Johann Sebastian Bach Original Works and Transcriptions Evgeni
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CYAN MAGENTA GELB SCHWARZ CYAN MAGENTA GELB SCHWARZ Johann Sebastian Bach 192 1 Ricercar a 6, 10'02 C minor BWV 1079 from: “Das musikalische Opfer” TACET Evgeni Koroliov Arrangements by György Kurtág for piano four hands: 2 “O Lamm Gottes, unschuldig” BWV deest 3'42 3 “Durch Adam’s Fall ist ganz verderbt” BWV 637 1'28 4 “Aus tiefer Not schrei ich zu dir” BWV 687 5'00 5 “Allein Gott in der Höh’ sei Ehr” BWV 711 2'34 6 Sonatina “Gottes Zeit ist die allerbeste Zeit” (Actus tragicus) BWV 106 2'36 7 Sonata I, E fl at major BWV 525 2'40 Duo Koroliov: Evgeni Koroliov and Ljupka Hadžigeorgieva The Koroliov Series Vol. XII 8 Passacaglia C minor BWV 582, transcribed by Evgeni Koroliov 13'41 Duo Koroliov: Evgeni Koroliov and Ljupka Hadžigeorgieva Clavierübung III – Choral Arrangements Johann Sebastian Bach 9 “Kyrie, Gott Vater in Ewigkeit” BWV 672 1'38 bl “Christe, aller Welt Trost“ BWV 673 1'14 bm “Kyrie, Gott heiliger Geist” BWV 674 1'13 Original works bn “Allein Gott in der Höh sei Ehr” BWV 675 2'52 bo Fughetta super “Allein Gott in der Höh sei Ehr” BWV 677 0'49 and transcriptions bp Fughetta super “Dies sind die heiligen zehn Gebot” BWV 679 1'52 bq Fughetta super “Wir glauben all an einen Gott” BWV 681 1'24 Evgeni Koroliov, piano br “Vater unser im Himmelreich” BWV 683 1'21 bs “Christ, unser Herr, zum Jordan kam” BWV 685 1'28 Duo Koroliov bt “Aus tiefer Not schrei ich zu dir” BWV 687 6'25 bu Fuga super “Jesus Christus, unser Heiland” BWV 689 3'40 Evgeni Koroliov Prelude and Fugue A minor BWV 543, arranged by Franz Liszt cl Prelude 3'46 cm Fugue 7'16 Evgeni Koroliov TACET-T192_Seite_20 TACET-T192_Seite_20 TACET-T192_Seite_01 TACET-T192_Seite_01 Impressum Recorded: Christuskirche Berlin-Dahlem, Germany Instrument: Steinway D-274 Tuning and maintenance of the piano: Gerd Finkenstein Technical equipment: TACET Translations: Celia Skrine ( English ) Christoph Lung ( French ) Cover picture: Detail at the fl oor of San Marco, Venice With kind permission of Procuratoria di San Marco, Venezia Per gentile concessione della Procuratoria di San Marco – Venezia Cover design: Julia Zancker Booklet layout: Toms Spogis Recorded and produced by Andreas Spreer c 2010 TACET p 2010 TACET 2 19 TACET-T192_Seite_2 TACET-T192_Seite_19 Further releases: The Koroliov Series Vol. VII J. S. Bach – played on the piano movements that are very different. Bach also Claude Debussy: made organ adaptations of works by other The Koroliov Series Vol. I Préludes Ferruccio Busoni, important in the early 20th composers; one example is violin concertos Johann Sebastian Bach: (TACET 131) century as a pianist, composer and musical by Vivaldi, but there are many more. The art of Fugue BWV 1080 theorist, regarded the works of great com- More than any other instrument, every (TACET 13, 2 CDs) The Koroliov Series Vol. VIII posers such as Bach and Mozart as “absolute organ has its own highly individual tonal Franz Schubert: music” whose essential content maintains its character. The same work sounds quite dif- The Koroliov Series Vol. II Grand Duo, Fantasia own intrinsic character over and above the ferent on different organs even if the organist Peter Iljitsch Tschaikowsky: (TACET 134) work’s original tonal conception, whether is using similar stops. Together with the wish Die Jahreszeiten op. 37 written as an organ prelude or a string to make Bach’s organ music accessible for the (TACET 25) The Koroliov Series Vol. IX quartet. For Busoni, therefore, notation was concert hall, it was perhaps this element of Robert Schumann: always “the transcript of an abstract idea. At tonal versatility that inspired several later The Koroliov Series Vol. III Kreisleriana, Bunte Blätter, Kinderszenen the moment when the pen takes over, the composers to transcribe Bach’s organ works Sergej Prokofieff: (TACET 153) thought loses its original form.” Following for performance on the modern piano. Liszt, Flüchtige Visionen op. 22, these theories Busoni understood his own for instance, in 1852 published a collection Sarkasmen op. 17 u. a. (TACET 32) The Koroliov Series Vol. X transcriptions of works by his favourite com- of Six Preludes and Fugues, including the A Johann Sebastian Bach: posers, who also included Liszt as well as the minor work BWV543 recorded here, in which The Koroliov Series Vol. IV French Suites BWV 812 – 817 two already mentioned, not as aesthetically he impressively adapts the original organ set- Franz Schubert: (TACET 161, 2 CDs) inferior arrangements of the originals but as ting to suit the capabilities of the modern Sonata B fl at major D 960, interpretations that merely lend each work’s grand piano. The pedal line is successfully Moments Musicaux op. 94 D 780 The Koroliov Series Vol. XI musical conception a new envelope without subsumed into the piano score, and where (TACET 46) Frédéric Chopin: Mazurkas violating its essence. there is a need for extra fullness of texture, (TACET 183) The idea of the musical entity, for which the which is only achievable on the organ using The Koroliov Series Vol. V differences between vocal and instrumental a combination of several stops, Liszt does not Johann Sebastian Bach: more information: www.tacet.de music are just as irrelevant as the division into baulk at amplifying Bach’s original by dou- The Well-Tempered Clavier I BWV 846 – 869 different genres, is something Busoni devel- bling some of the passages in octaves, thus (TACET 93, 2 CDs) oped from the thinking of Bach and others. creating a commanding sound. The idiomatic In the music of the great Cantor of the Tho- reproduction of the multi-strand texture in The Koroliov Series Vol. VI maskirche, Leipzig, many works change their this style of transcription is also exemplified Johann Sebastian Bach: original tonal conception yet remain, in their in the version in this recording of the great The Well-Tempered Clavier II, BWV 870 – 893 altered form, identical in all essentials. The Passacaglia in C minor BWV582, which was (TACET 104, 2 CDs) six so-called “Schübler chorales” for “organ made by Evgeni Koroliov himself. with two keyboards [=manuals] and pedal”, György Kurtág, for his Bach arrangements for example, have their origins in cantata published in 1991, chose other means to rep- 18 3 TACET-T192_Seite_18 TACET-T192_Seite_3 licate the music’s tonal character. Setting da gamba and continuo, by means of a clever orchestres célèbres et dans de nombreux Hollande, Finlande, Norvège, aux Etats-Unis the works for two players made it possible exploitation of different registers. concerts de musique de chambre, surtout en et au Canada. Le duo joua à titre d’invité lors for him to use the piano’s tonal range in a Not all Bach’s organ works call for use of ex-Yougoslavie, sur le territoire du GUS, en de festivals internationaux comme par exem- way similar to that available to the organist the pedal; some are to be played “manualiter”, Tchécoslovaquie, Slovaquie, Bulgarie, Italie ple : au festival d’été de Hitzacker, Ohrider using several stops in different octaves. In i.e. by the two hands alone. At least half of the et Allemagne. Elle fut aussi, dès la fi n de Sommer, Festival de musique de chambre the chorale preludes to “Allein Gott in der preludes on the catechism hymns and other ses études, sollicitée comme pédagogue et Kuhmo, MRD Musiksommer, Festival de Lud- Höh’ sei Ehr” BWV711 and “O Lamm Gottes, hymn melodies at the centre of the Clavier- enseigna dans divers conservatoires de son wigsburg, Festival de la Musique du Rheingau, unschuldig”, for example, Kurtág instructs Übung III (1739) are composed in this form. pays d’origine. En 1978, elle s’expatria avec Elba-isola musicale d’Europa. that the melody in the first player’s right The pieces that make up this great collection, son mari et partenaire de duo Evgeni Koro- En dehors des oeuvres classiques, se hand should be played pppp and “appena also known under the title “great organ mass”, liov à Hambourg. Elle se consacra depuis à la trouvent aussi dans le répertoire du duo sentito” (scarcely audible) a twelfth (an are the summation of Bach’s exploration of musique de chambre, tout particulièrement de nombreuses oeuvres des compositeurs octave plus a fifth) above the main voice the multiple options for organ arrangements dans le duo de piano Koroliov. contemporains les plus importants, comme so that its overtones become very quietly of chorales. Sometimes the chorale appears in par exemple : « Le sacre du Printemps » de perceptible. This highly unusual feature lends the soprano line (“Kyrie, Gott Vater in Ewigkeit Duo pour piano Koroliov Stravinsky, les sonates pour deux pianos et the piano sound a magic all its own. In the BWV 672), sometimes in the alto (”Allein Gott percussions de B. Bartok, « Les visions de organ chorale “Durch Adams Fall ist ganz in der Höh’ sei Ehr” BWV 675); in others the Les deux jeunes pianistes fondèrent en 1976 l’Amen » d’Olivier Messiaen, et des oeuvres de verderbt” BWV 637 ( from the Orgelbüchlein ), chorale theme forms the starting point for a leur duo, qui devint peu de temps après, en György Ligeti et György Kurtag. Le travail du designated “for piano six hands”, the outer fughetta (“Wir glauben all’ an einen Gott” 1977, lauréat du Concours « Jeunesse musi- duo a aussi amené plusieurs compositeurs à voices – the melody-carrying top line and the BWV 681 or “Allein Gott in der Höh sei Ehr” cale » de Belgrade. Quelques années plus écrire de nouvelles oeuvres qui furent dédiées bass line with its many dissonant “corrupted” BWV 677); a few chorale arrangements are tard, lors du Festival International de duo au duo et exécutées pour la première fois en leaps, depicting the dramatic fall of Adam somewhat playful in character (“Dies sind die à Jekaterinenburg (Russie), en l’an 2000, public par L.