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

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Fantasies I-XII, Clarinet Unaccompanied, Transcription
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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.