightly energy in the dance movements, real sustained drama where this is demanded, wide dynamic range and expressive lyricism in performances from which that all-important sense of contrast is key. The aesthetic here is ‘period style’ in the sense of generally avoiding vibrato, but the violin sound is both crisp and full, the clarity and skill in playing Telemann's at times very tricky counterpoint (so much for being not too complex technically) at times truly breathtaking … I would personally put Alina Ibragimova at or very near the top of the heap when it comes to the Historically Informed interpretations. Her natural sense of communication gives these pieces an almost effortless feel and this is the kind of recording you can easily enjoy in one sitting, which is not something you can say about too many solo violin discs’ (MusicWeb International)

‘The first thing that struck me, in the very first track, was an unexpected sense of lonely vulnerability. The fact that Telemann starts many of these fantasias off with a slow movement is hardly unique in and of itself, since Bach’s solo violin works often do the same as do innumerable other sonate da chiesa, but somehow it lends the Fantasia No 1 in B flat, and indeed the album as a whole, a profundity that I simply wasn’t anticipating. Throughout the set of twelve fantasias, Ibragimova reproduces that sense of delicacy numerous times, particularly in slow movements such as the opening Piacevolmente of No 8 in E major … in such capable hands as Ibragimova’s the shaky boundary between music ‘for professionals’ and ‘for amateurs’ breaks down altogether. Telemann’s craft in keeping the music playable is obvious, but Ibragimova shows us the art that he put into these twelve fantasias—each one an assembly of perfectly-formed one- or two-minute miniatures, forming an album of bite-size delights’ (Presto Classical)» More

'La lectura de Alina Ibragimova, con instrument barroco, se coloca, sin lugar a duda, entre las mejores' (Scherzo, Spain)
Fantasia No 1 in B flat major opens with a highly improvisatory Largo movement whose spontaneous nature calls to mind Thomas Morley’s (much earlier) description of the fantasia genre as one in which ‘the composer is tide to nothing but that he may adde, deminish, and alter at his pleasure … as bindings with discordes, quicke motions, slow motions, proportions, and what you list’. This functions largely as a prelude to the following movement’s Allegro fugue, in which Telemann exploits the violinist’s capacity to play more than one string at a time, conjuring up the impression of multiple players performing simultaneously. The Grave third movement turns to the relative key of G minor, and is laced throughout with paired notes—an eighteenth-century depiction of sorrowful sighing—before the previous fugue is repeated.

from notes by Joseph Fort © 2022

La Fantaisie nº 1 en si bémol majeur commence avec un mouvement Largo très proche de l’improvisation, dont la nature spontanée fait penser à la description (très antérieure) que Thomas Morley fit du genre de la fantaisie où «le compositeur n’est astreint à rien mais il peut ajouter, diminuer et modifier à sa convenance … comme des liens avec des dissonances, des mouvements rapides, des mouvements lents, des proportions, et ce que vous pouvez énumérer». Il fonctionne largement comme un prélude à la fugue Allegro du mouvement suivant, où Telemann exploite la capacité du violoniste à jouer sur plus d’une corde à la fois, donnant comme par magie l’impression de multiples instrumentistes jouant simultanément. Le troisième mouvement Grave passe au relatif de sol mineur, avec, du début à la fin, une écriture en doubles notes—une représentation au XVIIIe siècle de soupirs mélancoliques—avant la reprise de la fugue précédente.

extrait des notes rédigées par Joseph Fort © 2022
Français: Marie-Stella Pâris

Die Fantasie Nr. 1 in B-Dur beginnt mit einem äußerst improvisatorischen Largo, dessen spontaner Charakter an Thomas Morleys (viel frühere) Beschreibung des Fantasie-Genres erinnert, in dem der Komponist zu nichts anderem verpflichtet sei, „als nach Belieben hinzuzufügen, zu verringern und zu verändern … als Bindungen mit Dissonanzen, schnellen Bewegungen, langsamen Bewegungen, Proportionen und was man sonst noch aufzählt“. Dies fungiert weitgehend als Vorspiel zu der Fuge des sich anschließenden Allegro, wo Telemann die Fähigkeit des Geigers ausnutzt, mehr als eine Saite gleichzeitig zu spielen, und damit den Eindruck mehrerer, gleichzeitig spielender Interpreten erweckt. Der dritte Satz, Grave, wechselt in die parallele Molltonart g-Moll und ist mit Tonpaaren durchsetzt—eine Darstellung des kummervollen Seufzens im 18. Jahrhundert—bevor die zuvor erklungene Fuge wiederholt wird.

aus dem Begleittext von Joseph Fort © 2022
Deutsch: Viola Scheffel

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