DOCSLIB.ORG

J.S. Bach Das Wohltemperierte Klavier

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
J.S. Bach Das Wohltemperierte Klavier .S. ach J Bas wohltemperierteD lavier K John Butt Johann Sebastian Bach as wohltemperierte lavier John Butt harpsichord D K The Well-Tempered Clavier Book I, BWV 846–69 isc 1 isc 2 1.D Prelude No. 1 in C major ...................2:00 1.D Prelude No. 13 in F sharp major ........ 1:24 2. Fugue No. 1 in C major ......................1:31 2. Fugue No. 13 in F sharp major ........... 1:33 3. Prelude No. 2 in C minor .................. 1:26 3. Prelude No. 14 in F sharp minor .........1:19 4. Fugue No. 2 in C minor ..................... 1:20 4. Fugue No. 14 in F sharp minor ........... 1:52 5. Prelude No. 3 in C sharp major ....... 1:20 5. Prelude No. 15 in G major ..................0:52 6. Fugue No. 3 in C sharp major .......... 2:16 6. Fugue No. 15 in G major.....................2:38 7. Prelude No. 4 in C sharp minor ....... 1:53 7. Prelude No. 16 in G minor .................. 1:09 8. Fugue No. 4 in C sharp minor ..........2:45 8. Fugue No. 16 in G minor..................... 1:32 9. Prelude No. 5 in D major ................... 1:11 9. Prelude No. 17 in A flat major .............. 1:22 10. Fugue No. 5 in D major ..................... 1:34 10. Fugue No. 17 in A flat major ............... 1:56 11. Prelude No. 6 in D minor .................. 1:20 11. Prelude No. 18 in G sharp minor .........1:13 12. Fugue No. 6 in D minor ..................... 1:46 12. Fugue No. 18 in G sharp minor ......... 1:52 13. Prelude No. 7 in E flat major .............3:28 13. Prelude No. 19 in A major ....................1:21 14. Fugue No. 7 in E flat major ............... 1:34 14. Fugue No. 19 in A major .....................2:02 15. Prelude No. 8 in E flat minor .............2:23 15. Prelude No. 20 in A minor .................. 1:08 16. Fugue No. 8 in D sharp minor ..........3:50 16. Fugue No. 20 in A minor .....................3:48 17. Prelude No. 9 in E major ....................1:18 17. Prelude No. 21 in B flat major..............1:15 18. Fugue No. 9 in E major .......................1:14 18. Fugue No. 21 in B flat major ............... 1:38 19. Prelude No. 10 in E minor ................. 1:42 19. Prelude No. 22 in B flat minor ............ 2:17 20. Fugue No. 10 in E minor .................... 1:23 20. Fugue No. 22 in B flat minor ............... 1:58 21. Prelude No. 11 in F major .................. 1:03 21. Prelude No. 23 in B major...................0:57 22. Fugue No. 11 in F major......................1:12 22. Fugue No. 23 in B major ..................... 1:36 23. Prelude No. 12 in F minor ..................1:14 23. Prelude No. 24 in B minor...................4:06 24. Fugue No. 12 in F minor ....................2:49 24. Fugue No. 24 in B minor .....................5:08 2 The Well-Tempered Clavier Book II, BWV 870–93 isc 3 isc 4 1.D Prelude No. 1 in C major ................... 2:01 1.D Prelude No. 13 in F sharp major ........2:42 2. Fugue No. 1 in C major ....................... 1:40 2. Fugue No. 13 in F sharp major ...........2:05 3. Prelude No. 2 in C minor ....................2:00 3. Prelude No. 14 in F sharp minor ........ 2:21 4. Fugue No. 2 in C minor ....................... 1:45 4. Fugue No. 14 in F sharp minor ...........3:36 5. Prelude No. 3 in C sharp major ......... 1:44 5. Prelude No. 15 in G major ..................2:24 6. Fugue No. 3 in C sharp major ........... 1:38 6. Fugue No. 15 in G major......................1:16 7. Prelude No. 4 in C sharp minor ......... 3:16 7. Prelude No. 16 in G minor ..................2:22 8. Fugue No. 4 in C sharp minor ........... 2:01 8. Fugue No. 16 in G minor.....................2:48 9. Prelude No. 5 in D major .................... 5:16 9. Prelude No. 17 in A flat major ............3:25 10. Fugue No. 5 in D major ....................... 1:57 10. Fugue No. 17 in A flat major ............... 2:15 11. Prelude No. 6 in D minor .................... 1:35 11. Prelude No. 18 in G sharp minor ........ 5:15 12. Fugue No. 6 in D minor ....................... 1:38 12. Fugue No. 18 in G sharp minor .........3:25 13. Prelude No. 7 in E flat major ...............2:38 13. Prelude No. 19 in A major ................... 1:40 14. Fugue No. 7 in E flat major ................. 1:35 14. Fugue No. 19 in A major ......................1:21 15. Prelude No. 8 in D sharp minor .........4:07 15. Prelude No. 20 in A minor ..................3:30 16. Fugue No. 8 in D sharp minor ........... 2:19 16. Fugue No. 20 in A minor ..................... 1:42 17. Prelude No. 9 in E major ..................... 4:14 17. Prelude No. 21 in B flat major............. 5:17 18. Fugue No. 9 in E major ........................ 2:14 18. Fugue No. 21 in B flat major ............... 1:54 19. Prelude No. 10 in E minor ...................3:37 19. Prelude No. 22 in B flat minor ............2:27 20. Fugue No. 10 in E minor ......................2:40 20. Fugue No. 22 in B flat minor ............... 3:21 21. Prelude No. 11 in F major ....................2:52 21. Prelude No. 23 in B major................... 1:59 22. Fugue No. 11 in F major....................... 1:30 22. Fugue No. 23 in B major .....................2:30 23. Prelude No. 12 in F minor ...................3:34 23. Prelude No. 24 in B minor................... 1:47 24. Fugue No. 12 in F minor ...................... 1:57 24. Fugue No. 24 in B minor ..................... 1:48 Recorded at Design by gmtoucari.com St Martin’s, East Woodhay, Hampshire, UK Harpsichord by Bruce Kennedy 15–18 July 2013 Copy of a German instrument (1702–4) by Produced and recorded by Philip Hobbs Michael Mietke (d. 1719), owned by the Post-production by Julia Thomas Dunedin Consort, tuned to a’ = 415Hz 3 as wohltemperierte lavier D K The influence of theWell-Tempered Clavier has been remarkably continuous for a large-scale work of J.S. Bach; its reach has been widespread, if sometimes hidden from the glare of publicity. It has often proved seminal for later pioneers in composition and performance, providing a variety of models both for musical design and the honing of keyboard technique. But it is also true that many music lovers, musicians, composers and scholars of all levels have consistently found something worthwhile within it. This remarkable breadth of application seems to have been part of Bach’s intention, if his title page for the first volume is anything to go by: ‘For the profit and use of musical youth desiring instruction, and especially for the pastime of those who are already skilled in this study’. In other words, Bach himself designed the collection as something to be both supremely instructive but also enjoyable. The lexicographer Ernst Ludwig Gerber recalled that his father had heard these pieces first hand: Bach apparently played through the collection three times in all during the course of their lessons after both had tired of more formal study. On the other hand, the existence of numerous sources of individual pieces and groups of pieces suggests that the collection was compiled from a vast reservoir of preludes and fugues, not all of which were originally designed to be presented or played in sequence. Much of Bach’s later output seems to have been designed to provide authoritative examples for professionals, pupils and interested amateurs, thus counteracting the growing taste for music that catered primarily to ephemeral fashions. But, almost paradoxically, many aspects of the WTC collection pointed as much to the future as to the past. Most obvious is Bach’s comprehensive survey of all the keys available within the tonal system. Although these had been theoretically possible for over a century, it was only relatively recently that keyboard instruments had been tuned in such a way as to render the less familiar keys more usable. Further, the very technique of keyboard fingering (and the standard proportions of keyboards) had hitherto excluded keys employing a large number of sharps or flats. A few composers before Bach had come close to covering most keys in a single collection (J.C. Fischer’s Ariadne musica of 1702 was an obvious influence) and the theorist Johannes 4 Mattheson gave short examples in every key, but certainly not fully fledged pieces. The complex genesis of Bach’s collection shows that he experimented with several ways of grouping pieces by key before settling on the final scheme of covering the entire chromatic scale, from C, with the pieces presented in the pairing of major mode followed by the minor. The very genre of ‘prelude and fugue’ might not have become so firmly established without Bach’s two encyclopaedic cycles. He inherited from older generations the genre of the ‘praeludium’ (alternatively ‘fantasia’ or ‘toccata’), a loose amalgam of free and fugal elements that can alternate in unpredictable ways. Although there was an increasing tendency to distil these two elements into two separate pieces, this remained only one option among several. What probably appealed to Bach about the pairing of prelude and fugue was the fact that the two corresponded to the two main sides of his musical personality. On the one hand, he was renowned well beyond his homeland as a supreme virtuoso performer who could improvise with total spontaneity (a fact that is all too easily forgotten today, when he is often labelled as a ‘composer’s composer’); on the other, he was undoubtedly the greatest musical thinker of his age, someone who could see inventive potential in any theme and who relished working out his thoughts on paper.
Load more

Recommended publications
  • Download Recording Booklet
    Johann Sebastian Bach EDITION: BREITKOPF & HÄRTEL, EDITED BY J. RIFKIN (2006) Dunedin Consort & Players John Butt director SUSAN HAMILTON soprano CECILIA OSMOND soprano MARGOT OITZINGER alto THOMAS HOBBS tenor MATTHEW BROOK bass MASS IN J S Bach (1685-1750) Mass in B minor BWV 232 B MINOR Mass in B minor Edition: Breitkopf & Härtel, edited by Joshua Rifkin (2006) Johann Sebastian Bach Dunedin Consort & Players John Butt director ach’s Mass in B Minor is undoubtedly his most spectacular choral work. BIts combination of sizzling choruses and solo numbers covering the gamut of late-Baroque vocal expression render it one of the most joyous musical 6 Et resurrexit ............................................................... 4.02 Missa (Kyrie & Gloria) experiences in the western tradition. Nevertheless, its identity is teased by 7 Et in Spiritum sanctum ................................. 5.27 countless contradictions: it appears to cover the entire Ordinary of the Catholic 1 Kyrie eleison .............................................................. 9.39 8 Confiteor ....................................................................... 3.40 Liturgy, but in Bach’s Lutheran environment the complete Latin text was seldom 2 Christe eleison ........................................................ 4.33 9 Et expecto .................................................................... 2.07 sung as a whole; it seems to have the characteristics of a unified work, yet its 3 Kyrie eleison .............................................................
    [Show full text]
  • Historically Informed Performance
    Impact case study (REF3b) Institution: University of Glasgow Unit of Assessment: 35 – Music Title of case study: Original performances of Bach and Handel recreated for global contemporary audiences 1. Summary of the impact John Butt’s research has played a leading role in bringing historically informed music performance to professional and public audiences across the world. His recording of Messiah (2006) achieved critical acclaim and was presented with the Classic FM/Gramophone Baroque Vocal Album and the Marché International du Disque et de l'Edition Musicale Award. The recording also achieved commercial success for independent record producer, Linn Records with sales of over 20,000, and had a significant impact on Scotland’s leading baroque ensemble, the Dunedin Consort, with seven more recordings of works by Bach and Handel, substantial royalty income, increased funding (including new subsidies) and new touring opportunities. This success has also enabled an active education outreach programme to develop both professional training and broader public interest. 2. Underpinning research Intellectual background In 2002 John Butt (University of Glasgow Gardiner Chair of Music, 2001-present) published a major monograph on the culture of historically informed performance. Playing with History (Cambridge University Press) established many of the primary questions regarding the role of historically informed performance in contemporary culture – such as how it ties into other historical conditions and its potential to refresh many aspects of classical music culture. One of the most significant conclusions was identifying the need to use historical knowledge and experience to encourage new creative possibilities in contemporary performance, even if adopting historical parameters might suggest a restriction of performative possibilities.
    [Show full text]
  • DUNEDIN CONSORT JOHN BUTT SIX Brandenburg Concertos
    DUNEDIN CONSORT JOHN BUTT SIX BRANDENBURG CONCERTOS John Butt Director and Harpsichord Cecilia Bernardini Violin Pamela Thorby Recorder David Blackadder Trumpet Alexandra Bellamy Oboe Catherine Latham Recorder Katy Bircher Flute Jane Rogers Viola Alfonso Leal del Ojo Viola Jonathan Manson Violoncello Recorded at Post-production by Perth Concert Hall, Perth, UK Julia Thomas from 7-10 May 2012 Design by Produced and recorded by Gareth Jones and gmtoucari.com Philip Hobbs Photographs by Assistant engineering by David Barbour Robert Cammidge Cover image: The Kermesse, c.1635-38 (oil on panel) by Peter Paul Rubens (Louvre, Paris, France / Giraudon / The Bridgeman Art Library) DISC 1 Brandenburg Concerto No. 1 in F Major, BWV 1046 Concerto 1mo à 2 Corni di Caccia, 3 Hautb: è Bassono, Violino Piccolo concertato, 2 Violini, una Viola è Violoncello col Basso Continuo q […] 4:02 w Adagio 3:44 e Allegro 4:11 r Menuet Trio Polonaise 8:47 Brandenburg Concerto No. 2 in F Major, BWV 1047 Concerto 2do à 1 Tromba, 1 Flauto, 1 Hautbois, 1 Violino, concertati, è 2 Violini, 1 Viola è Violone in Ripieno col Violoncello è Basso per il Cembalo t […] 4:51 y Andante 3:18 u Allegro assai 2:44 Brandenburg Concerto No. 3 in G Major, BWV 1048 Concerto 3zo a tre Violini, tre Viole, è tre Violoncelli col Basso per il Cembalo i […] 5:30 o Adagio 0:25 a Allegro 4:46 Total Time: 42:44 DISC 2 Brandenburg Concerto No. 4 in G Major, BWV 1049 Concerto 4ta à Violino Principale, due Fiauti d’Echo, due Violini, una Viola è Violone in Ripieno, Violoncello è Continuo q Allegro 6:45 w Andante 3:20 e Presto 4:30 Brandenburg Concerto No.
    [Show full text]
  • Open Access Version Via Utrecht University Repository
    “Early music is dead, long live early music!” The Holland Baroque ensemble and the Dutch early music revival Carine Hartman Student number: 6626726 MA Applied Musicology MA thesis Academic year 2018-2019 Utrecht University Supervisor: Dr. Ruxandra Marinescu Acknowledgements I would first like to thank my thesis supervisor, Dr. Ruxandra Marinescu. During the research process, she gave me helpful feedback and advice on my writings and I am grateful for her supervision. I also would like to thank Judith and Tineke Steenbrink from Holland Baroque for letting me interview them and answering further questions that I had considering this research. I also wish to thank Holland Baroque’s producer Clara van Meyel for contributing ideas to the research and giving me additional information on Holland Baroque. The organization of Holland Baroque in general has let me in on the ensemble’s ideas, vision and challenges and I am thankful for their open attitude towards me. I thank my friends for their interest in my research and their additional knowledge. Lastly, I thank my mother, father and sister and my boyfriend in particular for their motivational words and sympathy, which have helped me to complete this thesis. I hope you enjoy reading my thesis. 1 Table of contents ABSTRACT 3 INTRODUCTION 4 CHAPTER 1. THE HISTORICAL PERFORMANCE PRACTICE DEBATE 7 1.1 SCHOLARLY VIEWS ON HIP 7 1.1.1 “Getting it right” 9 1.1.2 The “literalistic performance” 11 1.1.3 Period instruments 12 1.2 THE DUTCH EARLY MUSIC MOVEMENT 14 1.3 A NEW GENERATION 15 CHAPTER 2.
    [Show full text]
  • Bach and the Rationalist Philosophy of Wolff, Leibniz and Spinoza,” 60-71
    Chapter 1 On the Musically Theological in Bach’s Cantatas From informal Internet discussion groups to specialized aca­ demic conferences and publications, an ongoing debate has raged on whether J. S. Bach ought to be considered a purely artistic or also a religious figure.^ A recently formed but now disbanded group of scholars, the Internationale Arbeitsgemeinschaft fiir theologische Bachforschung, made up mostly of German theologians, has made significant contributions toward understanding the religious con­ texts of Bach’s liturgical music.^ These writers have not entirely captured the attention or respect of the wider world of Bach 1. For the academic side, the most influential has been Friedrich Blume, “Umrisse eines neuen Bach-Bildes,” Musica 16 (1962): 169-176, translated as “Outlines of a New Picture of Bach,” Music and Letters 44 (1963): 214-227. The most impor­ tant responses include Alfred Durr, “Zum Wandel des Bach-Bildes: Zu Friedrich Blumes Mainzer Vortrag,” Musik und Kirche 32 (1962): 145-152; see also Friedrich Blume, “Antwort von Friedrich Blume,” Musik und Kirche 32 (1962): 153-156; Friedrich Smend, “Was bleibt? Zu Friedrich Blumes Bach-Bild,” DerKirchenmusiker 13 (1962): 178-188; and Gerhard Herz, “Toward a New Image of Bach,” Bach 1, no. 4 (1970): 9-27, and Bach 2, no. 1 (1971): 7-28 (reprinted in Essays on J. S. Bach [Ann Arbor: UMI Reseach Press, 1985], 149-184). 2. For a convenient list of the group’s main publications, see Daniel R. Melamed and Michael Marissen, An Introduction to Bach Studies (New York: Oxford University Press, 1998), 15. For a full bibliography to 1996, see Renate Steiger, ed., Theologische Bachforschung heute: Dokumentation und Bibliographie der Intemationalen Arbeitsgemeinschaft fiir theologische Bachforschung 1976-1996 (Glienicke and Berlin: Galda and Walch, 1998), 353-445.
    [Show full text]
  • Virtual BACH FESTIVAL OREGON BACH FESTIVAL 2021
    LISTENING GUIDE June 25- July 11, 2021 OREGONVirtual BACH FESTIVAL OREGON BACH FESTIVAL 2021 Welcome to the 2021 Oregon Bach Festival In times of uncertainty, music is a constant in our lives. Music offers catharsis. It keeps us entertained, conjures memories, and expresses our deepest emotions.Music is everywhere. And during this divisive and tumultuous moment, we’re grateful that music is a powerful and relentless force that universally connects us. As we continue to fight a world-wide pandemic together, OBF invites you to join the global community of music lovers who will listen and watch the 2021 virtual Festival from the comfort and safety of their own spaces.All events are presented free and on-demand. A new concert is posted every day at noon and, unless otherwise noted, will remain available throughout the Festival. Whether you’re watching at home alone or you’re gathered with a socially distanced group of friends for a watch party, we hope you enjoy the 2021 slate of brilliant works. We’ll see you for a return to live music in 2022! June 25 Bach Listening Room with Matt Haimovitz June 25 Dunedin Consort: Bach’s Brandenburg Concertos 5 & 6 June 26 Paul Jacobs: Handel & Bach Recital June 27 To the Distant Beloved with Tyler Duncan June 28 Visions of the Future Part 1: Miguel Harth-Bedoya (48 hours only) June 29 Dunedin Consort: Lagrime Mie June 30 Visions of the Future Part 2: Eric Jacobsen (48 hours only) July 1 Emerson String Quartet July 2 Visions of the Future Part 3: Julian Wachner (48 hours only) July 3 Lara Downes presents
    [Show full text]
  • Old Silhillians Hockey Club Another Year Saw Another Fantastic 12 Months for the Club
    President’s Letter 2 Dinners & Lunches 61 The President Elect 4 Shenstonian Lodge 64 Editorial 7 Work Experience 65 Main Committee 8 Development & Alumni 68 The OSA Trust 10 Relations Office Headmaster’s Reflections 13 Clubhouse Redevelopment 70 Girls’ Reunion 20 Obituaries 71 Former Choristers 26 Old Sils v Old Warwickians 82 John Butt OBE 29 Sports Sections 84 News of Former Pupils 32 Acknowledgments 92 Headmasters 57 With the right kind of support, Contents anything is possible. 0121 693 5000 | jerroms.co.uk “ T H E S I L H I L L I A N ” the magazine of the The Old Silhillians’ Association Limited (The Former Pupils of Solihull School) The Leonard Stevens Building Solihull School Warwick Road Solihull West Midlands B91 3DJ Telephone: 0121 703 2963 Facsimile: 01564 775151 Email: [email protected] Website: www.silhillians.net ISSUE 64 NOVEMBER 2013 President 2013 Joe Bates 1 Dear Fellow Old Silhillians I can hardly believe that I write this as I ap- proach the end of my year as President and can I start off by saying what a pleasure and an honour it has been. The events which I have attended this year have all been without exception very much enjoyed although many of them were very differing in their nature. I have “survived” the Golf Society, Rugby Club and Hockey From the President From Club dinners all of which were fantastic evenings and I would not wish to be drawn The Bates having a Ball! on which took the greatest toll on the following day. However, particular congratulations to the rugby club as the dinner on Saturday evening coincided with the first team winning pro- motion that afternoon so clearly it was a time of great celebration.
    [Show full text]
  • Cover 62 3&4
    308 SEVENTEENTH-CENTURY NEWS Christopher Hogwood, ed. The Keyboard in Baroque Europe. Cambridge: Cambridge University Press, 2003. xviii + 245 pp. $75.00. Review by GRAHAM H. PHIPPS, UNIVERSITY OF NORTH TEXAS. This “florilegium of essays,” as Christopher Hogwood describes it (xvi), is offered as a tribute to Gustav Leonhardt, scholar and performer, for his seventy-fifth birthday. Hogwood chooses the metaphor to convey Leonhardt’s influence as the “head gardener” of “early keyboard’s hortus musicus,” binding together work of the scholar and performer that had previously so often operated in mutually exclusive spheres. The book contains thirteen contributions on a variety of different topics, organized chronologically under five headings: seventeenth-century keyboard music, the early eighteenth century, the Bach family, the later eighteenth century, and a final section titled “musical envoi.” The four topics in Part One are a testament to the breadth of coverage in this book. Alexander Silbiger’s essay, “On Frescobaldi’s recreation of the chaconne and the passacaglia,” complements his earlier essay, “Passacaglia and ciaconna: genre pairing and ambiguity from Frescobaldi to Couperin,” Journal of Seventeenth- Century Music, 2 (1996), by adding musical examples. Together these two essays provide carefully formulated definitions for the two musical terms as they might apply to Frescobaldi. The present essay nicely situates Frescobaldi’s work in this multifaceted genre in respect to works of other composers. In particular, Silbiger demonstrates how Frescobaldi’s magnum opus, his Cento partite from the Aggiunta supplement of 1637 to his first book of toccatas, avoids the “anxiety of influence” a la Harold Bloom, from Monteverdi’s Zefiro torna that characterizes much of mid-seventeenth century Italian keyboard music.
    [Show full text]
  • DUNEDIN CONSORT JOHN BUTT Dunedin Consort John Butt
    DUNEDIN CONSORT JOHN BUTT Dunedin Consort John Butt Cantatas 1, 3 and 6 Cantatas 2, 4 and 5 Mary Bevan soprano Joanne Lunn soprano Clare Wilkinson mezzo-soprano Ciara Hendrick mezzo-soprano Nicholas Mulroy tenor Thomas Hobbs tenor Matthew Brook bass-baritone Konstantin Wolff bass-baritone 1 Disc 1 First Festival Day in Christmas Cantata 1 q Chorus: Jauchzet, frohlocket, auf, preiset die Tage ....................................................................7:51 w Evangelist: Es begab sich aber zu der Zeit ....................................................................................1:25 e Recit: Nun wird mein liebster Bräutigam ........................................................................................0:59 r Aria: Bereite dich, Zion, mit zärtlichen Trieben ............................................................................5:05 t Chorale: Wie soll ich dich empfangen .............................................................................................1:10 y Evangelist: Und sie gebar ihren ersten Sohn ................................................................................0:27 u Chorale and Recit: Er ist auf Erden kommen arm – Wer will die Liebe recht erhöhn ......2:48 i Aria: Großer Herr, o starker König ....................................................................................................4:24 o Chorale: Ach mein herzliebes Jesulein ...........................................................................................1:11 Second Festival Day in Christmas Cantata 2 a Sinfonia
    [Show full text]
  • Download This
    NEWS FOR IMMEDIATE RELEASE: January 20, 2020 The Annenberg Center Presents the Philadelphia Debut of the Dunedin Consort, January 29 (Philadelphia – January 20, 2020) — The Annenberg Center presents the long-anticipated Philadelphia debut of the Dunedin Consort, Scotland’s Gramophone Award-winning baroque ensemble, Wednesday, January 29, at 7:00 PM at St. Mary’s Church, Hamilton Village at 3916 Locust Walk on the University of Pennsylvania campus. Visit AnnenbergCenter.org for ticket information. Under the direction of the preeminent Bach scholar John Butt, Dunedin Consort is recognized for its inquisitive approach, shining new light into some of the best-known pieces of the Baroque repertoire. The all- Bach program includes the composer’s Orchestral Suite in B Minor, BWV 1067; Cantata Widerstehe doch der Sünde, BWV 54; Brandenburg Concerto No. 4, BWV 1049; Cantata Vergnügte Ruh, beliebte Seelenlust, BWV 170; and Brandenburg Concerto No. 5, BWV 1050. Acclaimed for their joyously vivid music-making, the Dunedin Consort and featured mezzo-soprano soloist Meg Bragle promise an inimitably fresh performance of “Bach at his most ravishing.” (The Independent) Dunedin Consort Dunedin Consort is one of the world’s leading baroque ensembles, recognized for its vivid and insightful performances and recordings. Formed in 1995 and named after Din Eidyn, the ancient Celtic name for Edinburgh, its ambition is to make early music relevant to the present day. Under the direction of John Butt, the ensemble has earned two coveted Gramophone Awards — for the 2007 recording of Handel’s Messiah and the 2014 recording of Mozart’s Requiem — and a Grammy® nomination.
    [Show full text]
  • Sonatas for Violin & Harpsichord
    J.S. Bach SonataS for violin & harpSichord l Sucy ruS ell John Butt SonataS for violin & harpSichord Johann SeBaStian Bach (1685–1750) diSc 1 Sonata no. 1 in B minor, BWv 1014 1. Adagio ..................................................................................................... 3:10 2. Allegro ................................................................................................... 2:45 3. Andante ................................................................................................. 2:55 4. Allegro ................................................................................................... 3:04 Sonata no. 2 in a major, BWv 1015 5. Dolce ...................................................................................................... 2:40 6. Allegro ................................................................................................... 3:00 7. Andante un poco ............................................................................... 2:43 8. Presto ..................................................................................................... 4:03 Sonata no. 3 in e major, BWv 1016 9. Adagio .................................................................................................... 3:53 10. Allegro ................................................................................................... 2:44 11. Adagio ma non tanto ........................................................................ 4:17 12. Allegro ..................................................................................................
    [Show full text]
  • Christmas Oratorio J.S
    DUNEDIN CONSORT JOHN BUTT Dunedin Consort John Butt Cantatas 1, 3 and 6 Cantatas 2, 4 and 5 Mary Bevan soprano Joanne Lunn soprano Clare Wilkinson mezzo-soprano Ciara Hendrick mezzo-soprano Nicholas Mulroy tenor Thomas Hobbs tenor Matthew Brook bass-baritone Konstantin Wolff bass-baritone 1 Disc 1 First Festival Day in Christmas Cantata 1 q Chorus: Jauchzet, frohlocket, auf, preiset die Tage ....................................................................7:51 w Evangelist: Es begab sich aber zu der Zeit ....................................................................................1:25 e Recit: Nun wird mein liebster Bräutigam ........................................................................................0:59 r Aria: Bereite dich, Zion, mit zärtlichen Trieben ............................................................................5:05 t Chorale: Wie soll ich dich empfangen .............................................................................................1:10 y Evangelist: Und sie gebar ihren ersten Sohn ................................................................................0:27 u Chorale and Recit: Er ist auf Erden kommen arm – Wer will die Liebe recht erhöhn ......2:48 i Aria: Großer Herr, o starker König ....................................................................................................4:24 o Chorale: Ach mein herzliebes Jesulein ...........................................................................................1:11 Second Festival Day in Christmas Cantata 2 a Sinfonia
    [Show full text]