Historic Musical Bits: Kempff plays Schubert Piano Sonata in A Major D664, great compositions/performances

Kempff plays Schubert Piano Sonata in A Major D664

EvaYoungPianist

Published on Jul 4, 2012

Franz Schubert:
Piano Sonata in A Major D664:
Mvt.I: Allegro moderato 00:00
Mvt.II: Andante 10:41
Mvt.III: Allegro 15:14

Wilhelm Kempff: piano

From Wikipedia, the free encyclopedia

 
The Piano Sonata in A major D. 664, Op. posth. 120 is a sonata for solo piano composed by Franz Schubert in the summer of 1819.

Movements

I. Allegro moderato

A major

II. Andante

D major

III. Allegro

A major

Well regarded among pianists, the “Little” A major sonata is so called to distinguish it from the hefty 1828 sonata in the same key.^{[citation needed]} It is the shortest among Schubert’s complete sonatas.^[1] The manuscript, completed in July 1819, was dedicated to Josephine von Koller of Steyr in Upper Austria, whom he considered to be “very pretty” and “a good pianist.” The lyrical, buoyant, in spots typically poignant nature of this sonata fits the image of a young Schubert in love, living in a summery Austrian countryside, which he also considered to be “unimaginably lovely.”^[2]

The A major sonata is straightforward, with a dulcet melodic opening. It was the first of Schubert’s piano sonatas where the sonata form as perfected by his idol, Beethoven, does not seem wrestled with; rather, it is a “joyous breakthrough,” a carefree triumph over strict rules of construction.^[3]

The original manuscript to this “little” sonata has been lost.^[4]

Wilhelm Walter Friedrich Kempff:

(25 November 1895 – 23 May 1991) was a German pianist and composer. Although his repertoire included Bach, Mozart, Chopin, Schumann, Liszt and Brahms, Kempff was particularly well known for his interpretations of the music of Ludwig van Beethoven and Franz Schubert. He recorded the complete collection of their piano sonatas.^[1][2] He is considered to have been one of the chief exponents of the Germanic tradition during the 20th century and one of the greatest pianists of all time.^[3

Album cover for Wilhelm Kempff’s recording of Beethoven Piano Sonatas on DG 139 935 (1965), which received the Grand Prix du Disque.

Early life

Kempff was born in Jüterbog, Brandenburg, in 1895.^[1] He grew up in nearby Potsdam where his father was a royal music director and organist at St. Nicolai Church. His grandfather was also an organist and his brother Georg became director of church music at the University of Erlangen. Kempff studied music at first at the Berlin Hochschule für Musik at the age of nine after receiving lessons from his father at a younger age. Whilst there he studied composition with Robert Kahn and piano with Karl Heinrich Barth^[1] (with whom Arthur Rubinstein also studied). In 1914 Kempff moved on to study at the Viktoria gymnasium in Potsdam before returning to Berlin to finish his training.^[1]

As a pianist

In 1917, Kempff gave his first major recital, consisting of predominantly major works, including Beethoven’s Hammerklavier Sonata and Brahms Variations on a theme of Paganini.^[1] Kempff toured widely in Europe and much of the rest of the world. Between 1936 and 1979 he performed ten times in Japan (a small Japanese island was named Kenpu-san in his honor)^{[citation needed]}. Kempff made his first London appearance in 1951 and his first in New York in 1964. He gave his last public performance in Paris in 1981, and then retired for health reasons (Parkinson’s Disease)^{[citation needed]}. He died in Positano, Italy at the age of 95, five years after his wife, whom he had married in 1926. They were survived by five children.^[1]

Wilhelm Kempff recorded over a period of some sixty years. His recorded legacy includes works of Schumann, Brahms, Schubert, Mozart, Bach, Liszt, Chopin and particularly, of Beethoven.^[1]

 Kempff (right) with Ernest Ansermet (left) in 1965

He was among the first to record the complete sonatas of Franz Schubert, long before these works became popular. (For Schubert sonatas which were left incomplete, Kempff recorded only the completed movements and not the fragments.) He also recorded two sets of the complete Beethoven sonatas (and one early, almost complete set on shellac 1926-1945), one in mono (1951–1956) and the other in stereo (1964–1965). He recorded the complete Beethoven piano concertos twice as well, both with the Berlin Philharmonic; the first from the early 1950s in mono with Paul van Kempen, and the later in stereo from the early 1960s with Ferdinand Leitner. Kempff also recorded chamber music with Yehudi Menuhin, Pierre Fournier, Wolfgang Schneiderhan, Paul Grummer, and Henryk Szeryng, among others.

He left recordings of most of his repertory, including the complete sonatas of Beethoven and Schubert. He performed to an advanced age, concertizing past his eightieth birthday. His association with the Berlin Philharmonic spanned over sixty years.  Read more

Schubert – Overture in E minor, D. 648 , Prague Sinfonia, conducted by Christian Benda

Schubert – Overture in E minor, D. 648

ncmtman

Schubert wrote his Overture in E minor in 1819. It was performed in Vienna two years later, but then disappeared from public view until the publication of Schubert’s collected works in 1886. Some Schubertians regard it as a landmark work of unusual power, breaking ground that he would build on in his last two symphonies. Schubert biographer John Reed appears to disagree when he writes that it “lacks any touch of Schubertian charm. The themes are short and symphonic, rather than lyrical.” But the two opinions are reconcilable. The Overture is, in a sense, Schubert doing Beethoven: The short motifs building into longer sequences and the mounting tension and explosive climaxes all show Beethoven’s influence on the 22-year-old Schubert. At the same time, the actual construction of those sequences, with the same motif repeated at progressively higher or lower pitches, harks back to Baroque music. Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings.This performance by the Prague Sinfonia, conducted by Christian Benda

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Bach – Toccata and Fugue in D minor, BWV 565, great compositions/performances

Bach – Toccata and Fugue in D Minor, BWV 565

MovieMongerHZ

Uploaded on Oct 5, 2010/3,887,444

I don’t know who performed this, but it’s by far the best recording I’ve ever heard!! Enjoy!!
*************************************************************************

From Wikipedia, the free encyclopedia

 

 Fragment of the first page of BWV 565 in Johannes Ringk‘s handwriting. Bach’s autograph does not survive, and this is the only known near-contemporary source.

The Toccata and Fugue in D minor, BWV 565, is a piece of organ music written by Johann Sebastian Bach. First published in 1833 through the efforts of Felix Mendelssohn, the piece quickly became popular, and is now one of the most famous works in the organ repertoire. Since the 1970s, some scholars have challenged the attribution of the piece to Bach.

History

As with most Bach organ works, no autograph manuscript of BWV 565 survives. The only near-contemporary source is an undated copy by Johannes Ringk, a pupil of Johann Peter Kellner. Several compositions by him^{[clarification needed]} survive, and he is also notable today for his copies of numerous keyboard works by Georg Böhm, Johann Pachelbel, Johann Heinrich Buttstett, Dieterich Buxtehude, and other important masters.^[1]

The title of the piece is given in Ringk’s manuscript as Toccata Con Fuga. It is most probably a later addition, similar to the title of Toccata, Adagio and Fugue, BWV 564, because in the Baroque era such organ pieces would most commonly be called simply Prelude (Praeludium, etc.) or Prelude and Fugue.^[2] Ringk’s copy abounds in Italian tempo markings, fermatas (a characteristic feature of Ringk’s copies) and staccato dots, all very unusual features for pre–1740 German music. All later manuscript copies that are known today originate directly or indirectly with Ringk’s.^[1]

BWV 565 exhibits a typical simplified north German structure with a free opening (toccata), a fugal section (fugue), and a short free closing section. The connection to the north German organ school was noted early by Bach biographer Philipp Spitta in 1873.^[3] However, the numerous recitative stretches are rarely found in the works of northern composers and may have been inspired by Johann Heinrich Buttstett,^[4] whose few surviving free works, particularly his Prelude and Capriccio in D minor, exhibit similar features. A passage in the fugue of BWV 565 is an exact copy of a phrase in one of Johann Pachelbel‘s D minor fantasias, and the first half of the subject is based on this Pachelbel passage as well.^[5] It was common practice at the time to create fugues on other composers’ themes, and a number of such pieces by Bach are known (BWV 574, 579, 950, etc.); moreover, the bass pattern of the Passacaglia and Fugue in C minor, BWV 582, is borrowed from André Raison‘s organ passacaglia, also using only the first half of Raison’s passage (just the way BWV 565 borrows from Pachelbel).

The work was first published by Breitkopf & Härtel in late 1833 as part of a collection of Bach’s organ works. The edition was conceived and partly prepared by Felix Mendelssohn, who had BWV 565 in his repertoire already by 1830.^[6] Mendelssohn’s opinion of the piece, expressed in one of his letters, was that it was “at the same time learned and something for the [common] people.”^[7] The first major public performance was also by Mendelssohn, on 6 August 1840 in Leipzig. The concert was very well received by the critics, among them Robert Schumann.^[8] Later in the 19th century, Franz Liszt adopted the piece into his organ repertoire, and a piano transcription was made by Liszt’s pupil Carl Tausig, which gained substantial fame. Another popular transcription was completed in 1899 by Ferruccio Busoni. In the 20th century, an orchestral version of the piece, created by Leopold Stokowski, popularized the work further when it was included in Walt Disney‘s film Fantasia, released in 1940.^[9]

The work’s famous opening drew attention and praise already from Schumann, who, however, admired it as an example of Bach’s sense of humor.^[10] In the 20th century the work was generally viewed very differently, as a bold and dramatic piece. Musicologist Hermann Keller, writing in 1948, described the opening bars’ unison passages as “descending like a lightning flash, the long roll of thunder of the broken chords of the full organ, and the stormy undulation of the triplets.”^[11] A similar view has been expressed by noted Bach scholar and former director of Bach-Archiv Leipzig, Hans-Joachim Schulze:

“Here is elemental and unbounded power, in impatiently ascending and descending runs and rolling masses of chords, that only with difficulty abates sufficiently to give place to the logic and balance of the fugue. With the reprise of the initial Toccata, the dramatic idea reaches its culmination amidst flying scales and with an ending of great sonority.^[12]”

Writing in 2005, organist and Bach scholar Hans Fagius commented that while the authorship issue may remain unresolved, the enduring popularity of the work is not difficult to understand, since there is “a fantastic drive and energy to the piece that simply make it irresistible.”^[13]

In popular culture

The Toccata has been used in a variety of popular media ranging from film, video games, to rock music, and ringtones.

It is used for the opening credits of the 1931 film Dr. Jekyll and Mr. Hyde.^[40]

In 1960 Federico Fellini featured the track in his movie La Dolce Vita, being played by a character at a church organ.

The 1962 film adaptation of The Phantom of the Opera by Hammer Productions featured the piece, and since then, the movie has helped to associate the music with horror movies, Halloween, and the like in popular culture.^[41]

The jazz/R&B group Brass Fever featured an arrangement of the composition on their self-titled 1975 album as “Bach Bone”.

Jon Lord of Deep Purple fame recorded a composition called “Bach onto this”, which is based on BWV 565. It appears on his 1982 album Before I Forget.

English progressive rock band Egg covered the piece for their 1970 debut album.

Dutch progressive/symphonic rock band Ekseption covered the piece for their 1973 album Trinity.

The English classical/rock fusion band Sky (featuring the classical guitarist John Williams and classical percussionist Tristan Fry) scored a Top 10 pop hit with their 1980 arrangement of the Toccata section of BWV 565. This version crossed over to the Billboard Hot 100, charting at #83.^[42]

Vanessa-Mae recorded a cover of this piece. It reached number 24 on the Billboard charts.^[43]

The track is used for the opening credits and final freeze-frame of the 1975 film Rollerball.

In Walt Disney’s 1940 film, Fantasia, it is used as the first piece of the film, transcribed for full symphony orchestra by the conducter, Leopold Stokowski. The Disney animators were given an abstract theme to create the image to the music.^[44]

 

 

 

 

Bach Notebook for Anna Magdalena Concerto die liebe Minuet in G major, BWV114 , great compositions

Bach Notebook for Anna Magdalena Concerto die liebe Minuet in G major, BWV114

whomakemefeel

Uploaded on May 11, 2009

Johann Sebastian Bach (1685 † 1750)

Work: Minuet No.1 in G major (Anna Magdalena Notebook II/1), BWV Anh.114 Anna Magdalena Bach Clavier-Büchlein

Schubert Piano Sonata No 5 in A flat, D 557 Andras Schiff , great compositions/performances

Schubert Piano Sonata No 5 in A flat, D 557 Andras Schiff

La Casa di Davide

Published on Dec 18, 2013

Franz Schubert Piano Sonata No 5 in A flat, D 557
Andras Schiff, piano
I. Allegro moderato 0:00
II. Andante 4:15
III. Allegro 7:51

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Schumann – Wilhelm Kempff (1972) Waldszenen op 82: great compositions/performances (my favorite interpretation of this marvelous composition)

Schumann – Wilhelm Kempff (1972) Waldszenen op 82

Monsieurlemenestrel

 Deutsch: Robert Schumann und Clara Schumann, nach einem Relief von Ernst Rietschel (Photo credit: Wikipedia)

Waldszenen (Scènes des bois), op. 82, est un recueil de neuf petites pièces pour piano composées par Robert Schumann en 1849.

Chacune de ces neuf pièces a un titre, tout comme chacune des Scènes d’enfants op. 15 : 0:00 : Entrée (Eintritt)

*********************************************
Waldszenen (Forrest Scenes or

English: Robert Schumann Français : Robert Schumann Deutsch: Robert Schumann (Photo credit: Wikipedia)

Scenes From the Woods)

(From Wikipedia, the free encyclopedia)

 

Waldszenen (“Forest Scenes”), Opus 82, is a set of nine short solo piano pieces composed by Robert Schumann in 1848-1849, but first published in 1850-1851 in Leipzig by Bartholf Senff.^[1]

On the set, Schumann wrote: “The titles for pieces of music, since they again have come

English: House of Robert Schumann in Zwickau (Saxony). Deutsch: Robert-Schumann-Haus in Zwickau (Sachsen) (Photo credit: Wikipedia)

into favor in our day, have been censured here and there, and it has been said that ‘good music needs no sign-post.’ Certainly not, but neither does a title rob it of its value; and the composer, by adding one, at least prevents a complete misunderstanding of the character of his music. What is important is that such a verbal heading should be significant and apt. It may be considered the test of the general level of the composer’s education.”^[2]

Movements

Title	Average Duration	Signature Key
Eintritt (Entry)	2:10	B-flat major
Jäger auf der Lauer (Hunters on the lookout)	1:18	D minor
Einsame Blumen (Lonely Flowers)	2:17	B-flat major
Verrufene Stelle (Haunted Place)	3:07	D minor
Freundliche Landschaft (Friendly Landscape)	1:07	B-flat major
Herberge (Wayside Inn)	2:02	E-flat major
Vogel als Prophet (Bird as Prophet)	3:20	G minor
Jagdlied (Hunting Song)	2:29	E-flat major
Abschied (Farewell)	3:29	B-flat major

Deutsch: Robert-Schumann-Platz in Bitterfeld (Photo credit: Wikipedia)

Robert u Clara Schumann 1847 (Photo credit: Wikipedia)

Great compositions/Performances: Bach: Cantata, BWV 147, Jesu, Joy of Man’s Desiring: make music part of your life

Great compositions/Performances: Bach: Cantata, BWV 147, Jesu, Joy of Man’s Desiring

George Bost

Published on Feb 11, 2014

From Wikipedia, the free encyclopedia

Jesu, Joy of Man’s Desiring is the most common English title of the 10th and last movement of the cantata Herz und Mund und Tat und Leben, BWV 147 (“Heart and Mouth and Deed and Life”), composed by Johann Sebastian Bach in 1716 and 1723. Written during his first year in Leipzig, Germany, this chorale movement is one of Bach’s most enduring works.

Jesu, joy of man’s desiring,
Holy wisdom, love most bright;
Drawn by Thee, our souls aspiring
Soar to uncreated light.

Word of God, our flesh that fashioned,
With the fire of life impassioned,
Striving still to truth unknown,
Soaring, dying round Thy throne.

Through the way where hope is guiding,
Hark, what peaceful music rings;
Where the flock, in Thee confiding,
Drink of joy from deathless springs.

Theirs is beauty’s fairest pleasure;
Theirs is wisdom’s holiest treasure.
Thou dost ever lead Thine own
In the love of joys unknown.

Purcell – Ode to St. Cecilia (Z.328): I-II: make music part of your life series

Purcell – Ode to St. Cecilia (Z.328): I-II

SimplyBaroque

Uploaded on Jan 29, 2011

I. Symphony
II. Hail, bright Cecilia! (Recitative & Chorus)

“Hail! Bright Cecilia, Hail! fill ev’ry Heart!
With Love of thee and thy Celestial Art;
That thine and Musick’s Sacred Love
May make the British Forest prove
As Famous as Dodona’s Vocal Grove.”

Hail! Bright Cecilia (Z.328), also known as Ode to St. Cecilia, was composed to a text by Nicholas Brady by Henry Purcell in 1692 in honour of the feast day of Saint Cecilia, patron saint of musicians. Annual celebrations of this saint’s feast day (November 22) began in 1683, organized by the Musical Society of London, a group of musicians and music lovers. Purcell had already written Cecilian pieces in previous years, but this Ode remains the best known. The first performance was a great success, and received an encore.

In spite of Brady’s conceit of the speaking forest (It should be remembered that English organs of the period typically had wooden pipes), Purcell scored the warlike music for two brass trumpets and copper kettle drums instead of fife and (field) drum. The orchestra also includes two recorders (called flutes) with a bass flute, strings and basso continuo. Purcell is one of several composers who have written music in honour of Cecilia.

Henry Purcell (10 September 1659(?) — 21 November 1695), was an English organist and Baroque composer of secular and sacred music. Although Purcell incorporated Italian and French stylistic elements into his compositions, his legacy was a uniquely English form of Baroque music.

Taverner Consort and Players is a period instrument ensemble: baroque orchestra (Players), vocal consort (Consort) and Choir, named after the 16th century English composer John Taverner. Founded and directed by Andrew Parrott in 1973, the ensemble was led until the early 1990s by baroque violinist John Holloway, and has released many CDs.

J. S BACH ● BWV 645 ● Wachet Auf ! Sleepers Awake: make music part of your life series

J. S BACH ● BWV 645 ● Wachet Auf ! Sleepers Awake

  MontseAntares

Johann Sebastian Bach was born on a day like today is a March 31, 1685 … although many biographers agree not to celebrate her birthday … … I decided to upload one of his most beautiful cantatas Wachet Auf! (Sleepers Awake!) ..Performed by “The New Symphony Orchestra Of London” ..
Bach was a composer, organist, harpsichordist, violinist, violist, choirmaster and singer of German Baroque music, the most important member of one of the most prominent families of musicians in history, with more than 35 performers and many famous composers Featured.

Antonio Lucio Vivaldi: Sonata for Recorder in C major ‘Il Pastor Fido’ No.1, Op.13, (RV54): make music part of your life series

Antonio Lucio Vivaldi: Sonata for Recorder in C major ‘Il Pastor Fido‘ No.1, Op.13, (RV54)

FROM:
  vivaldi369
Álbum: Antonio Vivaldi: Sonatas for Flute, Op.13 “IL Pastor Fido”
Interpretes del álbum: Bela Drahos, Pal Kelemen & Zsuzsa Pertis
Compositor: Antonio Lucio Vivaldi
Año: 1991
Genero: Barroco Italiano
Movimientos: Moderato-Allegro-Affectuoso-Allegro-Giga

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Great Compositions/Performances: Antonio Vivaldi – The Four Seasons Salvatore Accardo, conducting

Antonio Vivaldi – The Four Seasons

Published on Apr 23, 2012

Antonio Vivaldi The Four Seasons Full HD (Italian: Le quattro stagioni) is a set of four violin concertos by Antonio Vivaldi Full Concert. Composed in 1723, The Four Seasons is Vivaldi’s best-known work, and is among the most popular pieces of Baroque music. The texture of each concerto is varied, each resembling its respective season. For example, “Winter” is peppered with silvery pizzicato notes from the high strings, calling to mind icy rain, whereas “Summer” evokes a thunderstorm in its final movement, which is why the movement is often dubbed “Storm.”
The concertos were first published in 1725 as part of a set of twelve concerti, Vivaldi’s Op. 8, entitled Il cimento dell’armonia e dell’inventione (The Contest between Harmony and Invention). The first four concertos were designated Le quattro stagioni, each being named after a season. Each one is in three movements, with a slow movement between two faster ones. At the time of writing The Four Seasons, the modern solo form of the concerto had not yet been defined (typically a solo instrument and accompanying orchestra). Vivaldi’s original arrangement for solo violin with string quartet and basso continuo helped to define the form.
Die Vier Jahreszeite, Les Quatre Saisons compléter completare all movements
English Chamber Orchestra
Antonio Vivaldi – The Four Seasons, Op 8, N. 1 RV 269-1 – Allegro – Spring
Antonio Vivaldi – The Four Seasons, Op 8, N. 1 RV 269-2 – Largo – Spring
Antonio Vivaldi – The Four Seasons, Op 8, N. 1 RV 269-3 – Allegro – Spring
Antonio Vivaldi – The Four Seasons, Op 8, N. 2 RV 315-1 – Allegro Non Molto – Allegro – Summer
Antonio Vivaldi – The Four Seasons, Op 8, N. 2 RV 315-2 – Adagio – Summer
Antonio Vivaldi – The Four Seasons, Op 8, N. 2 RV 315-3 – Presto – Summer
Antonio Vivaldi – The Four Seasons, Op 8, N. 3 RV 293-1 – Allegro – Autumn
Antonio Vivaldi – The Four Seasons, Op 8, N. 3 RV 293-2 – Molto Adagio – Autumn
Antonio Vivaldi – The Four Seasons, Op 8, N. 3 RV 293-3 – Allegro – Autumn
Antonio Vivaldi – The Four Seasons, Op 8, N. 4 RV 297-1 – Allegro Non Molto – Winter
Antonio Vivaldi – The Four Seasons, Op 8, N. 4 RV 297-2 – Largo – Winter
Antonio Vivaldi – The Four Seasons, Op 8, N. 4 RV 297-3 – Allegro – Winter
Le quattro stagioni The Four Seasons (Vivaldi) Die Vier Jahreszeiten Las Cuatro Estaciones Classical Music compléter ganze Konzert von Vivaldi Full Concert Complete Music all movements greatest hits

• Buy “Le Quattro Stagioni, Op. 8; Concerto No 4 in Fa Minore: L’Inverno: Allegro” on
  

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• Artist
  Salvatore Accardo

 

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C. Saint – Saens Morceau de concert op. 94 | Peter Müseler, Horn

Conducted by Juri Lebedev | Summer Concert 2007 at Belvedere School of Music Weimar/Germany | Musikgymnasium Schloß Belvedere

 

The Amsterdam Baroque Orchestra – Johann Sebastian Bach: Orchestral Suite No. 3 in D major, BWV 1068

The Amsterdam Baroque Orchestra conducted by Ton Koopman plays the 3rd Orchestral Suite (Ouverture) in D major, BWV 1068 (? c. 1729-31), at National Museum Het Loo Palace in Apeldoorn (Netherlands).

 

J. S. Bach : Cantata — BWV 68 “Also hat Gott die Welt geliebt” (Karl Richter)

Johann Sebastian Bach (1685 – 1750)
“Also hat Gott die Welt geliebt”
(God so loved the world)
BWV 68
Event:
Cantata for Whit Monday [2nd Day of Pentecost]
Readings: 
Epistle: Acts 10: 42-48; Gospel: John 3: 16-21
Composed:
Leipzig, 1725
1st performance: May 21, 1725 – Leipzig

Text:
Christiane Mariane von Ziegler (Mvts. 2-4); Salomo Liscow (Mvt. 1); John 3: 18 (Mvt. 5)
Scoring:
Soloists: Soprano, Bass; 4-part Chorus
Orchestra: 3 trumpets, 3 trombones, 2 oboes, taille, horn, 2 violins, violoncello piccolo, viola, continuo
Mvt. 1: Chorus — Chorale (00:00)
Mvt. 2: Aria (05:31)
Mvt. 3: Recitative (09:41)
Mvt. 4: Aria (10:39)
Mvt. 5: Chorus (15:08)
Soprano: Edith Mathis
Bass: Dietrich Fischer-Dieskau

Oboe (I/II): Manfred Clement and Robert Eliscú
Englischhorn: Andreas Scwinn
Horn: Christoph Brandt
Violin: Ingo Sinnhoffer
Violincello: Fritz Kiskalt

Münchener Bach-Chor / Münchener Bach-Orchester
Conductor – Karl Richter

May 1974; Jan 1975, at Herkules-Saal, München, Germany.

 

Pachelbel – Canon In D Major.

 

J.S. Bach – Brandenburg Concerto No.4 in sol-major BWV 1049

1. Allegro   00:00 
2. Andante  07:17
3. Presto  12:42

Johann Sebastian Bach (Eisenach, Thuringia, March 21. / March 31, 1685 – Leipzig, July 28, 1750) was an organist, harpsichordist and composer of Baroque music German member of a family of musicians most extraordinary of history, with more than 35 famous composers and many outstanding performers. 
His reputation as an organist and harpsichordist was legendary, famed throughout Europe. Apart from the organ and harpsichord, also played the violin and the viola da gamba as well as being the first great improviser renowned music. 
His prolific work is considered the pinnacle of Baroque music. He was distinguished for his intellectual depth, technical perfection and artistic beauty, and also for the synthesis of various international styles of his time and of the past and unparalleled extension. Bach is considered the last great master of the art of counterpoint, which is the source of inspiration and influence to later composers and musicians from Mozart through Schoenberg, until today.

 

J.S. Bach French Suite No.5 in G Major BWV 816 Svetlana Ponomareva piano

Extract from Svetlana Ponomareva plays Schnittke / Bach CD
Recorded in 2008 at CBC Studio One in Vancouver yet never played on CBC Radio 2

For those who do not care about musical name dropping and want to listen to a fine and informed articulation of the French Suite No.5

(Finally available for download, “Touching a Mystery” the book on rules of articulation for Baroque Clavier Music:
http://ponomarevapianist.com/news.php… )

This CD commemorates Alfred Schnittke‘s 10th passing anniversary. The selected “Five Aphorisms” written in 1990 and Sonata No. 3 written in 1992 are among his late works for piano solo, rarely performed. Svetlana’s performing of Schnittke solo piano is among the finest.

The CD also focuses on Bach’s music as the result of Svetlana’s serious work based on several in-depth researches by Alexandrov, Teregulov and Nosina from Russia on Baroque music – in particular, about articulation in Bach’s Clavier music and the symbolism of his music. Svetlana chose the Prelude and Fugue BWV 849 from the Well Tempered Clavier book 1 and the French Suite No. 5 BWV 816 to illustrate this research and demonstrate how through the rules of articulation the polyphony is serving a complex dramaturgy that is both true to the epoch -in style- and still quite personal to the performer.

http://ponomarevapianist.com/music_de…

 

J.S. Bach – Brandenburg Concerto No.5 in re-major BWV 1050

Johann Sebastian Bach ( Eisenach , Thuringia , March 21 . / March 31, 1685 – Leipzig , July 28, 1750 ) was an organist , harpsichordist and composer of Baroque music German member of a family of musicians most extraordinary of history, with more than 35 famous composers and many outstanding performers .
His reputation as an organist and harpsichordist was legendary , famed throughout Europe. Apart from the organ and harpsichord , also played the violin and the viola da gamba as well as being the first great improviser renowned music .
His prolific work is considered the pinnacle of Baroque music . He was distinguished for his intellectual depth , technical perfection and artistic beauty, and also for the synthesis of various international styles of his time and of the past and unparalleled extension . Bach is considered the last great master of the art of counterpoint, which is the source of inspiration and influence to later composers and musicians from Mozart through Schoenberg , until today.

 

Jan Dismas Zelenka: Trio Sonata 1 in F major ZWV 181

3. Larghetto
4. Allegro assai 

Heinz Holliger (Oboe)
Maurice Bourgue (Oboe)
Klaus Thunemann (Bassoon)
Klaus Stoll (Double Bass)
Jonathan Rubin (Lute)
Christiane Jaccottet (Harpsichord)
Thomas Zehetmair (Violin)
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From Wikipedia, the free encyclopedia

 

 Jan Dismas Zelenka (baptised Jan Lukáš Zelenka; 16 October 1679 – 23 December 1745),^[1] previously also known as Johann Dismas Zelenka, was the most important Czech baroque composer. His music is admired for its harmonic inventiveness and counterpoint.

Jan Dismas Zelenka memorial plaque in Louňovice pod Blaníkem,Czech Republic
Zelenka was born in Louňovice pod Blaníkem, a small market town southeast of Prague, in Bohemia. the eldest of the eight children born to Marie Magdalena (née Hájek) and Jiří Zelenka. The middle name Dismas is probably his confirmation name.^[2] His father was a schoolmaster and organist there; nothing more is known with certainty about Zelenka’s early years. He received his musical training at the Jesuit college Clementinum in Prague.^[3] His instrument was the violone (or bass viol). His first works, all oratorios, were written in his Prague student days.

Zelenka’s place of birth, at Louňovice pod Blaníkem, Czech Republic, now marked only by a memorial plaque

Zelenka served Baron Hartig, the imperial governor resident in Prague, before his appointment as violone player in Dresden‘s royal orchestra around 1710. His emigration from Bohemia, for unknown reasons which have been speculated about, was most likely sudden. Some monographs give various personal reasons why he left, but the truth is still unknown. His first opus in Dresden was a Mass, the “Missa Sanctae Caeciliae” (c. 1711).^[4]