Six Fantasias

Six original fantasias, transcribed by Rodney Waterman from his recording, twelve fantasias-12 improvised fantasias for imagined acoustic spaces. 

The composer Rodney Waterman says:

'All 12 recorded fantasias were inspired by characteristics of various beautiful acoustic venues I have performed in (or experienced) over my lifetime. Each fantasia is named after an individual venue, eg: Carmelite Monastery, Kew. The music was created with the physical space in mind and occasionally with reference to music I had performed there'.

'Listening to my recording of the fantasias will undoubtedly help you prepare sonically for performance of these pieces. Since they were originally improvised, and later notated, I do not wish to be overly prescriptive about the way they are performed. The tempo indications relate to the recording. The notation does not, and can never, totally capture the spirit of my very personal original improvisations. So, make them your own. Express freely, unashamedly and with conviction. Adapt, go off on a tangent, extrapolate, use as a springboard for further invention. Play these fantasias in different acoustic settings- after all, that's what inspired me in the first place. Create/improvise your own! Above all, enjoy shaping and carving exquisite, mellifluous sound with your beautiful instrument, the recorder'. 

1. Summer Stage, Lappeenranta
2. Carmelite Monastery, Kew
3. Small Hall, Denmark
4. Boite, North Fitzroy
5. Town Hall, Bendigo
6. Bluestone Chapel, Montsalvat

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The Recorder Magazine - Sheet Music Reviews - Autumn 2024

Rodney Waterman - Six Fantasias - Alto, Soprano - Pardalote Music (Orpheus)

NB: Soundfiles available

These six contemporary solo Fantasias are part of a set of 12 written by this Australian composer. Waterman says, 'All of them were inspired by the characteristic of various beautiful acoustic venues I have performed in, or experienced'. The influences of Van Eyck, Telemann and the Bassanos are evident; however this is not pastiche but original and expressive music. 

Played 'straight' as notated, the pieces are interesting enough, but following the composer's suggestion to listen to his own recordings of the pieces make it clear that there is plenty of leeway for interpretation of music that was, in fact, originally improvised. Waterman says, "Express freely, unashamedly and with conviction...Play in different acoustic settings...'

Indeed he has added digital reverb to his own recordings, adding depth and richness. 

The freedom he would like players to adopt will appeal to more advanced players who enjoy the creative challenge of expressive playing with permission to experiment. 

There are some very high notes, but there is an option to play down an octave where the notes are stratospheric! 

Marg Hall

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Score only: 10 pages