DOCSLIB.ORG

Bach Notes 29

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bach Notes 29 No. 29 Fall 2018 BACH NOTES NEWSLETTER OF THE AMERICAN BACH SOCIETY BACHFEST LEIPZIG 2018: CYCLES A CONFERENCE REPORT BY YO TOMITA achfest Leipzig listening experience. B2018 took place There was an immensely from June 8–17 with warm and appreciative at- the theme “Zyklen” mosphere in the acoustic (Cycles), featuring space once owned and ex- works that can be ploited to its full by Bach grouped together, for himself almost 300 years instance collections ago. To me this part of the of six or twenty-four Bachfest was a resound- pieces, numbers with ing success. It will be long potential biblical sig- remembered, especially by nificance, or works the fully packed exuberant that share formal or audience at the tenth and stylistic features. In the final concert of the addition, this year’s Kantaten-Ring on June festival presented 10 in the Nikolaikirche, something quite ex- where the Monteverdi traordinary: nearly all Choir and English Ba- the main slots in the John Eliot Gardiner in the Nikolaikirche (Photo Credit: Leipzig Bach Festival/Gert Mothes) roque Soloists directed by first weekend (June 8–10) were filled by a vocal works from the sixteenth and seven- series of concerts called “Leipziger Kantat- teenth centuries. This arrangement exposed en-Ring” (Leipzig Ring of Cantatas), which the stylistic differences between Bach and In This Issue: looked like a festival of Bach cantatas within his predecessors, prompting us to consider the Bachfest. (Its own program book, at why and how Bach’s musical style might Conference Report: Bachfest Leipzig . 1 351 pages, was three times thicker than the have evolved, a precious moment to reflect entire booklet of the Bachfest!) Altogether on Bach’s ingenuity. In addition, the associ- The ABS and Social Media . .4 . thirty-three sacred cantatas cherry-picked ated passages from the Bible were read out A Review of Leipzig After Bach . 5. by the program committee were performed before listening to the music, which some of in ten concerts by five illustrious Bach inter- us found helpful to prepare both mind and Conference Report: ABS 2018 . 7. preters and their ensembles in turn—John spirit to appreciate Bach’s musical liturgy Recent Prize Winners . 9. Eliot Gardiner, Ton Koopman, Masaaki and its historical context. Quite separately, Suzuki, Hans-Christoph Rademann, and it was also a rare occasion to be able to hear New Publications . 10. Gotthold Schwarz—primarily in the two different approaches and renditions from main churches in Leipzig. Each of the ten the five ensembles, a frequent topic of dis- Announcements . 10 . was linked to a specific season in the liturgi- cussion among listeners after the concerts. Member News . 12. cal year and performed roughly in calendar From the concept of the programming to order, hence the concept of “cycle.” the quality of individual performances, ev- In each concert we heard several of erything seemed meticulously planned and © 2018 Bach’s cantatas interspersed with sacred rehearsed to produce such an exceptional The American Bach Society 2 John Eliot Gardiner performed six works: Bach’s “Es erhub sich ein Character Pieces op. 7 on Friday, June 15 in the Kongresshalle; and Streit” (BWV 19); Buxtehude’s “Nimm von uns, Herr, du treuer Andreas Staier on a double-manual replica Mietke harpsichord Gott” (BuxWV 78); Bach’s cantata with the same title (BWV playing the first half of WTC 1 interspersed by preludes and 101); “Jesu, der du meine Seele” (BWV 78); Schein’s “Freue dich fugues by Georg Böhm and Johann Caspar Ferdinand Fischer on des Weibes deiner Jugend;” and Bach’s “Wachet auf, ruft uns die Saturday, June 16 in the Bundesverwaltungsgericht. Combined, Stimme” (BWV 140). The final chorale of Cantata 140, “Gloria sei all three offered an interesting contest of Bach interpretations by dir gesungen,” was given as artists who have won repu- an encore, the audience be- tations in their own fields ing invited to join in, which of specialization. Of these, we all did! the most noteworthy, in Outside this intense my view, was by this year’s Kantaten-Ring were all sorts Bach Medal recipient, Rob- of events. Many concerts ert Levin. He had expected were slotted under various to use harpsichord for Bach “cycles” of Bach’s works such and fortepiano for Mendels- as Passions, Clavierübung, sohn, but we discovered on The Well-Tempered Clavier, the day of the concert that Cello Suites, Brandenburg he was to play on a modern Concertos, as well as those Steinway grand piano in- beyond but still connected stead, probably a necessary historically to Bach, such compromise considering the as cycles titled “florilegium unsympathetic acoustics of portense” and “Mendels- the Weißer Saal. Early in sohn.” Some of them were the recital, there were some accompanied by well-at- Andrew Talle and Pieter Wispelwey (Photo Credit: Leipzig Bach Festival/Gert Mothes) concerns as his touch and tended lectures given by the tone occasionally sounded researchers at the Bach Archive. For me the most memorable too harsh at moments when he seemed to have had an overflowing lecture-concert pair this year was on Bach’s Cello Suites (BWV surge of inspiration. But that was a trivial side effect of the greater 1007–1012), delivered by our ABS Vice President Andrew Talle gains from Levin’s mighty virtuosity. Through his able fingers, his with a performance by Pieter Wispelwey. In his lecture on Friday original voice as an interpreter of Bach stood out with both bold- June 15 in the Zeitgeschichtliches Forum, Talle explained some ness and sensitivity, as his colourful and long-breathed phrasing important facts about the manuscript and printed sources of the continued to develop logically, unfolding the inner structure of the suites, outlined his key findings, and illustrated the difficulties pieces. A moment of conviction came with the G-minor fugue: in interpreting the variants, especially the performance-related the way Levin marked out the fugue subject and characterized it marks, which he and Wispelwey also effectively demonstrated on reminded me of “Es ist der alte Bund: Mensch, du mußt sterben!” the cello. The same evening, Wispelwey performed the first three from the Actus Tragicus (BWV 106). It may be worth noting that suites in the Altes Rathaus, with the rest following the next day Levin supplemented his presentation of WTC in a unique and in the Salles de Pologne. Despite being late night concerts, the special way: he added his own improvisatory interludes between halls were fully packed, making the rooms rather too warm for the prelude-fugue pairs when the tonic shifts up a semitone (e.g. Wispelwey to keep his gut strings in tune; but with his wonderful moving from no.14 in F-sharp minor to no.15 in G major) in sense of wit and imaginative handling of phrasing and colours, he an attempt to minimise the sudden tonal shift, which makes an created a deeply rich sound world which seemed like a blessing interesting effect. Unlike the Promenade of Mussorgsky’s Pictures from Bach at the end of a long and busy day. at an Exhibition, his free improvisations kept a low-profile with no For many years The Well-tempered Clavier (WTC) was mysteri- apparent thematic identity of their own, and I felt they added little ously excluded from the Bachfest programs, but this year it was musically to our appreciation of Bach’s genius. Still, the concert distinctly featured in five concerts under a “Well-Tempered Clavier was most refreshing and enjoyable. cycle.” I went to three of these: Nelson Goerner on modern piano Under the “Passion cycle” were six events, and I have chosen playing the first six preludes and fugues from WTC 2, Partita no.6 to review two: the Passion oratorio, Der blutige und sterbende in E minor (BWV 830), and Chopin’s Préludes op. 28 on Mon- Jesus (1729 version), by Reinhard Keiser, recently rediscovered day, June 11 in the Gewandhaus; Robert Levin, also on modern by Christine Blanken and performed on Wednesday, June 13 piano, playing the second half of WTC 1 and Mendelssohn’s Seven in the Nikolaikirche by Cantus und Capella Thuringia directed No. 29 BACH • NOTES 3 by Bernhard Klapprott; and Bach’s St Matthew Passion on Thursday, June 14 in the Thomaskirche performed by La Chapelle Rhénane di- rected by Benoît Haller. The latter was the only concert proper of Bach’s Passion this year during the Bachfest, and, I regret to say, it was a disappointment. However, Keiser’s Passion oratorio was fascinating in many respects, especially because so few of his compositions from his later years have sur- vived, preventing us from getting a real sense of what Mattheson praised about his Passions in Grundlage einer Ehren-Pforte (1740). From the biographical angle of a composer and librettist Leipzig Bachfest at night (Photo credit: Leipzig Bach Festival/Gert Mothes, http://www.leipzig.travel/) (Menantes), who each in- fluenced Bach and his contemporaries, to the uproarious premier and subsequent reception of the work as documented in historical writings, to how it sounded to our own ears, the work has much to offer. Keiser’s oratorio is laid out very differently from Bach’s own oratorio Passion, and charting the similarities and differences while listening to it was an edifying experience. As one of Blanken’s important discoveries in recent years, it is truly fitting that it was featured in this year’s Bachfest. There were altogether 161 events in the space of ten days, and it was impossible to attend every one or even mention everything I did manage to attend. For instance, the Keiser Passion perfor- mance took place at the same time as András Schiff’s recital of the Clavier-Übung II (Italian Concerto and French Overture) and IV (Goldberg Variations) at the Gewandhaus, a recital said to have been an extraordinary feat in Bach interpretation on the piano, which I would have otherwise reported here in detail had I been able to attend.
Load more

Recommended publications
  • Biography Thomaskantor Gotthold Schwarz As of March 2018
    Thomaskantor Gotthold Schwarz Gotthold Schwarz is the 17 th Thomaskantor after Johann Sebastian Bach. On 9 June 2016 he has been appointed as Thomaskantor and has been officially inaugurated on 20 August 2016. Born in Zwickau as a son of a cantor he gained his musical education at the “Hochschule für Kirchenmusik Dresden” (University for Church Music Dresden) and also at the “Hochschule für Musik und Theater „Felix Mendelssohn Bartholdy“ Leipzig” (University of Music and Theatre „Felix Mendelssohn Bartholdy“ Leipzig) after having been a member of Thomanerchor Leipzig for s short time in his childhood. He studied singing with Gerda Schriever, playing the organ with former St. Thomas Organist Hannes Kästner and Wolfgang Schetelich, as well as conducting with Max Pommer and Hans-Joachim Rotzsch. Furthermore he has worked with, amongst others, Hermann Christian Polster, Peter Schreier and Helmuth Rilling in masterclasses and academies. Gotthold Schwarz, who began to work as vocal trainer for the Thomanerchor Leipzig in 1979, stood in for the Thomaskantor for several times since the 1990's. On this position he led the motets, performances of cantatas and oratorios with the Thomanerchor Leipzig; moreover he was entrusted with other duties as an interim officiating cantor. Together with the world-famous boys’ choir he has been on numerous tours in Germany, Europe and overseas (Japan, China, USA, Canada), several together with the Gewandhausorchester Leipzig. Furthermore Gotthold Schwarz is initiator and leader of “Concerto vocale”, “Saxon Baroque Orchestra”, “Leipziger Cantorey” and “Bach Consort Leipzig”. In recognition of his special merits the versatiled singer and conductor was awarded with the Cross of Merit of the Federal Republic of Germany (1 st class) on 4 October 2017.
    [Show full text]
  • The Bach Experience
    MUSIC AT MARSH CHAPEL 10|11 Scott Allen Jarrett Music Director Sunday, December 12, 2010 – 9:45A.M. The Bach Experience BWV 62: ‘Nunn komm, der Heiden Heiland’ Marsh Chapel Choir and Collegium Scott Allen Jarrett, DMA, presenting General Information - Composed in Leipzig in 1724 for the first Sunday in Advent - Scored for two oboes, horn, continuo and strings; solos for soprano, alto, tenor and bass - Though celebratory as the musical start of the church year, the cantata balances the joyful anticipation of Christ’s coming with reflective gravity as depicted in Luther’s chorale - The text is based wholly on Luther’s 1524 chorale, ‘Nun komm, der Heiden Heiland.’ While the outer movements are taken directly from Luther, movements 2-5 are adaptations of the verses two through seven by an unknown librettist. - Duration: about 22 minutes Some helpful German words to know . Heiden heathen (nations) Heiland savior bewundert marvel höchste highest Beherrscher ruler Keuschheit purity nicht beflekket unblemished laufen to run streite struggle Schwachen the weak See the morning’s bulletin for a complete translation of Cantata 62. Some helpful music terms to know . Continuo – generally used in Baroque music to indicate the group of instruments who play the bass line, and thereby, establish harmony; usually includes the keyboard instrument (organ or harpsichord), and a combination of cello and bass, and sometimes bassoon. Da capo – literally means ‘from the head’ in Italian; in musical application this means to return to the beginning of the music. As a form (i.e. ‘da capo’ aria), it refers to a style in which a middle section, usually in a different tonal area or key, is followed by an restatement of the opening section: ABA.
    [Show full text]
  • DIE MUSIKWELT SCHAUT AUF UNS Er Steht an Einer Der Bedeutendsten Positionen Nicht Allein Des Leipziger Musiklebens: Gotthold Schwarz Ist Seit Drei Jahren Thomaskantor
    DIE MUSIKWELT SCHAUT AUF UNS Er steht an einer der bedeutendsten Positionen nicht allein des Leipziger Musiklebens: Gotthold Schwarz ist seit drei Jahren Thomaskantor. Wir sprachen mit ihm in seinem Amtssitz, dem Alumnat des Thomanerchors. 32 Interview © Gewandhaus−Magazin© Gewandhaus−Magazin Herr Professor Schwarz, was machen Sie Schwarz: Manchmal denke ich schon in Sonnabend der Fall ist, singen wir in der in den Sommerferien? den Ferien: Wie soll das gehen, wenn Stimmung von 443 Hertz. Es wäre aller- Gotthold Schwarz: Meine Ferien sind we- jetzt die Abiturienten und damit die er- dings für die Reputation Leipzigs als gen des alljährlichen Konzerts zu Johann fahrensten Sänger weg sind? Aber oft Bach-Stadt gut, hätten wir innerhalb des Sebastian Bachs Todestag am 28. Juli ein entwickeln diejenigen, die vorher in der Gewandhausorchesters auch Instrumen- wenig geteilt. Aber das stört mich nicht. zweiten Reihe gestanden haben, plötz- te, mit denen man in der Stimmung von Nach Möglichkeit fahre ich mit der Fami- lich große Energien und übernehmen 415 Hertz musizieren könnte. lie zum Wandern. In diesem Jahr geht es die Rolle der Ausgeschiedenen. Wir nut- nach Südtirol. Danach gibt es auch schon zen ja das letzte Ferienwochenende be- Ist das Wechseln von einer Stimmung in viel für das neue Schuljahr vorzuberei- reits für ein zweieinhalbtägiges Chorla- die andere nicht schwierig, wenn ein Ge- ten. ger auf Schloss Colditz, wo auch schon wandhausmusiker beispielsweise nach- die Neuaufgenommenen dabei sind. Dort mittags in der Thomaskirche und abends Sind Sie im Sommer verstärkt als Sänger wird jeder Thomaner kurz überprüft, in der Oper zu spielen hat? aktiv? damit ich weiß, wo er stimmlich steht.
    [Show full text]
  • Bach: Goldberg Variations
    The Choir of King’s College, Cambridge Final Logo Brand Extension Logo 06.27.12 BACH GOLDBERG VARIATIONS Parker Ramsay | harp PARKER RAMSAY Parker Ramsay was the first American to hold the post of Organ Scholar at King’s, from 2010–2013, following a long line of prestigious predecessors. Organ Scholars at King’s are undergraduate students at the College with a range of roles and responsibilities, including playing for choral services in the Chapel, assisting in the training of the probationers and Choristers, and conducting the full choir from time to time. The position of Organ Scholar is held for the duration of the student’s degree course. This is Parker’s first solo harp recording, and the second recording by an Organ Scholar on the College’s own label. 2 BACH GOLDBERG VARIATIONS Parker Ramsay harp 3 CD 78:45 1 Aria 3:23 2 Variatio 1 1:57 3 Variatio 2 1:54 4 Variatio 3 Canone all’Unisono 2:38 5 Variatio 4 1:15 6 Variatio 5 1:43 7 Variatio 6 Canone alla Seconda 1:26 8 Variatio 7 al tempo di Giga 2:24 9 Variatio 8 2:01 10 Variatio 9 Canone alla Terza 1:49 11 Variatio 10 Fughetta 1:45 12 Variatio 11 2:22 13 Variatio 12 Canone alla Quarta in moto contrario 3:21 14 Variatio 13 4:36 15 Variatio 14 2:07 16 Variatio 15 Canone alla Quinta. Andante 3:24 17 Variatio 16 Ouverture 3:26 18 Variatio 17 2:23 19 Variatio 18 Canone alla Sesta 1:58 20 Variatio 19 1:45 21 Variatio 20 3:10 22 Variatio 21 Canone alla Settima 2:31 23 Variatio 22 alla breve 1:42 24 Variatio 23 2:33 25 Variatio 24 Canone all’Ottava 2:30 26 Variatio 25 Adagio 4:31 27 Variatio 26 2:07 28 Variatio 27 Canone alla Nona 2:18 29 Variatio 28 2:29 30 Variatio 29 2:04 31 Variatio 30 Quodlibet 2:38 32 Aria da Capo 2:35 4 AN INTRODUCTION analysis than usual.
    [Show full text]
  • BACH IS BACK in BERLIN: the Return of the Sing-Akademie Archive from Ukraine in the Context of Displaced Cultural Treasures and Restitution Politics
    BACH IS BACK IN BERLIN: The Return of the Sing-Akademie Archive from Ukraine in the Context of Displaced Cultural Treasures and Restitution Politics Patricia Kennedy Grimsted Harvard Ukrainian Research Institute The National Council for Eurasian and East European Research 910 17th Street, N.W. Suite 300 Washington, D.C. 20006 TITLE VIII PROGRAM Project Information* Contractor: Harvard University Principal Investigator: Patricia Kennedy Grimsted Council Contract Number: 816-03g Date: June 9, 2003 Copyright Information Individual researchers retain the copyright on their work products derived from research funded through a contract or grant from the National Council for Eurasian and East European Research (NCEEER). However, the NCEEER and the United States Government have the right to duplicate and disseminate, in written and electronic form, reports submitted to NCEEER to fulfill Contract or Grant Agreements either (a) for NCEEER’s own internal use, or (b) for use by the United States Government, and as follows: (1) for further dissemination to domestic, international, and foreign governments, entities and/or individuals to serve official United States Government purposes or (2) for dissemination in accordance with the Freedom of Information Act or other law or policy of the United States Government granting the public access to documents held by the United States Government. Neither NCEEER nor the United States Government nor any recipient of this Report may use it for commercial sale. * The work leading to this report was supported in part by contract or grant funds provided by the National Council for Eurasian and East European Research, funds which were made available by the U.S.
    [Show full text]
  • Prelude | Grove Music
    Prelude (Fr. prélude; Ger. Vorspiel; It., Sp. preludio; Lat. praeludium, praeambulum) David Ledbetter and Howard Ferguson https://doi.org/10.1093/gmo/9781561592630.article.43302 Published in print: 20 January 2001 Published online: 2001 updated and revised, 1 July 2014 A term of varied application that, in its original usage, indicated a piece that preceded other music whose tonic, mode, or key it was designed to introduce; was instrumental (the roots ludus and Spiel mean ‘played’ as opposed to ‘sung’); and was improvised (hence the French préluder and the German präludieren, meaning ‘to improvise’). The term ‘praeambulum’ (preamble) adds the rhetorical function of attracting the attention of an audience and introducing a topic. The earliest notated preludes are for organ, and were used to introduce vocal music in church. Slightly later ones, for other chordal instruments such as the lute, grew out of improvisation and were a means of checking the tuning of the instrument and the quality of its tone, and of loosening the player’s fingers (as was the Tastar de corde). The purpose of notating improvisation was generally to provide models for students, so an instructive intention, often concerned with a particular aspect of instrumental technique, remained an important part of the prelude. Because improvisation may embrace a wide range of manners, styles, and techniques, the term was later applied to a variety of formal prototypes and to pieces of otherwise indeterminate genre. 1. Before 1800. David Ledbetter The oldest surviving preludes are the five short praeambula for organ in Adam Ileborgh’s tablature of 1448 (ed.
    [Show full text]
  • 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]
  • Bach Notes No. 4 (Fall 2005)
    No. 4 Fall 2005 BACH NOTES THE NEWSLETTER OF THE AMERICAN BACH SOCIETY FRANZ LISZT AND HIS EARLY RECEPTION OF BACH’S ORGAN WORKS* RUSSELL STINSON In the fall of 1857, some fifteen months after the death of her husband, Clara Schumann embarked on a lengthy concert tour of Germany and Switzerland. She performed first in Dresden and Leipzig, sharing the bill with the violinist Joseph Joachim. At some point during their stay in Dresden, the two artists were treated to a performance by Johann Gottlob Schneider on the sumptuous Silbermann organ at the court church, the same instrument on which Schneider had often played for Robert Schumann. Also present was arguably the era’s most famous musical personality, who had traveled to the Saxon capital to conduct the premiere performance of his Dante Symphony. We have no idea who invited Liszt to this with Liszt and Joachim firing salvos on gathering, but it seems unlikely that either the subject of Bach’s organ works. Our IN THIS ISSUE Clara or Joachim did. Clara had by this source is a letter written by Clara a week time developed a great animosity toward or two after Schneider’s performance and P. 1. Franz Liszt and His Early the man as well as his music, and in one addressed to her half brother, the com- Reception of Bach’s Organ Works of her letters to Joachim she went so far poser Woldemar Bargiel: by Russell Stinson as to say that she detested Liszt from the 1 depths of her soul. Joachim had likewise I had a pleasant time in Dresden 7.
    [Show full text]
  • Bach Festival the First Collegiate Bach Festival in the Nation
    Bach Festival The First Collegiate Bach Festival in the Nation ANNOTATED PROGRAM APRIL 1921, 2013 THE 2013 BACH FESTIVAL IS MADE POSSIBLE BY: e Adrianne and Robert Andrews Bach Festival Fund in honor of Amelia & Elias Fadil DEDICATION ELINORE LOUISE BARBER 1919-2013 e Eighty-rst Annual Bach Festival is respectfully dedicated to Elinore Barber, Director of the Riemenschneider Bach Institute from 1969-1998 and Editor of the journal BACH—both of which she helped to found. She served from 1969-1984 as Professor of Music History and Literature at what was then called Baldwin-Wallace College and as head of that department from 1980-1984. Before coming to Baldwin Wallace she was from 1944-1969 a Professor of Music at Hastings College, Coordinator of the Hastings College-wide Honors Program, and Curator of the Rinderspacher Rare Score and Instrument Collection located at that institution. Dr. Barber held a Ph.D. degree in Musicology from the University of Michigan. She also completed a Master’s degree at the Eastman School of Music and received a Bachelor’s degree with High Honors in Music and English Literature from Kansas Wesleyan University in 1941. In the fall of 1951 and again during the summer of 1954, she studied Bach’s works as a guest in the home of Dr. Albert Schweitzer. Since 1978, her Schweitzer research brought Dr. Barber to the Schweitzer House archives (Gunsbach, France) many times. In 1953 the collection of Dr. Albert Riemenschneider was donated to the University by his wife, Selma. Sixteen years later, Dr. Warren Scharf, then director of the Conservatory, and Dr.
    [Show full text]
  • Jahresbericht 2017
    JAHRESBERICHT 2017 BACHS ERbe – EiN AUFTRAG FÜR DIE ZUKUNFT Unser herzlicher Dank gilt allen Förderern, Sponsoren und Partnern des Bachfestes 2017 sowie des Meisterkurses 2017 in Leipzig. • arcona LIVING BACH14 Leipzig • Hochschule für Technik, Wirtschaft • nextbike GmbH • Bärenreiter-Verlag und Kultur Leipzig (HTWK) • PROMENADEN Hauptbahnhof Leipzig Karl Vötterle GmbH & Co. KG • HypoVereinsbank – Member of • Sächsisches Staatsministerium für • Die Beauftragte der Bundesregierung UniCredit Wissenschaft und Kunst (SMWK) für Kultur und Medien • Institut Français • Seaside Park Hotel Leipzig • BMW Niederlassung Leipzig • Leipzig Hotel Alliance • Sparkasse Leipzig • Christa Bach-Marschall-Stiftung • Leipzig Tourismus und • Stadt Leipzig • Deutschlandradio Kultur Marketing GmbH • Stiftung Chorherren zu St. Thomae • DIE ZEIT • Leipziger Verkehrsbetriebe • Ströer Deutsche Städte • Evangelisch-Lutherische Landes- GmbH (LVB) Medien GmbH kirche Sachsens • Leipziger Volkszeitung • TOTAL Raffinerie • fairgourmet GmbH • MDR Kultur Mitteldeutschland GmbH • GENUIN Classics • Mitteldeutsche Barockmusik in • Turkish Airlines Inc. • Goethe-Institut e. V. Sachsen, Sachsen-Anhalt und • Vereinigung der Freunde des • Hochschule für Musik und Theater Thüringen e. V. Bach-Archivs Leipzig e. V. „Felix Mendelssohn Bartholdy“ • Musikschule Leipzig Leipzig (HMT) „Johann Sebastian Bach“ JAHRESBERICHT 2017 BACHS ERbe – EIN AUFTRAG FÜR DIE ZUKUNFT INHALT 1. GRUSSWORT 4 2. VORWORT 6 3. BACH-ARCHIV LEIPZIG – AUFGABEN UND ZIELE 9 4. DAS INKLUSIVE BACH-MUSEUM 12 5. AN BACH VERERBEn – NACHLASSSPENDEN FÜR DAS BACH-ARCHIV 16 6. TÄTIGKEITSBERICHTE UND PROJEKTE 19 6.1. Forschungsinstitut 19 6.2. Bibliothek 25 6.3. Museum 34 6.4. Bachfest Leipzig 46 6.5. Meisterkurs 51 6.6. Kommunikation und Vermittlung 52 7. KOOPERATIONEN 57 7.1. Das Bach-Archiv – Institut an der Universität Leipzig 57 7.2. Kooperation mit der Hochschule für Musik und Theater 58 „Felix Mendelssohn Bartholdy“ Leipzig (HMT) 7.3.
    [Show full text]
  • Simone Dinnerstein, Piano Sat, Jan 30 Virtual Performance Simone Dinnerstein Piano
    SIMONE DINNERSTEIN, PIANO SAT, JAN 30 VIRTUAL PERFORMANCE SIMONE DINNERSTEIN PIANO SAT, JAN 30 VIRTUAL PERFORMANCE PROGRAM Ich Ruf Zu Dir Frederico Busoni (1866-1924) Johann Sebastian Bach (1685-1750) Three Chorales Johann Sebastian Bach Ich Ruf Zu Dir Richard Danielpour Frederico Busoni (1866-1924) | Johann Sebastian Bach, (1685-1750) (b, 1956) Les Barricades Mysterieuses François Couperin (1688-1733) Arabesque in C major, Op. 18 Robert Schumann (1810-1856) Mad Rush Philip Glass (b. 1937) Tic Toc Choc François Couperin BACH: “ICH RUF’ ZU DIR,” BWV 639 (ARR. BUSONI) Relatively early in his career, Bach worked in Weimar as the court organist. While serving in this capacity, he produced his Orgelbüchlein (little organ book): a collection of 46 chorale preludes. Each piece borrows a Lutheran hymn tune, set in long notes against a freer backdrop. “Ich ruf’ zu dir,” a general prayer for God’s grace, takes a particularly plaintive approach. The melody is presented with light ornamentation in the right hand, a flowing middle voice is carried by the left, and the organ’s pedals offer a steady walking bassline. The work is further colored by Bach’s uncommon choice of key, F Minor, which he tended to reserve for more wrought contrapuntal works. In this context, though, it lends a warmth to the original text’s supplication. In arranging the work for piano, around the year 1900, Busoni’s main challenge was to condense the original three-limbed texture to two. Not only did he manage to do this, while preserving the original pitches almost exactly, he found a way to imitate the organ’s timbral fullness.
    [Show full text]
  • Masaaki Suzuki Programme EDITED
    19 JANUARY | THURSDAY Bach Cantatas with Masaaki Suzuki MASAAKI SUZUKI conductor / organ RYO TERAKADO concertmaster ZHANG YUCHEN (B.Mus1) violin MASAMITSU SAN’NOMIYA oboe YST VOICE STUDENTS CONSERVATORY CHAMBER ENSEMBLE J.S. BACH (1685 – 1750) Violin Concerto in A minor, BWV1041 I. Allegro moderato II. Andante III. Allegro Assai J.S. BACH Cantata “Ach Gott, wie manches Herzeleid”, BWV3 I. Chorus (“Ach Gott, wie manches Herzeleid”) II. Recitative and Chorale (“Wie schwerlich läßt sich Fleisch und Blut”) III. Aria (“Empfind ich Höllenangst und Pein”) IV. Recitative (“Es mag mir Leib und Geist verschmachten”) V. Aria Duetto (“Wenn Sorgen auf mich dringen”) VI. Chorale (“Erhalt mein Herz im Glauben rein”) INTERMISSION 15 mins J.S. BACH Organ Concerto in D minor (from Cantata BWV35) arr. Masaaki Suzuki I. Sinfonia IV. Aria V. Sinfonia J.S. BACH Cantata “Alles nur nach Gottes Willen”, BWV72 I. Chorus (“Alles nur nach Gottes Willen”) II. Recitative and Arioso (“O selger Christ, der allzeit seinen Willen”) III. Recitative (“So glaube nun”) IV. Aria (“Mein Jesus will es tun, er will dein Kreuz versüßen”) V. Chorale (“Was mein Gott will, das g'scheh allzeit”) MASAAKI SUZUKI conductor / organ Since founding Bach Collegium Japan in 1990, Masaaki Suzuki has established himself as a leading authority on the works of Bach. He has remained their Music Director ever since, taking them regularly to major venues and festivals in Europe and the USA and building up an outstanding reputation for the expressive refinement and truth of his performances. In addition to working with renowned period ensembles, such as Collegium Vocale Gent and Philharmonia Baroque, he is invited to conduct repertoire as diverse as Britten, Beethoven, Fauré, Mahler, Mendelssohn, Mozart and Stravinsky, with orchestras such as the Baltimore Symphony, Danish National Radio Symphony, Deutsches Symphonie Orchester Berlin, Leipzig Gewandhausorchester, New York Philharmonic and the San Francisco Symphony Orchestra, amongst others.
    [Show full text]