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Davitt Moroney, Harpsichord 14 CAL PERFORMANCES PRESENTS PROGRAM A Saturday, October 24, 2009, 8pm Hertz Hall 13. Prelude and Fugue in F-sharp major, bwv 858 Davitt Moroney, harpsichord 14. Prelude and Fugue in F-sharp minor, bwv 859 harpsichord by John Phillips (Berkeley, 1995), 15. Prelude and Fugue in G major, bwv 860 after the historical instrument in the Musée instrumental, Citée de la Musique, Paris, 16. Prelude and Fugue in G minor, bwv 861 built by Andreas Ruckers (Antwerp, 1646), rebuilt by François-Étienne Blanchet (Paris, 1756) and Pascal Taskin (Paris, 1780) 17. Prelude and Fugue in A-flat major, bwv 862 18. Prelude and Fugue in G-sharp minor, bwv 863 19. Prelude and Fugue in A major, bwv 864 20. Prelude and Fugue in A minor, bwv 865 PROGRAM 21. Prelude and Fugue in B-flat major,bwv 866 22. Prelude and Fugue in B-flat minor,bwv 867 Johann Sebastian Bach (1685–1750) 23. Prelude and Fugue in B major, bwv 868 24. Prelude and Fugue in B minor, bwv 869 Das Wolhtemperirte Clavier (“The Well-Tempered Clavier”), bwv 846–893 Book 1 (1722) Cal Performances’ 2009–2010 season is sponsored by Wells Fargo. 1. Prelude and Fugue in C major, bwv 846 2. Prelude and Fugue in C minor, bwv 847 3. Prelude and Fugue in C-sharp major, bwv 848 4. Prelude and Fugue in C-sharp minor, bwv 849 5. Prelude and Fugue in D major, bwv 850 6. Prelude and Fugue in D minor, bwv 851 Sightlines 7. Prelude and Fugue in E-flat major,bwv 852 8. Prelude in E-flat minor and Fugue in D-sharp minor,bwv 853 Davitt Moroney, The Well-Tempered Clavier Saturday, October 24, 3–4pm, Hertz Hall 9. Prelude and Fugue in E major, bwv 854 A talk by Professor Davitt Moroney, UC Berkeley Department of Music. 10. Prelude and Fugue in E minor, bwv 855 11. Prelude and Fugue in F major, bwv 856 This Sightlines event is free to all concert ticket holders. 12. Prelude and Fugue in F minor, bwv 857 INTERMISSION 6 CAL PERFORMANCES CAL PERFORMANCES 7 CAL PERFORMANCES PRESENTS PROGRAM B Sunday, October 25, 2009, 3pm 13. Prelude an1d Fugue in F-sharp major, bwv 882 Hertz Hall 14. Prelude and Fugue in F-sharp minor, bwv 883 15. Prelude and Fugue in G major, bwv 884 16. Prelude and Fugue in G minor, bwv 885 17. Prelude and Fugue in A-flat major, bwv 886 Davitt Moroney, harpsichord 18. Prelude and Fugue in G-sharp minor, bwv 887 harpsichord by John Phillips (Berkeley, 1995), after the historical instrument in the Musée instrumental, Citée de la Musique, Paris, built by Andreas Ruckers (Antwerp, 1646), PAUSE rebuilt by François-Étienne Blanchet (Paris, 1756) and Pascal Taskin (Paris, 1780) 19. Prelude and Fugue in A major, bwv 888 20. Prelude and Fugue in A minor, bwv 889 PROGRAM 21. Prelude and Fugue in B-flat major, bwv 890 22. Prelude and Fugue in B-flat minor,bwv 891 23. Prelude and Fugue in B major, bwv 892 Johann Sebastian Bach (1685–1750) 24. Prelude and Fugue in B minor, bwv 893 Das Wolhtemperirte Clavier (“The Well-Tempered Clavier”), bwv 846–893 Cal Performances’ 2009–2010 season is sponsored by Wells Fargo. Book 11 (1742) 1. Prelude and Fugue in C major, bwv 870 2. Prelude and Fugue in C minor, bwv 871 3. Prelude and Fugue in C-sharp major, bwv 872 4. Prelude and Fugue in C-sharp minor, bwv 873 5. Prelude and Fugue in D major, bwv 874 6. Prelude and Fugue in D minor, bwv 875 PAUSE 7. Prelude and Fugue in E-flat major,bwv 876 8. Prelude and Fugue in D-sharp minor, bwv 877 9. Prelude and Fugue in E major, bwv 878 10. Prelude and Fugue in E minor, bwv 879 11. Prelude and Fugue in F major, bwv 880 12. Prelude and Fugue in F minor, bwv 881 INTERMISSION Please note that this afternoon’s intermission will last for 90 minutes. 8 CAL PERFORMANCES CAL PERFORMANCES 9 PROGRAM NOTES PROGRAM NOTES Listening To and Playing profundity, purity, power. It would be hard to find Bach completed the first volume of the WTC performance involving all 96 pieces within a 24- more apt words to sum up the two volumes of Das by the time he was 37, and it marks the end of an hour span. The Well-Tempered Clavier Wohltemperirte Clavier (WTC). important period in his development. Here for the first time in his harpsichord music we can see the evidence of the fertile imagination, the large-scale II. On musical marathons I. Bach’s aims organizational power and the superior intellectual grasp which are so evident in his subsequent works. The composer Heinrich Nicolaus Gerber (1702– The title page to the first volume is dated 1722, The second volume was put together some 20 years 1775) studied with Bach between 1724 and 1727, and on it Bach explains that these “preludes and later; it sums up in a similar way the more highly and his son left an account of those studies. When fugues through all the tones and semitones” were charged musical language of his maturity. they first met, Bach “promised to teach him, and composed “for the use and profit of musical youth In Bach’s manuscripts, only Book I carries asked at that time if he had worked very much at desirous of learning, as well as for the pastime of the title Das Wohltemperirte Clavier. Book II has playing fugues. Right from the start he gave him those already skilled in this study.” The title pages no title page and therefore no title, but a host of his Inventions. When Bach was satisfied that he of two other volumes he compiled around the same secondary copies made by his students and other had studied these sufficiently, he made him work time give us a more complete view of the purposes musicians confirm that the title for the first volume on a set of suites, and then gave him the temperirte he had in mind. The Orgelbüchlein (c.1713–1715), should be extended to the second and that the two Clavier. Bach played this last work in front of him of which less than a third of Bach’s planned cycle volumes are indeed a linked pair. on three occasions, with his inimitable artistry, was ever composed, was designed to instruct organ- Since the composition of the two volumes and my father counted among the happiest hours ists “in developing a Chorale tune in many diverse spans much of Bach’s professional life—the ear- of his life the times when Bach, on the pretext that ways, and at the same time in acquiring facility in liest pieces having probably been written when he didn’t feel like teaching, sat at one of his won- the study of the pedal.” His aim here included the he was in his twenties and the last ones when he derful harpsichords and in this way transformed teaching of composition as well as playing since the was almost 60—these preludes and fugues offer hours into minutes.” Elias Gottlob Haußmann, Portrait of J. S. Bach [detail] (1746/1748) phrase “developing a Chorale” must refer specifi- a striking insight into a lifetime’s work by one of If Bach played to one of his more minor stu- cally to this. The other collection—the 15 two-part the clearest thinkers and most imaginative creators dents the complete WTC (or at least the first book) “If ever a composer has shown polyphony in all its Inventions and 15 three-part Symphonies (1723)— in the history of Western music. They provide an on three occasions, how many other times must strength, it was surely Bach.... Nobody has shown as has an even higher stated purpose, defined in more unusual insight into the way his mind worked at he have done so for all his other students? Gerber’s much as he, in works which normally seem so dry, as precise wording: these deceptively simple pieces different periods of his highly productive life. How story, incidentally, provides a satisfying response much imagination and originality of thought.... His were not only intended to provide all “lovers of the extraordinarily varied is the achievement of Book I! to those people who maintain that Bach never in- melodies were indeed unusual, but they were always harpsichord, and especially those desirous of learn- It outlines in an intoxicating way his inimitable tended anyone to sit down and listen to a complete varied, rich in invention, and they are not at all like ing” with “Upright instruction” for playing in two methods of weaving strong pieces out of highly volume of the WTC in one concert.... those of other composers. His serious temperament and three parts; they were also designed to teach original, pithy musical ideas. And how much more Bach marathons are special and I do them drew him privately towards elaborate music which “not only how to invent good musical ideas, but relaxed and unsystematic are the fugues of Book II! quite often, whether it’s the complete WTC, the was grave and profound.” also how to develop them well, and above all how Their intellectual control is greater, but no longer complete six French Suites, or the complete Art of to achieve a singing [cantabile] style of playing, needs to be self-assertive so the composer’s imagi- Fugue. I like them, and I do them because I have “It was only his personal reflections which make and at the same time to acquire a strong foretaste nation runs more freely and expansively.
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