Johann Sebastian Bach (1685–1750) DISC ONE DISC TWO Par ta No. 1 in B-flat major, BWV 825 Par ta No. 4 in D major, BWV 828 Partitas (Clavier-Übung I) 1. Praeludium [2:09] 1. Ouverture [6:29] BWV 825–830 2. Allemande [4:48] 2. Allemande [4:48] 3. Corrente [3:03] 3. Courante [2:44] 4. Sarabande [4:50] 4. Aria [1:31] 5. Menuet I & II [2:54] 5. Sarabande [3:55] Menno van Del clavichord 6. Giga [2:39] 6. Menuet [1:26] 7. Gigue [4:39] Par ta No. 2 in C minor, BWV 826 Clavichord by Chris an Go helf Hoffmann, Ronneburg, 1784 7. Sinfonia [4:36] Par ta No. 5 in G major, BWV 829 8. Allemande [2:37] 8. Praeambulum [2:53] 9. Courante [2:41] 9. Allemande [4:02] 10. Sarabande [3:07] 10. Corrente [2:07] 11. Rondeaux [1:54] 11. Sarabande [4:09] 12. Capriccio [4:34] 12. Tempo di Menue o [2:04] 13. Passepied [1:37] Par ta No. 3 in A minor, BWV 827 14. Gigue [4:46] 13. Fantasia [2:39] 14. Allemande [3:27] Par ta No. 6 in E minor, BWV 830 15. Corrente [3:34] 15. Toccata [6:59] 16. Sarabande [4:44] 16. Allemanda [2:45] 17. Burlesca [1:42] 17. Corrente [2:40] 18. Scherzo [1:12] 18. Air [1:33] 19. Gigue [2:11] 19. Sarabande [7:01] About Menno van Delft: 20. Tempo di Gavo a [2:07] ‘Van Delft charged through the work in a state of high energy, 21. Gigue [3:34] maintaining a strong rhythmic thrust and a real zest for music.’ Total playing me [59:31] The Houston Post Total playing me [74:01] ‘[...] une sensibilité extrême […] à la fois galant et tragique […] pur XVIIIe, en somme’ (an extreme sensitivity [...] at once gallant and tragic [...] pure eighteenth century, in sum) L’Obs (formerly Le Nouvel Observateur) J.S. Bach: Par tas (Clavier-Übung I), etc.) in accordance with established prac ces, BWV 825-830 Bach here creates pieces of indubitable individuality, linked to tradi onal forms yet It was not un l 1731 that Johann Sebas an shaped as novel crea ons and filled with new Bach, at the age of forty-six, published his ideas. Bach herewith takes the keyboard suite opus 1: six keyboard suites (par tas) under into new territory and to the pinnacle of its the tle Clavier-Übung (keyboard exercise). development. The wri ng is lighter and more To test the market, Bach had prudently elegant than in his previous suites, always published one par ta at a me from 1726 transparent, o en with only two voices. The un l 1730, at which point, encouraged by galant style develops here into true rococo the success of the individual issuing, he had art: inven ve, capricious, and elusively playful. the six suites printed in a single volume. From his earliest youth Bach studied and The limited dimensions of this booklet absorbed all the good music within his reach. cannot begin to accommodate a thorough The latest ar s c achievements in suite descrip on and analysis of Bach’s keyboard composi on – especially in France – have par tas: their structure, the many striking clearly been a source of inspira on for the details of the music, the mul ple stylis c par tas. Bach’s crea ve process o en started influences and the place of these suites with pre-exis ng material or an improvisa on in the history of the genre. Fortunately, (his own or someone else’s) that ignited a literature on all these ma ers is both process of elabora on, addi on, and abundantly available and easily accessible; concep on of new ideas. It is thus worth thus, let me here point out just a few no ng that, just before Bach started to remarkable aspects and explain the use compose his par tas, the Troisième livre of the clavichord, for many an unknown de pièces de clavecin of François Couperin instrument and possibly a surprising choice. came out in 1722 and Jean-Philippe Rameau’s Pieces de clavessin avec une methode pour The Clavier-Übung was Bach’s third collec on la mechanique des doigts appeared in 1724. of six keyboard suites, preceded by the so- These French masters, too, had le the called English and French suites. The Par tas tradi onal keyboard suite behind and were differ in several ways from the earlier sets: crea ng new textures and new forms. rather than using the standard dance forms Although Bach must have immediately (allemande, courante, sarabande, gigue, recognised a fer le opportunity for innova on, he didn’t just emulate the French to D major, down a fi h to G major, and finally instrument. The wide keyboard compass used combina ons. They could be tuned according examples. As always, when incorpora ng up a sixth to E minor. Bach also ensures a in the six Par tas – more than four and a half to the latest developments in temperament influences and novel stylis c ideas, Bach balance between major and minor keys: octaves – makes them unplayable on the theory and prac ce, which allowed for the use integrated these with his own cra smanship three of each. If one would con nue the Baroque organ. Moreover, the style of wri ng of all twenty-four tonali es and a work like and his intricate, thorough and efficient wedge-shaped order of tonali es, one would and the kinds of textures that Bach uses The Well-Tempered Clavier c. 1720). use of pa erns, mo ves and shapes go down a seventh from E minor to arrive clearly point to a stringed keyboard combined with an astounding ease with at F major, which happens to be the opening instrument. But which of the many available From the crea on of the modern clavichord all kinds of contrapuntal and imita ve key of the second part of the Clavier-Übung keyboards would Bach have intended, if any at the end of the seventeenth century, many techniques. (see below). in par cular? All these preludes, dance developments in German solo keyboard movements and Galanterien can be played playing go in the direc on of this whispering The six Par tas also show masterful planning The Par tas also contain some typical on a larger spinet, on a harpsichord or even but very expressive instrument. The importance on a large scale. Bach’s decision to tle his Bachian number symbolism: the total number on an early piano, which was growing of the clavichord at this me is reflected in opus 1 Clavier-Übung is a reference to of movements in the six suites is 41, which increasingly popular in 1730s Germany. iconography, such as the engraving in Johann Kuhnau (1660–1722), his predecessor is Bach’s way of wri ng his personal signature: Johann Kuhnau’s Biblical Sonatas (1700), at the Thomaskirche in Leipzig. Kuhnau was J. (=9) + S. (=18) + B (=2) + A (=1) + C (=3) + An abundance of historical evidence suggests which features a clavichord; Kuhnau himself the first to use the tle Clavier-Übung, H (=8) = 41. yet another instrument as possibly the most affirms his apprecia on for this instrument which he applied to two sets of seven likely candidate for Bach’s keyboard suites: in a le er to Johann Ma heson from 1717 keyboard suites published in 1689 and A er the 1731 publica on, the Clavier-Übung the clavichord. Since the fi eenth century in which he writes that the clavichord is the 1692. Kuhnau opts for a rather simple was extended: in 1735, part 2 containing the this tradi onal house keyboard had assumed keyboard instrument best suited to experiment arrangement for his suites: seven major Italian Concerto and the French Overture considerable importance and widespread with and express harmony. tonali es in ascending diatonic order in the came out, and part 3, the monumental ‘organ popularity in Germany. At the end of the first volume (from C to B-flat) and seven mass’, appeared in 1739. With the publica on seventeenth century, during the years that In 1698, Johann Caspar Ferdinand Fischer – minor tonali es in the second (in the same of the fourth and last part (the Goldberg Bach was growing up, important a composer with great influence on Bach – order, but with B minor as the last). Bach Varia ons, c. 1741) Bach had created an developments took place in clavichord published his Musicalisches Blumen-Büschlein, reacts by choosing a more adventurous encyclopaedic overview of contemporary building. Out of a smaller type clavichord describing its contents as ‘eine etwas s llere order for the six tonali es of his par tas: keyboard art, covering a wide range of styles, (the so-called ‘fre ed’ clavichord, in which Musik, und gegenwär ge alleine auf das B-flat major, C minor, A minor, D major genres and composi onal techniques. Parts the same string was shared by two or Clavichordium ... eingerichtete Partheyen’ (a (for a fes ve beginning of the second half, 2 and 4 were explicitly wri en ‘vor ein more keys) grew a bigger instrument with somewhat quiet music; par tas intended the second group of three suites), G major Clavicÿmbel mit zweÿen Manualen’ (for a a larger compass and more keys, every one of expressly for the clavichord). In his Neu- and E minor. A pa ern becomes visible: the harpsichord with two manuals), whereas which had its own strings. These ‘unfre ed’ Eröffnete Orchestre of 1713, Johann tonali es form an outward-facing wedge, part 3 was ‘vor die Orgel’ (for the organ). It clavichords offered a wider range of Ma heson writes: ‘Hand- und Galanterie- from B-flat major up a tone to C minor, is notable that for the first part of the expressive possibili es such as the use of Sachen als da sind Ouverturen, Sonaten, then down a third to A minor, up a fourth Clavier-Übung, Bach did not specify any legato touch and all possible chord Toccaten, Suiten, &c. werden am besten und reinlichsten auff einem guten Clavicordio men on in Forkel’s book: ‘This work was at herausgebracht als woselbst man die Sing- that me in the musical world a big sensa on; Art viel deutlicher mit Aushalten und one had never before heard such excellent adouciren ausdrücken kan denn auff den keyboard composi ons. He who was able to allezeit gleich starck nach-klingenden Flügeln perform some of these pieces well, could und Epine en’ (Solo and galant pieces, like therewith make his fortune in the world’. overtures, sonatas, toccatas, suites, etc., can be brought out best and most cleanly Although historical evidence overwhelmingly on a good clavichord, as on this instrument suggests that the clavichord was the the cantabile manner can be expressed instrument of choice for much of the more clearly, with prolonging and so ening, eighteenth-century German keyboard than on harpsichords and spinets, which repertoire, the harpsichord remained always sound equally strong). Johann indispensable, not only in Generalbaß Friedrich Agricola (1720–1774), who was accompaniment and for the starcke musik Bach’s student from 1738–1740, writes that in the church or the theatre but also for Bach o en played his six violin solos solo keyboard music. A er all, some of (sonatas and par tas, BWV 1001–1006) on Bach’s most glorious keyboard composi ons the clavichord: ‘Ihr Verfasser spielte sie (the Goldberg Varia ons, Italian Concerto, selbst o auf dem Clavichorde, und fügte French Overture) were wri en expressis von Harmonie so viel dazu bey, als er für verbis for that aristocra c symbol of wealth, nöthig befand’ (Their composer played beauty and dis nc on. For the works that them o en on the clavichord, and added Bach did not specifically designate as being as much harmony as he thought necessary). intended for one of the many stringed Even in a much later period, the prominence keyboard instruments available to him and importance of the clavichord is (including e.g. the Lautenwerck), it is our confirmed, e.g. by Johann Nikolaus Forkel, pleasant task to try them out on whatever author of the first biography of J.S. Bach instrument seems fit. Many pieces work (1802). Based on extensive correspondence wonderfully on a variety of instruments, with Wilhelm Friedemann and Philipp each of them shedding a different light on Emanuel Bach (Johann Sebas an’s eldest the music. It could even be that only sons), Forkel writes unequivocally that through trying and hearing Bach’s works Bach’s favourite instrument had been the on a wide variety of instruments can one clavichord. The six Par tas also receive fully appreciate the amazing versa lity of his crea ons. The elusive and kaleidoscopic The 1784 Hoffmann Clavichord in a famous le er to J. N. Forkel dated Special thanks go to: character and the mul -layering of Bach’s November 1773. keyboard art is such that no performance The clavichord used in this recording is Peter Bavington (who restored the Hoffmann on any one instrument can fully capture owned by The Cobbe Collec on Trust and About the maker himself, not much is known. Clavichord in 1998), for his introduc on all the colours and unsuspected possibili es is housed at Hatchlands Park, near Guildford He was born in 1758, the son of Ambrosius to the instrument that this music offers. in Surrey, England. It was made in 1784 by Hoffmann, gardener and magistrate. It is Chris an Go helf Hoffmann in Ronneburg, possible that he learnt his cra in the Dalyn Cook for her indispensable editorial help For this recording the clavichord was chosen in the German region of Thuringia. It is Friederici workshop at Gera, which is only as the vehicle for Bach’s last set of keyboard unfre ed, and has a compass of five octaves a few miles from Ronneburg. He was Alec Cobbe for his hospitality and generosity suites. With its subtle dynamic shading and (FF to f³). The case and lid are of oak; the married on 13 November 1780 to Theresia inherent flexibility – the player is in touch soundboard is of spruce, undecorated except Chris ane Dikin; he died in Ronneburg on Joris Potvlieghe for publishing his with the string for as long as a note lasts – for the single rose (made of card); the 28 September 1811. One other clavichord comprehensive ar cles on Bach and the the clavichord enables a most immediate natural keys are covered with ebony, with by Hoffmann survives, in the Yale University clavichord (in Clavichord Interna onal, 2017) and in mate interac on with the fabric of bone coverings to the accidentals. All this collec on. It was made in the same year which were an essen al source for my text the music, responding to the finest nuances gives it a sober appearance, typical of the as this one and closely resembles it. of its weave. late-eighteenth-century Saxon/Thuringian style. In contrast, contemporary instruments © 2018 Peter Bavington It seems that, in the late-seventeenth- and made in North Germany are much more eighteenth-century German keyboard flamboyant: they are o en enriched with tradi on, the clavichord served as a kind gilding and lacquer-work, and some mes of mel ng pot. This modest instrument of incorporate precious materials such as study and domes c entertainment allowed tortoiseshell, ivory and mother-of-pearl. Bach to translate and integrate cosmopolitan Hoffmann’s restraint extends to his own ideas and forms of various origin into an signature, which is on the back of the in mate, transcendent and universal art. nameboard, invisible to the casual observer. Like other Saxon/Thuringian instruments, © 2018 Menno van Del this clavichord does not have the octave strings so beloved of the North-German makers; however, it yields nothing to them in tone and musical flexibility. It is typical of the kind of clavichord preferred by Carl Philipp Emanuel Bach, who expressed his dislike of the North-German instruments Menno van Del (clavichord) With Johannes Leertouwer he recorded J.S. Bach’s six violin sonatas and with Ensemble Born in 1963 in Amsterdam, Menno van Del Schönbrunn, including Marten Root and studied harpsichord, organ and musicology Viola de Hoog, Bach’s Musikalisches Opfer. at the Sweelinck Conservatory in Amsterdam, Menno van Del recorded the Kunst der the Royal Conservatory in The Hague and the Fuge and Bach’s toccatas; he also took part University of Utrecht. Amongst his professors in a complete recording of the keyboard were Anneke Ui enbosch, Gustav Leonhardt, works of Jan Pieterszoon Sweelinck, which Bob van Asperen, Piet Kee, Jacques van received a 2003 Edison and the Preis der Oortmerssen and Willem Elders. Deutschen Schallpla enkri k. In 2004, Teknon released the first in a series of In 1988 Menno van Del won the clavichord recordings on important historical clavichords prize at the C.Ph.E. Bach Compe on in featuring Van Del playing sonatas and Hamburg and subsequently made his varia ons by J.G. Müthel on the 1763 J.A. debut at the Holland Fes val Early Music Hass clavichord from the Russell Collec on Utrecht. He has given concerts and master in Edinburgh. A recording on instruments classes throughout Europe, Japan and from the Musical Instrument Museum in the U.S.A. and has made numerous Berlin will soon be released. For Resonus recordings for radio and television. Classics, van Del has made two recordings of works on two harpsichords in coopera on As a con nuo player and soloist Menno has with Guillermo Brache a: Divine Noise (with performed with Pieter Wispelwey, Bart music by Rameau, F. Couperin and Gaspard Schneemann and Jacques Zoon as well as le Roux) and Concerto (with J.S. Bach’s with the Nederlandse Opera, Al Ayre Español, Concerto in C major for two harpsichords). Nederlands Blazersensemble, Cantus Cölln, Together with Siebe Henstra he forms the Koninklijk Concertgebouworkest, clavichord duo Der Prallende Doppelschlag. Nederlands Kamerkoor, Nederlandse Bachvereniging, the Orchestra of the Menno van Del teaches harpsichord, Eighteenth Century and the King’s Consort. clavichord and basso con nuo at the He has also recorded for labels such as Conservatory of Amsterdam (formerly the Globe, Deutsche Harmonia Mundi, Sweelinck Conservatorium) and the Chandos, Channel Classics, Capriccio, Hochschule für Musik und Theater in Hamburg. EMI and Decca. www.mennovandel .com
More titles from Resonus Classics Divine Noise: Theatrical Music for Two Harpsichords Guillermo Brachetta & Menno van Delft (harpsichords) RES10145
‘[Brachetta] and van Delft play as though on one supercharged harpsichord, their ensemble immaculate, the clarity and resonance of their instruments beautifully captured.’ Gramophone
J.S. Bach: French Suites, BWV 812–817 Julian Perkins (clavichord) RES10163
‘In making this recording Perkins has done an important service to both the clavichord and to J. S. Bach. As a different take on these well-known works it can be highly recommended’ Early Music Review
© 2018 Resonus Limited è 2018 Resonus Limited Recorded in Hatchlands Park, Surrey on 1–4 November 2016 Producer, engineer & editor: Adam Binks Hoffmann clavichord maintained and tuned by Menno van Delft Session & instrument photography © Resonus Limited & Menno van Delft Recorded at 24-bit/96kHz resolution Cover image: Marco Borggreve (www.marcoborggreve.com) Cover design: David Hughes (www.davidhughesdesign.co.uk)
RESONUS LIMITED – UK
[email protected] www.resonusclassics.com RES10212