I have an urtext, so it doesn't have any dynamics and I'm a bit stuck as to what dynamics to use as they've always been marked in for me. Any suggestions would be appreciated, thanks! (third and fourth movements - Grave and Allegro)

Why don't you have a play through and see where YOU think it would be good to play loudly or softly, and what YOU think is effective?

Sooner or later you will need to be able to work out these things and interpret stuff yourself. Presumably you will be talking to your teacher sooner or later, but if you already have an idea of what you think sounds good then it won't do any harm.

An urtext edition sounds like a good excuse to start trying things out for yourself

Bear in mind that it's a recorder sonata, so Telemann was not expecting the player to be able to do much in the way of dynamics. Generally speaking rising passages suggest an increase in tension/excitement, and falling passages an increase in relaxation. Look for the important notes in each phrase and aim for them in your playing. Think about how you want each phrase to sound before you play it.

Articulation should be generally legato (tongued rather than slurred, unless slurs are marked) in the slow movement. In the Presto the quavers, especially when moving in step, should be legato tongued, and crotchets lightly detached. Arpeggio-type sections should be played more detached than scale-like sections.

These are generalisations. Feel free to do your own thing with the dynamics and articulation, because what feels right to you will be more convincing than following instructions that feel wrong.

And above all, enjoy the piece.

The p and pp ("double echo") in the first movement are originally by Telemann. I believe it's the case for the dynamics in the third movement as well.

I've just re-read your post, and see you're playing the third and fourth movements. Sorry! I assumed you were a flautist doing the first and second movements for Grade 6. Mosty of what I've said still applies, though.

I agree with Wai Kit that any dynamics marked are Telemann's and should be adhered to. You can often deduce something about other dynamics from the ones he includes.

I've just done the first two movements, but I can't do my grade six until I've done my theory which could take a while! So decided to move onto the rest of the sonata. Thanks for the ideas I will bear them in mind.


Yes, those dynamics do occur in the first movement, but there are not any marked in the third movement.