Bach: the Goldberg Variations
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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. -
J. S. BACH English Suites Nos
J. S. BACH English Suites Nos. 4–6 Arranged for Two Guitars Montenegrin Guitar Duo Johann Sebastian Bach (1685–1750) with elegantly broken chords. This is interrupted by a The contrasting pair of Gavottes with a perky walking bass English Suites Nos. 4–6, BWV 809–811 sudden burst of semiquavers leading to a moment’s accompaniment brings in the atmosphere of a pastoral reflection before plunging into an extended and brilliant dance in the market square. The second Gavotte evokes (Arranged for two guitars by the Montenegrin Guitar Duo) fugal Allegro. Of the Préludes in the English Suites this is images of wind instruments piping together in rustic chorus. The English Suites is the title given to a set of six suites for Bach scholar, David Schulenberg has observed that while the longest and most elaborate. The Allemande which The Gigue, in 12/16 metre, is virtuosic in both keyboard believed to have been composed between 1720 the beginning of the Gigue presents a normal three-part follows is, in comparison, an oasis of calm, with superb compositional aspects and the technical demands on the and the early 1730s. During this period, Bach also explored fugal exposition, from then on, no more than two voices are contrapuntal writing and ingenious tonal modulations. The performers. Bach’s incomparable art of fugal writing is at the suite form in the six French Suites and the seven large heard at a time. Courante unites a French-style melodic line with a full stretch here, the second half representing, as in mirror suites under the title of Partitas (six in all) and an English Suite No. -
Imamura-Y-S03c[Naxos-2CD-Booklet
573936-37 bk Bach EU.qxp_573936-37 bk Bach 27/06/2018 11:00 Page 2 CD 1 63:49 CD 2 53:15 CD 2 Arioso from St John Passion, BWV 245 1Partita in E major, BWV 1006a 20:41 1Suite in E minor, BWV 996 18:18 # # Prelude 2:51 Consider, O my soul 2 Prelude 4:13 2 Betrachte, meine Seel’ Allemande 3:02 3 Loure 3:58 3 Betrachte, meine Seel’, mit ängstlichem Vergnügen, Consider, O my soul, with fearful joy, consider, Courante 2:40 4 Gavotte en Rondeau 3:29 4 Mit bittrer Lust und halb beklemmtem Herzen in the bitter anguish of thy heart’s affliction, Sarabande 4:24 5 Menuet I & II 4:43 5 Dein höchstes Gut in Jesu Schmerzen, thy highest good is Jesus’ sorrow. Bourrée 1:33 6 Bourrée 1:51 6 Wie dir auf Dornen, so ihn stechen, For thee, from the thorns that pierce Him, Gigue 2:27 Gigue 3:48 Die Himmelsschlüsselblumen blühn! what heavenly flowers spring. Du kannst viel süße Frucht von seiner Wermut brechen Thou canst the sweetest fruit from his wormwood gather, 7Suite in C minor, BWV 997 22:01 7Suite in G minor, BWV 995 25:15 Drum sieh ohn Unterlass auf ihn! then look on Him for evermore. Prelude 6:11 8 Prelude 3:11 8 Allemande 6:18 9 Fugue 7:13 9 Sarabande 5:28 0 Courante 2:35 Recitativo from St Matthew Passion, BWV 244b 0 $ $ Gigue & Double 6:09 ! Sarabande 2:50 Gavotte I & II 4:43 Ja freilich will in uns Yes! Willingly will we ! @ Prelude in C minor, BWV 999 1:55 Gigue 2:38 Ja freilich will in uns das Fleisch und Blut Yes! Willingly will we, Flesh and blood, Zum Kreuz gezwungen sein; Be brought to the cross; @ Fugue in G minor, BWV 1000 5:46 #Arioso from St John Passion, BWV 245 2:24 Je mehr es unsrer Seele gut, The harsher the pain Arioso: Betrachte, meine Seel’ Je herber geht es ein. -
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. -
Bach and Money: Sources of Salary and Supplemental Income in Leipzig from 1723 to 1750*
Understanding Bach, 12, 111–125 © Bach Network UK 2017 Young Scholars’ Forum Bach and Money: Sources of Salary and Supplemental Income in Leipzig * from 1723 to 1750 NOELLE HEBER It was his post as Music Director and Cantor at the Thomasschule that primarily marked Johann Sebastian Bach’s twenty-seven years in Leipzig. The tension around the unstable income of this occupation drove Bach to write his famous letter to Georg Erdmann in 1730, in which he expressed a desire to seek employment elsewhere.1 The difference between his base salary of 100 Thaler and his estimated total income of 700 Thaler was derived from legacies and foundations, funerals, weddings, and instrumental maintenance in the churches, although many payment amounts fluctuated, depending on certain factors such as the number of funerals that occurred each year. Despite his ongoing frustration at this financial instability, it seems that Bach never attempted to leave Leipzig. There are many speculations concerning his motivation to stay, but one could also ask if there was a financial draw to settling in Leipzig, considering his active pursuit of independent work, which included organ inspections, guest performances, private music lessons, publication of his compositions, instrumental rentals and sales, and, from 1729 to 1741, direction of the collegium musicum. This article provides a new and detailed survey of these sources of revenue, beginning with the supplemental income that augmented his salary and continuing with his freelance work. This exploration will further show that Leipzig seems to have been a strategic location for Bach to pursue and expand his independent work. -
Magna Sequentia I Is a Unique Sequencing of Dance Movements Drawn from Bach’S Key - X O O S Board Works Featuring Pieces from the French Suites and the Partitas
N N A A X Magna Sequentia I is a unique sequencing of dance movements drawn from Bach’s key - X O O S board works featuring pieces from the French Suites and the Partitas . Whereas Bach’s suites S typically comprise six to eight movements, Sonia Rubinsky has selected 19, compiled with a tonal logic that still keeps the structure of a suite. She has chosen several examples of each J J . of the dance forms used by Bach so one can appreciate the dazzling variety of both style 8.574026 S S . and mood. Enhanced by her historically informed performance, Magna Sequentia I offers B B fresh insights into Bach performance on a modern grand piano. DDD A A C C Playing Time H H Johann Sebastian 7 71:08 : : M M BACH 4 7 a a (168 5–1750) 3 g g 1 n n 3 a a Magna Sequentia I 4 S S A Grand Suite of Dances compiled by Sonia Rubinsky 0 e e 1 @ 2 q q 6 u u Ouverture from Partita No. 4 6:30 Bourrée from Keyboard Suite in 2 7 e e Allemande from Partita No. 4 12:34 E minor 1:08 n n 3 # 0 t t Allemande from Partita No. 6 2:54 $ Loure from French Suite No. 5 1:49 i i 4 a a B M Corrente from Partita No. 6 4:51 Gavottes I –II from Overture in w ൿ 5 o a I I w o & d the French Style 3:30 Courante from French Suite No. -
Southern California Junior Bach Festival
The SCJBF 3 year, cyclical repertoire list for the Complete Works Audition Students may enter the Complete Works Audition (CWA) only once each year as a soloist on the same instrument and must perform the same music in the same category that they performed at the Branch and Regional Festivals, but complete as indicated on this list. Students will be disqualified if photocopied music is presented to the judges or used by accompanists (with the exception of facilitating page turns). Note: Repertoire lists for years in parentheses are not finalized and are subject to change Category I – SHORT PRELUDES AND FUGUES Year Composition BWV Each year Select any two of the following: Preludes: BWV 924-943 and 999 Fugues: BWV 952, 953 and 961 Select one of the following: 1. Prelude and Fugue in a m 895 2. Prelude and Fughetta in d m 899 3. Prelude and Fugue in e m 900 4. Prelude and Fughetta in G M 902 Category II – VARIOUS DANCE MOVEMENTS The dance movements listed below – from one of the listed Suites or Partitas – are required for the Complete Works Audition. Year Composition BWV 2021 English Suites: 1. From the A Major #1 806 The Bourree I and the Bourree II 2. From the e minor #5 810 The Passepied I and the Passepied II French Suites: 1. From the d minor #1 812 The Menuet I and the Menuet II 2. From the G Major #5 816 The Gavotte, Bourree and Loure Partitas: 1. From the a min or #3 827 The Burlesca and the Scherzo 2. -
Goldberg Variations
J. S. Bach Goldberg-Variationen BWV 988 1 ARIA mit verschiedenen Veränderungen für Cembalo mit 2 Manualen (Goldberg-Variationen) BWV 988 3 4 43 5 9 13 To our lovely children, from Mom and Dad. Thank you for all of the joy you have brought to our lives. 2 17 20 23 27 30 3 VARIATIO 1 a 1 Clav. 3 4 3 4 4 7 10 13 Für Natalie, Fiona und Isabelle. 'Dem höchsten Gott allein zu Ehren, dem Nächsten, draus sich zu belehren' - 4 Lebensmusik, im Sinne des Meisters nun freigesetzt, für Euch und Eure Welt. 17 20 23 26 -
Goldberg Variations' in the Neue Bach Ausgabe Erich Schwandt
Performance Practice Review Volume 3 Article 2 Number 1 Spring Questions concerning the Edition of the 'Goldberg Variations' in the Neue Bach Ausgabe Erich Schwandt Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Schwandt, Erich (1990) "Questions concerning the Edition of the 'Goldberg Variations' in the Neue Bach Ausgabe," Performance Practice Review: Vol. 3: No. 1, Article 2. DOI: 10.5642/perfpr.199003.01.2 Available at: http://scholarship.claremont.edu/ppr/vol3/iss1/2 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Editing Problems Questions Concerning the Edition of the 'Goldberg Variations* in the Neue Bach Ausgabe Erich Schwandt The world has been waiting for almost 250 years for a completely authoritative text of the "Goldberg Variations," which were published in Bach's lifetime (in 1741 or 1742) as the fourth part of the Clavierilbung. Balthasar Schmid of Nuremburg engraved them with great care; nonetheless, his elegant engraving contained a few wrong notes, and some slurs, ties, accidentals, and ornament signs were inadvertently omitted. In addition, some of the ornaments are ambiguous, and some blurred. In the absence of Bach's autograph, Schmid's engraving must remain the primary source for the "Goldberg Variations," and Bach's own 'corrected' copy1 takes pride of place over the other extant copies corrected by Bach. When the Bach Gesellschaft (hereafter BGA) published the "Goldberg Variations" in 18532, the editor, C. -
GOLDBERG VARIATIONS - English Suite No
BHP 901 - BACH: GOLDBERG VARIATIONS - English Suite No. 5 in e - Millicent Silver, Harpsichord _____________________________________________________________________________________________________________________ This disc, the first in our Heritage Performances Series, celebrates the career and the artistry of Millicent Silver, who for some forty years was well-known as a regular performer in London and on BBC Radio both as soloist and as harpsichordist with the London Harpsichord Ensemble which she founded with her husband John Francis. Though she made very few recordings, we are delighted to preserve this recording of the Goldberg Variations for its musical integrity, its warmth, and particularly the use of tonal dynamics (adding or subtracting of 4’ and 16’ stops to the basic 8’) which enhances the dramatic architecture. Millicent Irene Silver was born in South London on 17 November 1905. Her father, Alfred Silver, had been a boy chorister at St. George’s Chapel, Windsor where his singing attracted the attention of Queen Victoria, who had him give special performances for her. He earned his living playing the violin and oboe. His wife Amelia was an accomplished and busy piano teacher. Millicent was the second of their four children, and her musical talent became evident in time-honoured fashion when she was discovered at the age of three picking out on the family’s piano the tunes she had heard her elder brother practising. Eventually Millicent Silver won a scholarship to the Royal College of Music in London where, as was more common in those days, she studied equally both piano and violin. She was awarded the Chappell Silver Medal for piano playing and, in 1928, the College’s Tagore Gold Medal for the best student of her year. -
Gregory Butler. Bach's Clavier-Ubung III: the Mak Ing of a Print
Gregory Butler. Bach's Clavier-Ubung III: The Mak ing of a Print. With a Companion Study of the Canonic Variations on "Vom Himmel Hoch," BWV 769. Durham and London: Duke University Press, 1990. 139 pp. When I read Gregory Butler's Bach's Clavier-Ubung III' The Making of a Print, I could not help but think of a remark made by Arthur Mendel at the first meeting of the American Bach Society some twenty years ago. At the conclusion of a round table on post-World War II developments in Bach research, a long session in which the manuscript studies of Alfred Durr, Georg von Dadelsen, and Robert Marshall were discussed in some detail, Mendel quipped, with a wry smile: "And if the original manuscripts have revealed a lot about Bach's working habits, wait until we take a closer look at the original prints!" The remark drew laughter, as Mendel intend ed, and struck one at the time as facetious, for how could the prints of Bach's works ever show as much about chronology and the compositional process as the manuscripts? The surviving manuscript materials, written by Bach and his copyists, display a wealth of information that can be unrav eled through source-critical investigation: revisions, corrections, organiza tional second thoughts. The prints, by contrast, appear inscrutable. Uni form and definitive in appearance, made by engravers rather than Bach or his assistants, they seem to be closed books, telling little-if anything about the genesis of the texts they contain. In the earliest volumes of the Neue Bach-Ausgabe (NBA), the original prints were viewed in precisely that way. -
Clavier Übung III Hybrid SACD/CD MULTICHANNEL 5.0
Johann Sebastian Bach Clavier Übung III Hybrid SACD/CD MULTICHANNEL 5.0 PRAELUDIUM & FUGA BWV 552 TWELVE ORGAN CHORALES BWV 678 – 689 LIISA AALTOLA ORGAN Photo: Osmo Honkanen Photo: Osmo Honkanen Johann Sebastian Bach (1685–1750) CLAVIER ÜBUNG III (1739) Praeludium & Fuga BWV 552 Twelve organ chorales BWV 678 – 689 Liisa Aaltola orga n Photo: Osmo Honkanen [1] Praeludium pro Organo pleno. BWV 552/1 [2] Dieß sind die heiligen zehen Geboth a 2 Clav. e Ped. Canto fermo in Canone. BWV 678 [3] Fughetta super Dieß sind die heiligen zehen Geboth manualiter. BWV 679 (The Ten Commandments • Kymmenen käskyä) [4] Wir gläuben all an einen Gott In Organo pleno con Pedale. BWV 680 [4] Fughetta super Wir gläuben all an einen Gott, manualiter. BWV 681 (The Creed • Uskontunnustus) [6] Vater unser im Himmelreich à 2 Clav. et Pedal è Canto fermo in Canone. BWV 682 [7] Vater unser im Himmelreich alio modo manualiter. BWV 683 (The Lord’s Prayer • Herran rukous – Isä meidän) [8] Christ unser Herr zum Iordan kam a 2 Clav. e Canto fermo in Pedale. BWV 684 [9] Christ unser Herr zum Jordan kam alio modo manualiter. BWV 685 (Baptism • Kaste) [10] Aus tieffer Noth schreÿ ich zu dir a 6 in Organo pleno con Pedale doppio. BWV 686 [11] Aus tieffer Noth schreÿ ich zu dir a 4. alio modo. manualiter. BWV 687 (Confession • Rippi) [12] Iesus Christus unser Heÿland der von uns den Zorn Gottes wand. a 2 Clav. e Canto fermo in Pedal. BWV 688 [13] Fuga super Iesus Christus unser Heÿland a 4 manualiter.