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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
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  • J.S. Bach by Elias Gottlob Haussmann (1695-1774)

    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.