DOCSLIB.ORG

Clavier Übung III Hybrid SACD/CD MULTICHANNEL 5.0

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. BWV 689 (Communion • Ehtoollinen) [14] Fuga à 5 con pedale pro Organo pleno BWV 552/2 About the music Clavier Übung means ‘a keyboard exercise’ or ‘practice’, which is rather a humble term for such exquisitely-crafted music. Bach borrowed it from Johann Kuhnau, his predecessor as cantor of the Thomaskirche in Leipzig, who in 1689 had published a collection called Neue Clavier-Übung consisting of seven suites of dances. Bach published four collections under the title of Clavier Übung. Like Kuhnau’s, the first consisted of dance suites, that is to say harpsichord partitas, the second of the Italian Concerto and French Over- ture, and the third of 21 organ chorales and four duets framed by the great Prelude and Fugue in E-flat major. The fourth collection, an aria and 24 variations later known as the Goldberg Variations, bears no number but can nevertheless be regarded as belonging to the same set concentrating on various keyboard techniques and types of composition. The partitas in the first collection were independent works and published individually; the second contrasted two contemporary, competitive genres and forms – the Italian concerto and the French orchestral suite – and the third is a study of the Holy Trinity. Bach’s Clavier Übung III was published in 1739, when Leipzig was celebrating the bicentenary of the Lutheran Reformation. The hymns on which the 12 organ chorales on this disc are based focus on the six chief parts of the Lutheran Catechism: the Ten Commandments, the Creed, the Lord’s Prayer, Holy Baptism, Confession and Communion. Each chorale exists in two versions: a large one for one or two manuals and pedals, and a shorter one for manual alone; just like Luther’s Large and Small Catechism. Clavier Übung III is not just the Catechism set to music; it is also an encomium to the Holy Trinity. The first chorales are 2 x 3 Kyries and 3 Glorias. These are followed by 6 x 2. i.e. 12 Catechism chorales. The keyboard duets number four, which may at first seem strange, since everything else is divisible by three, but there are four annexes to the Catechism and the duets raise the total number of composi- tions in the collection to the Holy Trinity figure 27 (3 x 3 x 3). TheClavier Übung was – of course – sold for the price of three thalers. Clavier Übung III begins and ends in the key with three flats, E-flat major, and the opening prelude has three themes. The first theme is in the majestic style of a French overture (Father); the second is Clavier Übungista Clavier Übung tarkoittaa kosketinsoitinharjoitelmaa, mikä on vaatimattomasti sanottu mestarillisesti viimeistellystä musiikista. Otsikon Bach lainasi Leipzigin Tuomas-kanttorina ennen häntä toimineelta Johann Kuhnaulta, joka julkaisi nimellä Neue Clavier-Übung seitsemän tanssisarjan kokoelman vuonna 1689. Bach sävelsi neljä Clavier Übungiksi otsikoimaaansa kokoelmaa, joista ensimmäinen koostuu Kuhnaun kokoelman tavoin tanssisarjoista eli cembalopartitoista. Toinen pitää sisällään italialaisen konserton ja ranskalaisen alkusoiton. Clavier Übung III koostuu 21 urkukoraalista ja neljästä duetosta, joita kehystää suuri Preludi ja fuuga Es-duuri. Neljännen klaveerikokoelmansa, myöhemmin Goldberg-variaatioina tunnetun aarian ja 24 muunnelman kokoelman Bach jätti numeroimatta, mutta sen voi laskea kuulu- van samaan julkaisujen sarjaan, joka keskittyi klaveerisävellysten eri tekniikoihin ja muotoihin. Ensimmäisen kokoelman Partitat olivat yksittäin julkaistuja ja itsenäisiä, toinen kokoelma laittoi vas- takkain kaksi tuon ajan kilpailevaa sävellysmuotoa ja tyylilajia – italialaisen konserton ja ranskalaisen orkesterisarjan, ja kolmas syventyy tutkimaan kolminaisuutta. Bachin Clavier Übung III julkaistiin vuonna 1739, kun Leipzigissa vietettiin luterilaisen reformaation lopullisen toteutumisen 200-vuotisjuhlia. Tämän levyn 12 urkukoraalin pohjana olevat virret perus- tuvatkin Lutherin katekismuksen kuuteen pääkohtaan: kymmeneen käskyyn, uskontunnustukseen, Herran rukoukseen, kasteeseen, rippiin ja ehtoolliseen. Kustakin koraalista on kaksi versiota; laajempi yhdelle tai kahdelle sormiolle ja jalkiolle, sekä lyhyempi pelkästään sormiolle. Aivan kuten Lutherin katekismuksesta on kaksi versiota; iso ja pieni. Clavier Übung III on paitsi musiikilliseen muotoon puettu katekismus, myös Pyhän kolminaisuuden ylistys. Luku kolme läpäisee koko kokoelman muotoa. Sen ensimmäiset koraalit ovat 2 x 3 Kyrie- ja 3 Gloria- koraalia. Katekismuskoraaleita on 6 x 2 eli 12. Klaveeriduettojen lukumäärä on neljä, mikä näyttää ensisilmäykseltä kummalliselta, kun kaikki muu on kolmella jaollista, mutta katekismuksessa on neljä liitettä ja duetot nostavat kokoelman sävellysten määräksi Pyhän kolminaisuuden luvun 27 (3x3x3). Teosta myytiin – tietenkin – kolmen taalerin hintaan. Clavier Übung III alkaa ja loppuu kolmen alennusmerkin sävellajissa, Es-duurissa. Kokoelman aloit- tavan Preludin teemoja on myöskin kolme. Ensimmäinen teema on majesteetillinen ranskalaisen al- based on a joyful staccato motif descending from manual to pedals (Son), and the third is a flowing semiquaver figure (the Holy Ghost). The overall form is a combination of an Italian concerto and a French overture. In other words, Bach also weaves in the form of the previous Clavier Übung at the beginning of number III. The collection ends with an ingenious 5-part triple fugue that in turn combines dance rhythms with the pious stile antico. The themes of the fugue are derived from those of the prelude. They are all interrelated, though each theme and section has a character of its own. The first section adopts the stile antico of the Kyrie chorales with which the collection began. The second, dancing theme in a more galant 6/4 time is derived from the theme running under the semiquaver motif of the prelude and the first of the collection’s chorales, Kyrie, Gott Vater. In the third section, the themes join in a dance in which Bach weaves together all that has gone before in music and looks ahead to the future in a way that has so far never been surpassed in this genre. The last section of the fugue encompasses not only all the themes and styles but also the overall form of the collection, since the Clavier Übung begins in the style of a French overture and ends with the rhythms of a gigue such as customarily concluded French suites. The title Clavier Übung III reveals that this collection was intended to provide material for both per- formance and study: “Dritter Theil der Clavier Übung bestehend in verschiedenen Vorspielen über die Catechismus- und andere Gesaenge, vor die Orgel: Denen Liebhabern, und besonders denen Kennern von dergleichen Arbeit zur Gemüths Ergezung” (Third Part of Keyboard Practice, consisting of various preludes on the Catechism and other hymns for the organ. Prepared for music-lovers and particularly for connoisseurs of such work, for the recreation of the spirit.) For anyone familiar with music theory, the Clavier Übung would provide the same satisfaction and enjoyment as a chain of mathematical deductions that, after a series of wonderful, logical surprises, elegantly and undisputedly arrives at the perfect solution. The great Bach canons are, generally speaking, even more mathematically astounding than the fugues. The gloriously long Vater unser chorale BWV 682 would be my choice to take with me on a desert island. It is simply incredible how a form of composition as strict as a canon can express such nat- ural-sounding, enchanting music. Bach’s dynamic handling of the rhythms and form, and the ease with which he embroiders his melody and handles his themes and harmonies would alone serve as substance for life-long study. kusoiton tyylinen (Isä), toinen perustuu riemulliselle ylhäältä sormiolta alas jalkioon laskeutuvalle staccatoaiheelle (Poika) ja kolmanteen teemaan liittyy vuolaasti virtaava kuudestoistaosakuvio (Pyhä Henki). Kokonaismuoto on yhdistelmä italialaista konserttomuotoa ja ranskalaista alkusoittoa. Clavier Übung III alussa Bach nivoo siis yhteen toisen Clavier Übunginsa ranskalaisen ja italialaisen muodon. Kokoelman päättää
Load more

Recommended publications
  • 'Dream Job: Next Exit?'
    Understanding Bach, 9, 9–24 © Bach Network UK 2014 ‘Dream Job: Next Exit?’: A Comparative Examination of Selected Career Choices by J. S. Bach and J. F. Fasch BARBARA M. REUL Much has been written about J. S. Bach’s climb up the career ladder from church musician and Kapellmeister in Thuringia to securing the prestigious Thomaskantorat in Leipzig.1 Why was the latter position so attractive to Bach and ‘with him the highest-ranking German Kapellmeister of his generation (Telemann and Graupner)’? After all, had their application been successful ‘these directors of famous court orchestras [would have been required to] end their working relationships with professional musicians [take up employment] at a civic school for boys and [wear] “a dusty Cantor frock”’, as Michael Maul noted recently.2 There was another important German-born contemporary of J. S. Bach, who had made the town’s shortlist in July 1722—Johann Friedrich Fasch (1688–1758). Like Georg Philipp Telemann (1681–1767), civic music director of Hamburg, and Christoph Graupner (1683–1760), Kapellmeister at the court of Hessen-Darmstadt, Fasch eventually withdrew his application, in favour of continuing as the newly- appointed Kapellmeister of Anhalt-Zerbst. In contrast, Bach, who was based in nearby Anhalt-Köthen, had apparently shown no interest in this particular vacancy across the river Elbe. In this article I will assess the two composers’ positions at three points in their professional careers: in 1710, when Fasch left Leipzig and went in search of a career, while Bach settled down in Weimar; in 1722, when the position of Thomaskantor became vacant, and both Fasch and Bach were potential candidates to replace Johann Kuhnau; and in 1730, when they were forced to re-evaluate their respective long-term career choices.
    [Show full text]
  • T H O M a N E R C H
    Thomanerchor LeIPZIG DerThomaner chor Der Thomaner chor ts n te on C F o able T Ta b l e o f c o n T e n T s Greeting from “Thomaskantor” Biller (Cantor of the St Thomas Boys Choir) ......................... 04 The “Thomanerchor Leipzig” St Thomas Boys Choir Now Performing: The Thomanerchor Leipzig ............................................................................. 06 Musical Presence in Historical Places ........................................................................................ 07 The Thomaner: Choir and School, a Tradition of Unity for 800 Years .......................................... 08 The Alumnat – a World of Its Own .............................................................................................. 09 “Keyboard Polisher”, or Responsibility in Detail ........................................................................ 10 “Once a Thomaner, always a Thomaner” ................................................................................... 11 Soli Deo Gloria .......................................................................................................................... 12 Everyday Life in the Choir: Singing Is “Only” a Part ................................................................... 13 A Brief History of the St Thomas Boys Choir ............................................................................... 14 Leisure Time Always on the Move .................................................................................................................. 16 ... By the Way
    [Show full text]
  • JS BACH (1685-1750): Violin and Oboe Concertos
    BACH 703 - J. S. BACH (1685-1750) : Violin and Oboe Concertos Johann Sebastian Bach was born on March 21 st , l685, the son of Johann Ambrosius, Court Trumpeter for the Duke of Eisenach and Director of the Musicians of the town of Eisenach in Thuringia. For many years, members of the Bach family throughout Thuringia had held positions such as organists, town instrumentalists, or Cantors, and the family name enjoyed a wide reputation for musical talent. By the year 1703, 18-year-old Johann Sebastian had taken up his first professional position: that of Organist at the small town of Arnstadt. Then, in 1706 he heard that the Organist to the town of Mülhausen had died. He applied for the post and was accepted on very favorable terms. However, a religious controversy arose in Mülhausen between the Orthodox Lutherans, who were lovers of music, and the Pietists, who were strict puritans and distrusted art. So it was that Bach again looked around for more promising possibilities. The Duke of Weimar offered him a post among his Court chamber musicians, and on June 25, 1708, Bach sent in his letter of resignation to the authorities at Mülhausen. The Weimar years were a happy and creative time for Bach…. until in 1717 a feud broke out between the Duke of Weimar at the 'Wilhelmsburg' household and his nephew Ernst August at the 'Rote Schloss’. Added to this, the incumbent Capellmeister died, and Bach was passed over for the post in favor of the late Capellmeister's mediocre son. Bach was bitterly disappointed, for he had lately been doing most of the Capellmeister's work, and had confidently expected to be given the post.
    [Show full text]
  • 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.
    [Show full text]
  • The Sources of the Christmas Interpolations in J. S. Bach's Magnificat in E-Flat Major (BWV 243A)*
    The Sources of the Christmas Interpolations in J. S. Bach's Magnificat in E-flat Major (BWV 243a)* By Robert M. Cammarota Apart from changes in tonality and instrumentation, the two versions of J. S. Bach's Magnificat differ from each other mainly in the presence offour Christmas interpolations in the earlier E-flat major setting (BWV 243a).' These include newly composed settings of the first strophe of Luther's lied "Vom Himmel hoch, da komm ich her" (1539); the last four verses of "Freut euch und jubiliert," a celebrated lied whose origin is unknown; "Gloria in excelsis Deo" (Luke 2:14); and the last four verses and Alleluia of "Virga Jesse floruit," attributed to Paul Eber (1570).2 The custom of troping the Magnificat at vespers on major feasts, particu­ larly Christmas, Easter, and Pentecost, was cultivated in German-speaking lands of central and eastern Europe from the 14th through the 17th centu­ ries; it continued to be observed in Leipzig during the first quarter of the 18th century. The procedure involved the interpolation of hymns and popu­ lar songs (lieder) appropriate to the feast into a polyphonic or, later, a con­ certed setting of the Magnificat. The texts of these interpolations were in Latin, German, or macaronic Latin-German. Although the origin oftroping the Magnificat is unknown, the practice has been traced back to the mid-14th century. The earliest examples of Magnifi­ cat tropes occur in the Seckauer Cantional of 1345.' These include "Magnifi­ cat Pater ingenitus a quo sunt omnia" and "Magnificat Stella nova radiat. "4 Both are designated for the Feast of the Nativity.' The tropes to the Magnificat were known by different names during the 16th, 17th, and early 18th centuries.
    [Show full text]
  • Document Cover Page
    A Conductor’s Guide and a New Edition of Christoph Graupner's Wo Gehet Jesus Hin?, GWV 1119/39 Item Type text; Electronic Dissertation Authors Seal, Kevin Michael Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 09/10/2021 06:03:50 Link to Item http://hdl.handle.net/10150/645781 A CONDUCTOR'S GUIDE AND A NEW EDITION OF CHRISTOPH GRAUPNER'S WO GEHET JESUS HIN?, GWV 1119/39 by Kevin M. Seal __________________________ Copyright © Kevin M. Seal 2020 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2020 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Document Committee, we certify that we have read the document prepared by: Kevin Michael Seal titled: A CONDUCTOR'S GUIDE AND A NEW EDITION OF CHRISTOPH GRAUPNER'S WO GEHET JESUS HIN, GWV 1119/39 and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. Bruce Chamberlain _________________________________________________________________ Date: ____________Aug 7, 2020 Bruce Chamberlain _________________________________________________________________ Date: ____________Aug 3, 2020 John T Brobeck _________________________________________________________________ Date: ____________Aug 7, 2020 Rex A. Woods Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College.
    [Show full text]
  • 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.
    [Show full text]
  • Christoph Graupner (1683-1760) a Contextual Study of Cantata Gwv 1127/19 O Welt Sieh Hier Dein Leben
    Bulletin of the Transilvania University of Braşov - Supplement Series VIII: Performing Arts • Vol. 8 (57) No. 2 - 2015 CHRISTOPH GRAUPNER (1683-1760) A CONTEXTUAL STUDY OF CANTATA GWV 1127/19 O WELT SIEH HIER DEIN LEBEN 1 Marius BAHNEAN Abstract: Christoph Graupner (1683-1760) was a High Baroque composer who worked primarily in Darmstadt, Germany. He was a student of both Johann Schelle (1648-1701) and Johann Kuhnau (1660-1722) while studying at the University of Leipzig from 1696 to 1707. For the duration of these formative years, Graupner developed a compositional style influenced by the Italian and French masters of the time. At the time of his 1712 Kapellmeister appointment at the court of Darmstadt, Grauper was an established composer and keyboardist. His reputation as an important composer of the time is evident in his appointment as Kapellmeister in 1724 at the Thomaskirche, Leipzig; Graupner, however, opted to remain at Darmstadt when the Darmstadt court increased his salary. During his tenure at Darmstadt, Graupner composed over 1400 cantatas and many instrumental works. One cantata representative of this period is GWV 1127/19 O Welt siehhierdein Leben used as the starting point of placing Graupner’s works in the context of the compositional techniques of the eighteenth century. A detailed textual and musical analysis is presented, together with major compositional influences and performance considerations of the Baroque period. Key-words: Christoph Graupner, Baroque, Passio, Cantata 1. Introduction Over the past decades, the focus of musicological research on historically informed performance practice has shed much light on the great Western composers and their music.
    [Show full text]
  • Trevor Pinnock Journey
    TREVOR PINNOCK JOURNEY Two Hundred Years of Harpsichord Music TREVOR PINNOCK JOURNEY Two Hundred Years of Harpsichord Music ANTONIO DE CABEZÓN (c.1510–1566) GIROLAMO FRESCOBALdi (1583–1643) 1. Diferencias sobre 15. Toccata nona ................................ 4:32 ‘El canto del caballero’ .................. 3:10 16. Balletto primo e secondo .............. 5:39 from Toccate d’intavolatura di cimbalo et WILLIAM BYRD (c.1540–1623) organo,1637 2. The Carman’s Whistle .................. 3:58 GEORGE FRIDERIC HAndel (1685–1759) THOMAS TaLLIS (c.1505–1585) 17. Chaconne in G major, HWV 435 ... 6:36 3. O ye tender babes ........................ 2:37 DOMENICO SCARLAtti (1685–1757) JOHN Bull (1562/3–1628) Three Sonatas in D major, K. 490–92 4. The King’s Hunt ............................ 3:25 18. Sonata, K. 490: Cantabile ............ 5:02 JAN PIETERSZOON SWEELINCK 19. Sonata, K. 491: Allegro ................ 4:57 (1562–1621) 20. Sonata, K. 492: Presto ................. 4:17 5. Variations on ‘Mein junges Leben hat ein End’, SwWV 324 .............. 6:10 Total Running Time: 68 minutes JOHANN SEBASTIAN BACh (1685–1750) French Suite No. 6 in E major, BWV 817 6. Prélude ......................................... 1:31 7. Allemande .................................... 3:28 8. Courante ...................................... 1:47 9. Sarabande ................................... 3:22 10. Gavotte ........................................ 1:07 11. Polonaise ...................................... 1:20 12. Bourrée ........................................ 1:41 13.
    [Show full text]
  • Presenting a Comprehensive Picture of Bach's Creative Genius Is One Of
    Presenting a comprehensive picture of Bach’s creative genius is one of the chief objectives of the Baldwin Wallace Bach Festival. The list that follows records works performed on Festival programs since its inception in 1933. VOCAL WORKS LARGE CHORAL WORKS BWV 232, Messe in h-moll. 1935, 1936, 1940, 1946, 1947, 1951,1955, 1959, 1963, 1967, 1971, 1975, 1979, 1983, 1985, 1989, 1993, 1997, 2001, 2005, 2007, 2011, 2015, 2019. BWV 245, Johannespassion. 1937, 1941, 1948, 1952, 1956, 1960, 1964, 1968, 1972, 1976, 1980, 1984, 1990, 1994, 1998, 2002, 2006, 2010, 2014, 2018. BWV 248, Weihnachts-Oratorium. 1938, 1942, 1949, 1953, 1957, 1961, 1965, 1969, 1973, 1977, 1981, 1986, 1991, 1995, 1999, 2003, 2009, 2013. BWV 244, Matthäuspassion. 1939, 1950, 1954, 1958, 1962, 1966, 1970, 1974, 1978, 1982, 1987, 1992, 1996, 2000, 2004, 2008, 2012. BWV 243, Magnificat in D-Dur. 1933, 1934, 1937, 1939, 1943, 1945, 1946, 1950, 1957, 1962, 1968, 1976, 1984,1996, 2006, 2014. BWV 249, Oster-Oratorium. 1962, 1990. MOTETS BWV 225, Singet dem Herrn ein neues Lied. 1940, 1950, 1957, 1963, 1971, 1976, 1982, 1991, 1996, 1999, 2006, 2017, 2019. BWV 226, Der Geist hilft unsrer Schwachheit auf. 1937, 1949, 1956, 1962, 1968, 1977, 1985, 1992, 1997, 2003, 2007, 2019. BWV 227, Jesu, meine Freude. 1934, 1939, 1943, 1951, 1955, 1960, 1966, 1969, 1975, 1981, 1988, 1995, 2001, 2005, 2019. BWV 228, Fürchte dich nicht, ich bin bei dir. 1936, 1947, 1952, 1958, 1964, 1972, 1979, 1995, 2002, 2016, 2019. BWV 229, Komm, Jesu, komm. 1941, 1949, 1954, 1961, 1967, 1973, 1992, 1993, 1999, 2004, 2010, 2019.
    [Show full text]
  • Graduate Piano Recital
    Pittsburg State University Pittsburg State University Digital Commons Electronic Thesis Collection 5-2016 GRADUATE PIANO RECITAL Nan Sun Pittsburg State University Follow this and additional works at: https://digitalcommons.pittstate.edu/etd Part of the Music Commons Recommended Citation Sun, Nan, "GRADUATE PIANO RECITAL" (2016). Electronic Thesis Collection. 90. https://digitalcommons.pittstate.edu/etd/90 This Thesis is brought to you for free and open access by Pittsburg State University Digital Commons. It has been accepted for inclusion in Electronic Thesis Collection by an authorized administrator of Pittsburg State University Digital Commons. For more information, please contact [email protected]. GRADUATE RECITAL A Thesis Submitted to the Graduate School In Partial Fulfillment of the Requirements For the Degree of Master of Music Nan Sun Pittsburg State University Pittsburg, Kansas May, 2016 GRADUATE PIANO RECITAL Nan Sun APPROVED: Thesis Advisor __________________________________________________________ Reena Natenberg, Department of Music Committee Member______________________________________________________ John Ross, Department of Music Committee Member __________________________________________________________ Ray Willard, Department of Teaching and Leadership GRADUATE PIANO RECITAL An Abstract of the Thesis by Nan Sun This thesis contains information pertaining to my Graduate Piano Recital. The recital consists of the following works: Piano Sonata Op. 26 by Ludwig Van Beethoven; French Suite No. 2 by Johann Sebastian
    [Show full text]
  • J.S. Bach by Elias Gottlob Haussmann (1695-1774)
    J.S. Bach French Suites BWV 812-817 Julian Perkins clavichord RES10163 Disc One Disc Two (1685-1750) Johann Sebastian Bach Johann Jakob Froberger (1616–1667) Georg Philipp Telemann (1681–1767) Partita No. 2 in D minor, FbWV 602 Suite in A major, TWV 32:14 French Suites BWV 812-817 From Libro Secondo (1649), dedicated to 1. Allemande [2:32] Emperor Ferdinand III von Habsburg 2. Courante [2:27] 1. Allemanda [3:47] 3. Sarabanda, TWV 41: A1 † [2:15] 2. Courant [1:25] 4. Gigue [3:00] 3. Sarabanda [3:25] 4. Gigue [1:15] Johann Sebastian Bach Julian Perkins Suite No. 4 in E-flat major, BWV 815 Johann Sebastian Bach (1685-1750) 5. Prélude, BWV 815a [1:43] clavichord Suite No. 1 in D minor, BWV 812 6. Allemande [2:51] 5. Allemande [4:19] 7. Courante [2:02] 6. Courante [2:31] 8. Sarabande [3:24] 7. Sarabande [2:54] 9. Gavotte & Menuet [2:39] Tracks 1–9 (disc one) and 12–26 (disc two) 8. Menuet I & II [2:48] 10. Air [1:55] Diatonically fretted clavichord by Peter Bavington (London, 2008) 9. Gigue [3:48] 11. Gigue [2:37] after an instrument made in Nürnberg c. 1785 by Johann Jacob Bodechtel (1768–1831) Suite No. 2 in C minor, BWV 813 Suite No. 5 in G major, BWV 816 Tracks 10–21 (disc one) and 1–11 (disc two) 10. Allemande [2:58] 12. Allemande [3:39] Unfretted clavichord made by Peter Bavington (London, 2005) 11. Courante [2:22] 13. Courante [1:49] after a late-eighteenth-century German instrument probably by Johann Heinrich Silbermann (1727–1799) 12.
    [Show full text]