INCREDIBLE!! What a joy to hear these on clarinet - and SO well shaped on the clarinet! I don’t know how you did this! They sound very virtuosic on clarinet - not that they are that easy on flute of course!! Superb! I’m thrilled. THANK YOU!!!
— Elizabeth Walker,
Baroque Flutist
Kathryne Pirtle’s solo album Telemann: Twelve Fantasias is a lovely rendition of Sidney Forrest’s transcriptions of George Philipp Telemann’s classic pieces. Originally written in 1732 and championed by flutists for centuries, the works are truly timeless. An inventive and nuanced performer, Pirtle effortlessly manages Telemann’s imaginative writing. Pirtle’s rendition of these classics is light and infectious, combining sprightly ornamentation with dignified tempos. Her handling of technical passages is even and controlled, allowing the listener to be immersed in Telemann’s ingenious composing and Forrest’s deft arranging. Her appropriate and refined treatment of Baroque ornamentation is enough to turn any skeptic of transcriptions into a fan. Pirtle builds a beautiful phrase, spinning stories out over long and well-conceived lines. She makes experiencing these classics a delight with her smart inflections and clever turns of mood. Reflecting his tumultuous personal life, Telemann’s compositions are multi-faceted and expressive. He was able to skillfully turn emotion into music for the ages. Pirtle successfully conveys the humor, pain, nobility, and all the other beautifully expressive qualities of Telemann’s timeless writing. She seems totally at home in a style that predates the standard repertoire for the clarinet. Pirtle’s contrast of character between different tracks of this album is laudable. Her rendition of the 12th fantasia is especially moving, as she takes the listener on a tonal journey through the Grave, Allegro, Dolce, Allegro and Presto sections. Her musical contrasts are nothing short of transformative, as she glides, sings, and dances through the piece. Her comfort with Baroque style allows her to match Telemann’s deft mood changes with even technique and moving expression.

All of the pieces on this album receive the benefit of Pirtle’s control and skillful phrasing. With impressive dynamic contrasts and gorgeous tone colors, she brings Telemann’s music to life on the clarinet. Beyond the wonderful merits of this album for any listener, it also has many important pedagogical implications to help students understand the intricacies of the Baroque period and the foundations of the standard woodwind repertoire. This album is a brilliant and necessary addition to any clarinet aficionado’s collection. The fact that the CD clocks in at just under an hour of solo clarinet playing is a testament to Pirtle’s wonderful treatment of these pieces. The entire album is such an enjoyable treat from beginning to end.
— Stephanie Zelnick,
International Clarinet Association, December, 2020

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Fantasies I-XII, Clarinet
Unaccompanied, Transcription
$24.95

Tracks

1. Fantasia no. 1                                   3:34
     Vivace/Allegro

2. Fantasia no. 2                                   5:36
     Grave/Vivace/Adagio/Allegro

3. Fantasia no. 3                                   4:05
     Largo/Vivace/Largo/Vivace/Allegro

4. Fantasia no. 4                                   4:17
     Andante/Allegro/Presto

5. Fantasia no. 5                                   4:39
     Presto/Largo/Allegro/Allegro

6. Fantasia no. 6                                   5:13
     Dolce/Allegro/Spirituoso

7. Fantasia no. 7                                   4:45
     Overture Alla francese/Presto

8. Fantasia no. 8                                   4:37
    Largo/Spirituoso/Allegro

9. Fantasia no. 9                                   6:16
     Affettuoso/Allegro/Grave/Vivace

10. Fantasia no. 10                               4:12
       A tempo giusto/Presto/Moderato

11. Fantasia no. 11                               3:55
      Allegro/Adagio/Vivace/Allegro

12. Fantasia no. 12                               5:32
      Grave/Allegro/Dolce/Allegro/Presto


The solo Fantasias of Telemann have been beloved late Baroque works by flutists for centuries.  I was drawn to their beauty and incredible interpretive opportunities when I began my journey of learning them from the transcription by clarinetist Sidney Forrest (Southern Music) more than 25 years ago. After intense study and frequent performance, I began to dream of recording them in hopes of inspiring clarinetists and lovers of the instrument to hear the wonderful possibilities of this collection. I was further motivated by the gratifying experience of recording selected Bach unaccompanied repertoire for violin and cello in 2004 (Hal Leonard).

It was, however, listening to renowned flutist Elizabeth Walker’s recording of the Fantasias that gave me the courage to move forward with my dream. I was so captivated by her performance that I listened countless times to every detail and nuance to further my own understanding and interpretation of this Baroque masterpiece. I found her stunning playing to be some of the most moving I had ever heard.

I proceeded to contact Walker about my project, and she was very supportive. I am deeply grateful to her for her role in this recording.


Georg Philipp Telemann was one of the most celebrated composers in Germany during the first half of the 18th century. He wrote more than 2,000 works in nearly every genre and uniquely wrote many chamber and solo works without a bass part. He also composed many such stylistically diverse pieces with the intent of performance not only by professionals, but also students and amateurs.

The Twelve Fantasias follow a traditional style, which is free in structure and form and consists of several contrasting sections. As in the Bach unaccompanied repertoire, Telemann masterfully incorporates a clear harmonic foundation among exquisite melodies. It is the performer who must bring both of these elements to light.