Udagawa-S-S01c[Waon-CD-Booklet].Pdf
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Suite No.2 E minor, BWY1008 1 Prelude
No.2 U mmor, llWV!008 No.5 D minor. llWV995 2 Allemande �-;)\:� rJ Courante 4 Sarabande 5 Menuet T & TT o Gigue
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Jv'.7 7- Martin Friedrich Marcus ".171;d"') :., 'gff'§l'•* Chr.F.7-" Jv Christian Ferdinand Abel rf ;d"71 • ,Y' •·}J :.,.1{ 6 ;:O)J21:fl!O)tl!lfcl cti�;ti;nt:t,,J:f:t�'l'jl1 -5 iJ,i;,J5fGRll!ilnt�'bO)Jcl --rfilti-:i--r&t� rm!ll!Jtc l:t��n-z:lt�" .flc liJofiO)1717iJoif; t1,0)12 *IJ;t;,,-fO)rlJ'l!� ttH!!!ll.Uc:*:>l 8 5. ,1,,y,1,c,7J:,,,1, llii*iH::"?l>"C f!t(l744~97) t::Jzbcv>iTo ;::<1)71)-r1J-:; ,{ti,c'/;J:\,>-:,f�v>filt;ol;::tJ,/:, 1685 Bornin Eisenach. 1695 Ohrdruf: lived with his eldest brother, Johann Christoph. 1700 Liineburg: stipendiary student at St. Michael's choir and church (Partikularschuledes Michaeliskloste). 1703 Weimar: violinist at the court chapel. Arnstadt: organist at the Neuen Kirche. 1707 Miilhausen: organist at the Blasius Church (Divi-Blasii-Kirche). • Kantate "Gottes Zeit ist die allerbeste Zeit", BWV106 1708 Weimar: chief organist and member of the orchestra (Hoforganistund Kammermusiker), then Concert master (Konzertmeister). • Kantate "Stein, der iiberalle Schatze", BWV152 1717 Kothen: Hofkapellmeister. • Brandenburgische Konzerte Nr.6, BWV1051 1723 Leipzig: Thomaskantor, director of Collegium Musicum and Fiirstlich-KothenischenKapellmeister. • SONATA a VlOLA DA GAMBA et CEMBALO OBLIGATO,BWV1027-29 • Kantate "Die Himmel erzahlen die Ehre Gottes", BWV76 • Kantate "Mein Herze schwimmt im Blut" (reperformance), BWV199 • Kantate "Der zufriedengestellteAeolus", BWV205 • Kantate "Blast Lammen, in Feinde ! ", BWV205a • Kantate "LaB, Fiirstin,laB noch einen Strahl" (Trauerode),BWV198 • Johannespassion, BWV245 • Matthauspassion, BWV244 • Kantate "Die Himmel erzahlen die Ehre Gottes", BWV244a • Markuspassion,BWV247 1750 Died. 10 As listed left, Bach composed a total of thirteen said to be a court musician at Celle. works using the viola da gamba. Bach's Nekrolog (obituary), 17 54, co-authored by Carl Philipp Emanuel Bach and Johann Having examined the "well-organized church Friedrich Agricola, records that, "He also took music" composed by Bach, he seemed to have opportunities to go to Celle to listen frequently to associated the viola da gamba with a special concerts given by the famous court orchestra image, which is not connected to other instruments. maintained by the Duke of Celle. As the orchestra He uses theviola da gamba as a representation of had in it many French musicians, Bach could the "rituals surrounding death". It seems to be firmly acquaint himself with the French taste in used impressively in music starting with the music, which was entirely new in the region." Kantate "Gottes Zeit ist die allerbeste Zeit", Celle, which is approximately 80 Kms from BWV106, and other Kantates forfunerals right up Liineburg, was the seat of the court of Braunsch to the Matthauspassion, Johannespassion and weig-Liineburg. The wifeof the Duke was French Markuspassion, in which the scene of "the death and the court, located in the still undeveloped of Jesus Christ" is depicted. What is the most Saxony of the time, was unusually "a la Fran9ais", suitable instrument to express the "view of lifeand a sort of "Petit Versailles". death" of Lutheranism in "sound"? Bach seems to During thisperiod, Bach's voice broke and he have answered this question by choosing theviola had to give up being a boy soprano. Helped by de da gamba. This idea gives a sense of pride to viola la Celle, he played violin and viola in the orchestra da gamba players. in Celle as an extra stringplayer. We shall now turn to the sources which are indispensable to any understanding of the young 2. The Liineburg period: An encounter with Bach. Twobooklets, entitled the "Moller Manuscript" French music. andthe "Andreas Bach Manuscript",were compiled St. Michael's Church, to which Bach belonged, by his eldest brother, Johann Christoph Bach. had the Michaelisschule for the children of The Moller Manuscript was intensively put commoners and the Ritterakademie for young together between 1703-1707 and includes twelve nobles. Bach was a stipendiary student at the works by Bach, such as the Suites in A major, latter, where French conversation, among other BWV832,and in F major, BWV833. The Andreas subjects, was compulsory. Bach Manuscript seems to have been compiled Thomas de la Celle, a student of Jean-Bap intermittently after the Moller Manuscript was tiste de Lully, was teaching French court dance at completed and includes fifteen works by Bach, the Ritterakademie. He was a violinist and was such as the Overture (Suite) in F Major, BWV820. 11 As these manuscripts contain a good deal of From the point of view of absorbing French French music, it is thought that Bach learned this music, the following works in particular are style while copying them. important. Charles Dieupart: fromSix Suites de clavessin, 1701. Lully: Chaconne from the opera, "Phaeton", 1693, arranged forclavier. Nicolas Lebegue: table of ornamentstaken from "Les pieces de clavessin", 1677 /97. Nicolas Lebegue: Five pieces fromclavessin suites. Marin Marais: Overture suite fromthe opera "Alcide", 1693, arranged forclavier. Louis Marchand: Pieces de Clavecin, Livre Premier, 1702, in D minor. BWV822, which is not included in the two under Thomas de la Celle and that he was involved manuscripts, was written during this period and in the compilation of the two manuscripts formeda suite beginning with a French ouverture. mentioned above, might have been the inspiration The suite appears to have been arranged for the for Bach to polish his "Suites", which he harpsichord from his orchestral music. The fact intensively worked on during his Kiithen period that Bach worked forthe court orchestra in Celle which followed. 3. The Kiithen period: worked on Suites. Friedrich Wilhelm I, known as the 'Soldier In 1716, Leopold von Anhalt-Kothen expand King', was King of Prussia and the father of ed his court orchestra to eighteen by hiring Frederick II (Friedrich der GroBe). He was not musicians fromBerlin, where he used to study. In only uninterested in music but also despised Berlin, Friedrich Wilhelm I had dismissed his French taste which on the contrary both his son court orchestra and, as a result, some excellent and his wife appreciated. Friedrich Wilhelm I had musicians (listed below) came to Kiithen, the dismissed his court orchestra in Berlin, which capital city of remote Saxony. could have been as excellent as those of Paris and Vienna, had it been retained. 12 The virtuoso musicians who arrivedto Kothen were as follows: Hofkapellmeister,Joseph Spiess Violin Musikant, Johann Ludwig Rose Oboe Musikant, Johann ChristophTorie Fagott Musikant, Christian BernhardLinigke Violoncello Musikant, Martin Friedrich Marcus Violin Musikant, Christian Ferdinand Abel Viola da gamba The hiring of the musicians was unimagin concertos, sonatas and suites. Having examined ably sumptuous considering the remoteness of the each group of instrumental works, they cannot be location. In December 1717, a year later, the easily categorized. One can find Bach's particular 32-year old Bach, having spent one month in "inventive ideas" in all of them, each of them prison at the court of Weimar, arrived as being an original and unique work. At the same Hofkapellmeisterto Leopold von Anhalt-Kothen. time, we are surprised by the number of works The court at Kothen was Calvinistic, and produced by his amazing creativity, considering Bach was a Lutheran. The church already had a the factthat only half of them remain extant. dedicated organist and Kantor so Bach was freed In this section, Bach's "Suites" composed in from any duty of composing church music and the French style will be specificallycovered. could devote his time to instrumental works. As mentioned in the previous Liineburg Bach's years in Kothen, until 1723, were one of section, during his teens Bach was successful in the most noteworthy periods of his 65 years of absorbing the French style of music into his musical life. During his lifetime, these six years instrument, the harpsichord. Since the time of were the only time for him to experience court Johann Jakob Froberger, the "Suite" was highly life, and this is the period during which he regarded as the music of "refinement",which had composed a number of his instrumental pieces. been brought fromFrance. In Kothen, Bach seems In Arnstadt, Bach studied the music of to have challenged the "Suite" formand pursued it Northern Germany, such as that composed by to the limit of its potential. He wrote Suites Dieterich Buxtehude. During his Weimar period (Partitas) for Harpsichord, Orchestral Suites, he studied Italian music, for example, that of Partitas for Solo Violin, Lute (Lautenwer[c]k) Antonio Lucio Vivaldi. Through the study of this Suites, and unaccompanied Cello Suites, the latter music, in Kothen Bach seems to have tried to instrument not being regarded as a solo instrument compile instrumental music for orchestra, at the time. 13 Bach arranged the unaccompanied Cello 4. Bach and the viola da gamba: about his Suite No. 5 in C minor, BWVlOII, for lute by instruments. transposing it into G minor (BWV995). The music It is interesting to know of the instruments in this recording has been arranged by the thatBach possessed. What kind of viola da gamba performer himself forthe viola da gamba fromthe did he listen to? original works by Bach. The music uses C minor for the violoncello, G minor for the lute, and D The following is the inventory list of instruments minor forthe viola da gamba, respectively. This is belonging to Bach when he died. because of the different way of tuning the open strings of each instrument. As a result, the (]) clavecin with decorated panel 80 !haler frequently used double stops in the performances (2) clavecin 50 thaler are rather similar to those of the lute version. The (3) clavecin 50 thaler unaccompanied Cello Suite No. 2 in D minor, (4) clavecin 50 thaler BWV1008, has also been transposedinto E minor. (5) clavecin, small 20 thaler The French-style suite which, as has been (6) Lautenwerck 30 thaler mentioned, is said to have been created by Johann (7) Lautenwerck 30 thaler Jakob Froberger, went through a transition with (8) violin by Jacob Stainer 8 thaler the changing of the times. (9) violin 2 thaler The keyword at the time of Louis XIV (and (10) violino piccolo I thaler 8 groschen Jean-Baptiste de Lully) in the seventeenth century (11) viola 5 thaler was "majesetueusemont", meaning grand or (12) viola 5 thaler majestic. During the period of the "Regence" in (13) viola 5 thaler 16 groschen theearly eighteenth century, the keyword changed (14) small contrabass 6 thaler to "le gout", meaning taste, then "le gout etranger" (15) violoncello 6 thaler (taste for the exotic) prevailed. When the period (16) violoncello 16 groschen developed into the Rococo, everything became (17) viola da gamba 3 thaler feminine and rounded. Then, as a reaction to the (18) lute 21 thaler Rococo style, fashion changed to the "galant" (19) small spinet! 3 thaler style and the "Empfindsamer Still", after which total 376 thaler 16 groschen came the Industrial Revolution and the French Revolution. The music recorded here is played according to Rococo taste. 14 In Leipzig, where Johann Sebastian Bach 5. Bach and the viola da gamba: Players. was active as the meister of the "Bach music The next question is who played the music workshop", there was also a workshop of the written for the viola da gamba? luthier Hoffmann under the title of "Ktiniglich The firstcandidate among many viol players Polnischer und Kurfurstlich Sachsischer Hofinstru could have been Bach's colleague at the court in mentenmacher". The luthier Johann Christian Ktithen, Christian Ferdinand Abel (1682-1761). Hoffmann (1683-1750) was highly regarded, The Brandenburg Concertos and Sonatas forviola together with Joachim Tielke of Hamburg and da gamba and harpsichord would have been Jacob Stainer of Tirol, and his stringed played by him. instruments were valued among those made by The next candidate must have been Carl luthiers in the German-speaking area. The Bach Friedrich Abel (1723-1787), the son of Christian family and the Hoffman family were very close Ferdinand. Carl Friedrich Abel was born in and the will of Johann Christian Hoffmann, Ktithenin December 1723, just afterBach had left written in 1743, designated J.S. Bach as the there. Later in 1748, he went to Dresden and beneficiary of his instruments. In 1750 J.S. Bach joined the court orchestraof Johann Adolph Hasse seems to have assigned this right to his seventh carrying a letter of reference written by Bach. son, Johann Christoph Friedrich Bach. Wilhelm Friedemann Bach, J.S. Bach's first son, Among the viola da gambas made by Johann had also worked there. Ten years later, Carl Christian Hoffmann, currently a seven-stringed Friedrich Abel went to London where he became a instrument (made in 1725) is on exhibition at the chamber musician to Queen Charlotte (Sophia Aisenach Bach-House. The Grassi Museum, Charlotte of Mecklenburg-Strelitz), the wife of attached to Leipzig University, also owns a King George III. He became famous by giving six-stringedinstrument (cl 740), that was shown at collaborative "Bach-Abel concerts" with Johann the "300th anniversary of Bach" Exhibition at the Christian Bach, the youngest son of J.S. Bach. Suntory Museum in Tokyo in 1985. Hoffman's The third viola da gamba player could have viola da gambas are also kept in museums in been Jean-Baptiste Forqueray (1699-1782), even Berlin and Niirnberg. though this may be a fantasy of the author. In As seen above, the viola da gambas familiar 1747, Forqueray published "Les Pieces de viole" to Bach might have been made by Hoffmann. for viola da gamba which he attributed to his father,Antoine Forqueray. This was thesame year that Bach visited Friedrich der GroBe. J.B. Forqueray sent textbook-like letters (c1767-68) to Friedrich Wilhelm II (1744-1797), who later 15 became King of Prussia, explaining how to play ¥mmtt� ("?tt:n�v �tit5) the viola da gamba. Friedrich Wilhelm II was a t'/17f7•7' • ff1//� nephew of Friedrich der GroBe. ���no t'f17f7•'1"·JJ:,,/{�:;k:filfil!(JlX�l,Jili This recording is the culmination of an '¥0 1974�, �,v:¥-•7" 1J .1,;,--l!1vJ::i'.l'.il'�l�\m: imaginative exercise: There was a manuscript for i-l"l"o r/1;1"7 · ,y• •i.l1//{�ij 1 -7:,,1--• 71 'T1/, unaccompanied viola da gamba suites arrangedby ,'i;P3��/,'7Jv• f:,,7"vl::J--O)jjljj�!;:�iJilJ o tt"f" Bach. was then presented to King Friedrich It 't',3-P,;,/,,cg.;111n.• :.i:,,-tt- t-,'rvt:\ 7::};1"� Wilhelm II by Carl Philipp Emanuel Bach, the second son of J .S. Bach, and finally passed on to IC/±\niL l 978�[qfif�lm�-f'17°P7Hf-c� 1 Forqueray by the king for performance. �o #!Hifilf�li, J-tt1'11v�tw6l.J,::,,') -;(jj[*4l;, 0 It is also the performer's fantasy to tr��t"/: �:i'E:iffii-tit"/:"l,,cg.Jjjn_•��t"jj[* reproduce, in the French rococo style, unaccom fi5!1l/J�/liiffll-C�•iolJi.tE,:lf!::J?:,f;��BH±.*,* panied viola da gamba suites, which might :J?:'f:1/'J-t'/c:c.1v-r'11'i-Pi:!Bflrl'lll!!�, --l!::,,,1v•v :.i otherwise be lost. F•7'o-r·.:i.--tt- o '7c:c.:1'-tr11-- http://udagawasadao.com/ Sadao UDAGAWA,viola da gamba Udagawa was born in Yokohama, Japan, and studied viola da gamba under Toshinari Ohashi. In 1974, he gaind admission to the Royal Conserva tory of Brussels, Belgium, and took lessons of viola da gamba and chamber music fromWieland Kuijken and Paul Dombrecht respectively. While at the conservatory, he was active in performingin concerts, and on television and radio programs around Europe. In 1978, he graduated from the conservatory with a diploma. Since returning to Japan he has been active withvarious performanc es and projects including recitals, concert serieses, music festivals and many other musical activities. He is currently leader of his Tokyo Early Music Collective, conductor of the Tokyo Monteverdi Choir, and is the producer of Cecile Records. Website: http://udagawasadao.com/ 16