Lesson 66: Telemann Sonata in F major, TWV 41:F2 — Two Allegros and Whole-Work Assembly
- Learn the third movement (Allegro, in compound meter) and the fourth movement (Allegro finale).
- Assemble all four movements into a complete sonata performance, with planned rests between movements.
A sonata with two fast finales must differentiate them. Otherwise it is one finale played twice.
TWV 41:F2 closes with two Allegros in a row: the first dance-like, the second brilliant. Learn both and differentiate them, so the sonata closes with contrast instead of repetition.
Movement III — Allegro (dance-like)
Lifting, almost gigue-like despite the 4/4 — the dotted figures are the dance pulse; preserve them.
Articulation for the third movement
Slur pairs of eighths, tongue the next pair; mark the slurs before practising at tempo.
Movement IV — Allegro (brilliant finale)
Continuous sixteenth-note motion and brilliant figuration — the firework finish.
Articulation for the fourth movement
Double-tongue the sixteenths (du-gu or tu-ku) so they sound like one continuous shimmer, not a series of attacks.
Differentiating the two Allegros
- Pulse: III feels two-to-the-bar; IV four-to-the-bar.
- Texture: III mostly eighths; IV mostly sixteenths.
- Articulation: III slurred pairs; IV double-tongued.
- Affect: III is a dance and can breathe; IV is a flourish and must not.
The whole sonata, end to end
The rests between movements:
- Vivace → Largo
- Twelve beats — let the conversation settle before the song.
- Largo → Allegro III
- Eight beats — stillness must not bleed into the dance.
- Allegro III → Allegro IV
- Six beats — the second Allegro should feel like a continuation.
Now play these
- Telemann: Sonata in F major, TWV 41:F2 — Movements III and IV
- The piece of this lesson, plus the whole-sonata assembly.
- Telemann: Sonata in A minor, TWV 41:a4
- A second complete Telemann sonata for the same procedure.
When the complete TWV 41:F2 plays end-to-end with the two Allegros audibly different from one another, move on to Lesson 67.