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Orchestral Music · Musique Pour Orchestre

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Orchestral Music · Musique Pour Orchestre ORCHESTERMUSIK WERKE· ORCHESTRAL FÜR TASTENINSTRUMENTE MUSIC · MUSIQUE POUR · KEYBOARD ORCHESTRE WORKS · MÚSICA DE ORCHESTA LES ŒUVRES POUR INSTRUMENT À CLAVIER · OBRAS PARA TECLADO [3] + [4] Original & Transcription Original und Bearbeitung / Original y transcripción MM4127/4128-2 07.07.2004 12:31 Uhr Seite 2 Aufnahmeleitung und Digitalschnitt/Producer and digital editor/Directeur de l’enregistrement et montage Johann Sebastian digital/Dirección de grabación y corte digital: Stefan Weinzierl Toningenieur/Sound engineer/Ingénieur du son/Ingeniero de sonido: Stefan Weinzierl Aufnahme/Recording/Enregistrement/Grabación: Bach 3.–5.10./21.–26. 11. 1999, Kath. Pfarrkirche Oberried/Freiburg Einführungstext/Programme notes/Texte de présentation/Textos introductorios: Prof. Dr. Robert Hill (1685–1750) Redaktion/Editor/Rédaction/Redacción: Dr. Andreas Bomba Cembalo/Harpsichord/Clavecin/Clave: Original und Bearbeitung Nach Pascal Taskin (Paris, 1769) von Keith Hill (Manchester, Michigan/USA, 1998) After Pascal Taskin (Paris, 1769) by Keith Hill (Manchester, Michigan/USA, 1998) Original and Transcription D’après Pascal Taskin (Paris, 1769) par Keith Hill (Manchester, Michigan/USA, 1998) Según Pascal Taskin (Paris, 1769) por Keith Hill (Manchester, Michigan/USA, 1998) Original et transcription Lautenklavier/Lute-harpsichord/Luth-clavecin/Clave-laúd: Original y transcriptción Von Keith Hill (1995), frei rekonstruiert nach Beschreibungen aus dem Bach-Zirkel By Keith Hill (1995), freely reconstructed after descriptions from the Bach circle Par Keith Hill (1995), reconstruction libre d’après des descriptions du cercle Bach Sonaten und Partiten nach Originalwerken für Violine Solo Obra de Keith Hill (1995), libremente reconstruido según descripciones del Círculo de Bach Bearbeitungen nach J. A. Reinckens Hortus musicus Clavichord/Clavicorde/Clavicordio: Sonatas and Partitas after Original Works for Solo Violin Keith Hill, Clavichord (1997), fünf Oktaven bundfrei, nach Friderici (ca. 1750) Transcriptions after J. A. Reincken’s Hortus musicus Clavichord by Keith Hill (1997), five-octave unfretted, after Friderici (ca. 1750) Clavicorde de Keith Hill (1997), 5 octaves sans touchettes, d’après Friderici (1750 environ) Sonates et partitas d’après des œuvres originales pour violon seul Clavicordio obra de Keith Hill (1997), de cinco octavas sin traste, según Friderici (aprox. 1750) Transcriptions d’après l’Hortus musicus de J. A. Reincken Deutsche Übersetzung: Dr. Miguel Carazo & Associates Sonatas y partitas sobre obras originales para solo de violín Traduction française: Helene Janny Traducción al español: Julián Aguirre Muñoz de Morales Transcripciones sobre el Hortus musicus de J. A. Reincken Internationale Bachakademie E-Mail: [email protected] Robert Hill © 1999 by Hänssler-Verlag Internet: http://www.bachakademie.de ൿ 2000 by Hänssler-Verlag Lute-harpsichord/Lautenklavier/Luth-clavecin/Clave-laúd Harpsichord/Cembalo/Clavecin/Clave Clavichord/Clavicorde/Clavicordio 2 3 MM4127/4128-2 07.07.2004 12:31 Uhr Seite 4 CD 1 Total Time: 65:35 Partita g-Moll/G Minor/sol mineur/sol menor * 29:30 Sonata C-Dur/C Major/ut majeur/Do mayor BWV 966 *** 12:22 nach/after/d’après/según Partita d-Moll /D Minor/ré mineur/re menor BWV 1004 nach/after/d’après/según J.A. Reincken Transkription: Robert Hill 1. Prélude 88 2:12 1. Allemanda 11 6:05 2. Fuga 99 5:14 2. Corrente 22 2:44 3. Adagio/Presto 1010 1:44 3. Sarabanda 33 4:03 4. Allemande 1111 3:12 4. Giga 44 4:06 5. Ciaccona 55 12:32 Adagio a-Moll/A Minor/la mineur/la menor BWV 965/I *** 12 2:20 nach/after/d’après/según J.A. Reincken Sonata d-Moll/D Minor/ré mineur/re menor BWV 964 * 17:51 nach/after/d’après/según Sonata a-Moll/A Minor/la mineur/la menor BWV 1003 Sonata a-Moll/A Minor/la mineur/la menor BWV 965 * 22:48 1. Grave 66 3:34 nach/after/d’après/según J.A. Reincken 2. Fuga 77 7:01 1. Adagio 1313 2:22 3. Andante 88 4:26 2. Fugue 1414 3:56 4. Allegro 99 2:50 3. Adagio/Presto 1515 1:37 4. Allemande 1616 4:29 Sonata G-Dur/G Major/sol majeur/Sol mayor BWV 968 * 17:56 5. Courante 1717 3:09 nach/after/d’après/según Sonata C-Dur/C Major/ut majeur/Do mayor BWV 1005 6. Sarabande 1818 1:18 Transkription Nos 2 – 4: Robert Hill 7. Gigue 1919 5:47 1. Adagio 1010 3:38 2. Fuga - Alla breve 1111 8:18 Fuge B-Dur/B-flat Major/si bémol majeur/Si bemol major BWV 954 ** 2020 5:15 3. Largo 1212 3:08 nach/after/d’après/según J.A. Reincken 4. Allegro assai 1313 2:52 Sonata c-Moll/C Minor/ut mineur/do menor ** 15:05 nach/after/d’après/según Sonata g-Moll/G Minor/sol mineur/sol menor BWV 1001 CD 2 Total Time: 75:48 Transkription: Robert Hill 1. Adagio 2121 3:29 Partita E-Dur/E Major/mi majeur/Mi mayor BWV 1006a ** 17:25 2. Fuga. Allegro 2222 5:18 1 1. Preludio 1 3:40 3. Siciliana 2323 2:37 2 2. Loure 2 3:29 4. Presto 2424 3:41 3 3. Gavotte en Rondeau 3 2:40 4 4. Menuet I 4 1:41 * Cembalo/Harpsichord/Clavecin/Clave 5 5. Menuet II 5 2:36 ** Lautenklavier/Lute-harpsichord/Luth-clavecin/Clave-laúd 6 6. Bourrée 6 1:26 *** Clavichord/Clavicorde/Clavicordio 7 7. Gigue 7 1:55 4 5 MM4127/4128-2 07.07.2004 12:31 Uhr Seite 6 Robert Hill eincken gehört allein durch sein fast ein Jahrhun- Original und Bearbeitungen R dert umspannendes Leben (1623 – 1722) zu den be- merkenswerten Musikern seiner Zeit. 1663 wurde er »Es sind eigentlich violini soli senza basso, 3 Sonaten Nachfolger seines Lehrers Heinrich Scheidemann als und 3 Partien, lassen sich aber auf dem Clavier sehr Organist der Hamburger Katharinenkirche. Wer da- wohl spielen.« (Jacob Adlung, Anleitung zu der musi- mals die norddeutsche Orgelkunst studieren wollte, kalischen Gelahrtheit, 1758) tat dies bei Reincken in Hamburg und bei Dietrich DEUTSCH »Der Verfasser spielte sie selbst oft auf dem Clavichorde, Buxtehude in Lübeck. Auch Johann Sebastian Bach und fügte von Harmonie so viel dazu bei, als er für hat zu diesem Zweck zwischen 1700 und 1705 die nöthig befand.« (Johann Friedrich Agricola, 1775, beiden Hansestädte besucht. Zahlreiche seiner Orgel- Bach-Dokumente III, Nr. 808) werke sind die Früchte dieser Anregungen. Außerdem soll Bach im Jahre 1720, als er sich zum Zwecke einer Bewerbung erneut in Hamburg aufhielt, dem Meister iese beiden Bemerkungen aus dem Kreise von Jo- D zwei Stunden auf der Katharinen-Orgel vorgespielt hann Sebastian Bachs Kollegen (Adlung) bzw. haben, einem Instrument, dessen Zungenstimmen Schülern (Agricola) sowie ein Manuskript von Trans- Bach besonders schätzte. Der Nekrolog berichtet, kriptionen für Tasteninstrumente (BWV 964 und daß Reincken, der damals bey nahe hundert Jahre alt 968), das von einem weiteren Schüler Bachs (Johann war, Bach aufgab, über den Choral »An Wasserflüs- Christoph Altnickol) abgeschrieben wurde und sich sen Babylon« (s. Edition Bachakademie Vol. 90 und im Besitz wieder eines anderen (Johann Gottlieb 97) zu improvisieren und ihm anschließend das Müthel) befand, legen hinreichend Zeugnis davon Kompliment machte: Ich dachte, diese Kunst wäre ge- ab, daß es innerhalb des Bach-Zirkels durchaus ge- storben, ich sehe aber, daß sie in Ihnen noch lebet. Auf bräuchlich war, seine Werke für Solovioline für das Reinckens Vorschlag geht wohl auch das einem nie- Spiel auf Tasteninstrumenten zu bearbeiten. Ob die derländischen Volkslied nachempfundene Thema der Transkriptionen BWV 964 und 968 von Bach selbst g-Moll-Fuge BWV 542/II (Vol. 93) zurück. vorgenommen wurden, ist eine andere Frage, die kontrovers diskutiert wird. Was Bach bei Reincken und Buxtehude tatsächlich gelernt hat, läßt sich über den Status der Anregung achs in jugendlichen Jahren entstandene Bearbei- B hinaus kaum bestimmen. Sein Sohn Carl Philipp tungen von Triosonaten aus Johann Adam Reinckens Emanuel teilt mit, daß er sich Bruhnsens, Reinckens, Hortus musicus zeigen jedoch, daß Bach bereits seit Buxtehudens und einiger guter französischer Organisten langem an der Transkription von Violinkammermu- Werke zu Mustern genommen und die Komposition sik für Tasteninstrumente interessiert war. größthenteils nur durch das Betrachten der Wercke der Robert Hill damaligen berühmten und gründlichen Componisten 6 7 MM4127/4128-2 07.07.2004 12:31 Uhr Seite 8 DEUTSCH und angewandtes eigenes Nachsinnen erlernet habe. dem musikalischen Gehalt unbearbeiteter Sätze zu von BWV 968 in einer zeitgenössischen Transkripti- während das Cembalo für die übrigen Stücke verwen- Wie später Bach pflegte Reincken die Kunst, ver- tun haben, oder er reflektiert den Lernprozeß, der on überliefert ist, könnte auf die Schwierigkeit hin- det wurde. In unseren Bearbeitungen von BWV 1001 schiedene musikalische Stile miteinander zu verbin- zweifellos zunächst die Transkriptionen anregte. Die deuten, die dieser Satz im Vergleich mit den übrigen und 1004 sind die Originale um eine Quinte tiefer den, insbesondere die altmeisterliche Kunst der nie- Fuge B-Dur BWV 954 (nach Hortus musicus VI) fällt drei für eine wirkungsvolle Bearbeitung aufwirft. transponiert, wie z. B. BWV 964. derländischen Schule Jan Pieterszoon Sweelinck zwischen die anderen Bearbeitungen des Hortus mu- (1562 – 1621) und die süddeutsch-italienische Mo- sicus und Bachs Bearbeitungen italienischer Trioso- Die Vervollständigung der Bearbeitung von BWV derne etwa Johann Jakob Frobergers (1616 – 1667) natensätze, wie z. B. derer von Albinoni (Vol. 103). 968 besteht, ebenso wie bei den anderen Violin- und Alessandro Pogliettis (+ 1683). 1678 beteiligte Bachs Einfügungen sind dem Charakter nach weni- stücken, die wir komplett transkribiert haben, in der DEUTSCH sich Reincken außerdem an der Gründung der Ham- ger konzertant als die in der Fuge in BWV 965, und Komposition einer idiomatisch angemessenen Partie burgischen Oper am Gänsemarkt. Neun Jahre später die Sprache der Harmonie läßt ebenfalls auf ein für die linke Hand. Insbesondere mußte dort, wo die veröffentlichte er unter dem Titel Hortus musicus früheres Entstehungsdatum dieser Bearbeitung Violine im Original weniger kontrapunktischen Cha- (Der Musikgarten) sechs Sonaten für zwei Violinen, schließen.
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