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Davitt Moroney, Harpsichord Sarabande Tempo Di Gavotta Gique

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Davitt Moroney, Harpsichord Sarabande Tempo Di Gavotta Gique CAL PERFORMANCES PRESENTS PROGRAM Sunday, December 1, 2013, 3pm Bach Partita No. 6, in E minor, bwv 830 (1731) Hertz Hall Toccata Allemanda Corrente Air Davitt Moroney, harpsichord Sarabande Tempo di Gavotta Gique PROGRAM Harpsichord by John Phillips (Berkeley, 2010), Johann Sebastian Bach (1685–1750) Partita No. 1, in B-flat major,bwv 825 (1726) based on an instrument by Johann Heinrich Gräbner (Dresden, 1722) Præludium Allemande Corrente Sarabande Menuets 1 & 2 Cal Performances’ 2013–2014 season is sponsored by Wells Fargo. Giga Bach Partita No. 5, in G major, bwv 829 (1730) Præambulum Allemande Corrente Sarabande Tempo di Minuetta Passepied Gique INTERMISSION 2 CAL PERFORMANCES CAL PERFORMANCES 3 PROGRAM NOTES PROGRAM NOTES BACH’S PARTITAS When Bach published them as a set in 1731, 1739, comprising the most important volume called each of his suites Partie. But Bach knew he was 46 and at the height of his powers. He of organ music ever published. A fourth vol- that these great suites were not entirely French. y the time he wrote the harpsichord had already written about 800 works—includ- ume came out late in 1741, with the “Goldberg” Telemann, who loved French music, once dis- B works now known as the six Partitas, ing more than 200 organ pieces, over 200 can- Variations. He had thus covered several different armingly criticized his own concertos—and Bach was already an experienced composer of tatas, two or three Passions, sets of sonatas, par- stylistic bases: (1) Suites (Partitas); (2) Overture concerto is by definition an Italian form—by keyboard suites. Although the chronology of titas, and suites for solo violin and solo cello, a and Concerto; (3) Preludes and Fugues, for or- saying that they “smelled too much of Paris”; some of his youthful works remains unclear, it large number of instrumental sonatas, the six gan; and (4) Variations. When he planned The Bach’s keyboard partitas smell rather a lot of is generally thought that the six suites known “Brandenburg” Concertos and over a dozen Art of Fugue, it was probably as the fifth volume Rome’s musical practices. today as the English Suites were completed, at other solo concertos, and so on—yet the Partitas in this cycle, but he died in 1750, a year before This can be seen in the language Bach choos- least in their first version, by about 1715; the were published as his “Opus 1.” This charming it was published, and so he was not respon- es for the title of each movement. Normally in a slightly shorter works contained in the next set, oddity relates simply to the fact that they were sible for the wording on the title page, which French suite, the movements are called Prélude, the French Suites, were mostly written by 1722. virtually his first published work. (In 1708, the makes no mention of it being in the series of Allemande, Courante, Sarabande, Menuet, There are also some early little suites that seem town council in Mühlhausen, where he then “keyboard exercises.” Gavotte, Gigue, and so on. In the three Partitas not to belong to either of these sets, and date worked, had published his municipal cantata Bach’s full title for the Partitas gives a clear played today, although some core French names from somewhere in the years 1710–1720. He Gott ist mein König, bwv 71.) In the history of idea of what the volume contains, and what are found—Allemande, Sarabande, Menuets, therefore already had under his belt at least 15 Western music very few works that are identified his aim was in publishing the pieces: Keyboard Air—the Italian (and Latin) influence is never- such suites. as “Opus 1” are as magnificent as these Partitas. Exercise: Consisting of Preludes, Allemandes, theless strongly present, with a Præludium and The Partitas are the longest and most com- Seventeen thirty-one also seems to have been Courantes, Sarabandes, Gigues, Minuets, and Præambulum, an Allemanda, three Correntes, a plex of Bach’s keyboard suites, and the most a watershed year for Bach, the end of an extraor- other Galanteries, Composed for the Pleasurable Tempo di Minuetta and Tempo di Gavotta, and a technically challenging. They also clearly held a dinarily productive decade. His output consider- Diversion of Music Lovers. The idea of “exer- Giga. These movements are all in a more clearly different position in his own view of all these ably dropped off after this year and never recov- cise” does not imply simple works for beginning Italianate style. As for Bach’s peculiar spelling works, since he published them—unlike the ered the same sustained rhythm of intense pro- students. Domenico Scarlatti took the same of Gigue, with a “q” (Gique), it is not unique, English and French suites, which survive only ductivity. He had been employed as Cantor at approach with his famous 1739 volume of 30 and apparently not an error. Several German in manuscript copies. He issued the Partitas Leipzig since 1723 and was fed up with the job. sonatas, called Essercizi, which are among the composers spelled the word this way in the 17th separately, at the rate of one a year from 1726 We know he was trying to find another post else- hardest he ever wrote. In choosing the title, century (including Biber); it may refer to a spe- onwards, reissuing them all together as a set in where. And how right he was: the 1730s would Bach was paying homage to his predecessor at cifically German form of the FrenchGigue and 1731. Another work originally planned as the be a very difficult decade for him, full of conflict Leipzig, Johann Kuhnau (1660–1722), who had probably reflects German pronunciation of the “seventh partita” followed in 1735 (although it with some of his colleagues and former students. published two volumes of suites in 1689 and word. (Similarly, the 18th-century English Jig had originally been composed in about 1720), He may have lost interest in his teaching job and 1692, under the title Neue Clavier-Übung. The relates musically to the Italian Giga.) In Bach’s but was finally issued with the title “Overture become a difficult colleague because he was -un composer Johann Krieger (1652–1735) had also Giques, the musical treatment is derived from in the French Style,” or Ouverture nach franzö- happy; or perhaps he was simply exhausted, and issued an Anmuthige Clavier-Übung in 1698; Froberger’s practices, marrying the dance form sischer Art (bwv 831). having a kind of “midlife crisis” as he approached and Vincent Lübeck (1654–1740) had, at more to fugal techniques in which the theme is usu- Bach was always something of an overachiev- the age of 50. The main bright spot in these years or less the same time as Bach, published a vol- ally turned upside down in the second half. er. When writing music in various styles, he was his activities directing the student musicians ume with the same title in 1728. The language of Bach’s titles, then, tells us seems to have been driven by a determination to at Leipzig University in their Collegium Musicum Some of Bach’s admirers also used the same something important about style. This in turn can match the best works by other composers in each (a kind of “University Baroque Ensemble” of the title, partly in homage to him. Georg Andreas tell us important things about the expected tem- particular style, and then outdo them, in terms day). His own sons had become students at the Sorge (1703–1778) published five volumes with po for each movement, and perhaps also the style of richness of invention, complexity of working university, and he wrote some superbly playful the same title between 1738 and 1745; one of of playing that Bach might have considered to be out the musical ideas, and sheer length. With the music in more popular styles for them to per- them is dedicated to Bach, who is called “the appropriate to that movement. It is an essential Partitas he achieve this absolute domination over form with their friends. Prince of the Keyboard.” Johann Ludwig Krebs clue for players, containing much information, the keyboard-suite form, squashing everyone else Bach’s intention in publishing his “Opus 1” (1713–1780) had studied with Bach in the years and ignoring these indications (through simple in the field and making it virtually impossible may have been partly to spread his reputation 1726–1734; when he published his own volumes lack of knowledge or lack of curiosity) makes the for anyone to write a good suite afterwards (at as a brilliant keyboard player. The Partitas were of keyboard music, he three times used the title interpretative job much harder. (Modern editions least until Schoenberg’s Op. 25, in 1921–1923). published under the self-effacing title of Clavier- Clavier-Übung. (These volumes are all undated, often inexcusably alter the language of Bach’s He then seems to have lost interest in suites, hav- Übung (“Keyboard Exercise”). He followed up but were probably printed in the 1750s.) titles, tampering with the evidence.) ing conquered that particular stylistic mountain. with a second volume with the same title in Bach’s choice of the Italian word “partita” Understanding the larger stylistic context These great works therefore crown his activity as 1735, containing the Italian Concerto and the rather than the French word “suite” is prob- of each individual piece brings the particular a composer of keyboard suites. “seventh partita.” A third volume appeared in ably also a direct homage to Kuhnau, who had character of each movement to light much more 4 CAL PERFORMANCES CAL PERFORMANCES 5 PROGRAM NOTES PROGRAM NOTES quickly, makes clear the appropriate tempo at different, revealing in the process much about different world cultures that we can enjoy today.
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