In texture it contrasts a solo voice with the ripieno of the full orchestra, its outer movements in ritornello form, each with a recurrent thematic element. The central Andante is an ornamented aria.
Both the Fantasia and the Fugue are remarkable for their harmonic boldness in the exploration of relatively remote keys and have much in common with compositions by Bach for organ. This recording was produced to communicate, stimulate and encourage the interpretation of Bach's keyboard works on the modern piano. It is based upon recognized fundamental elements of performance practices of early music.
The interpretation of Bach's music on the modem piano remains a confusing issue in light of the fact that the instrument basically evolved with the romantic period. It is, therefore, no surprise that attempts frequently result in romantic readings, a direction which can be most musical at times but may be stylistically confusing if not actually foreign to the score.
Musical preferences also favour a clean, mathematical and metronomic realisation - a safe but somewhat noncommittal solution to the communication of Bach's artistry. These components, which are strongly interrelated and directly influence choices of articulation and flexibility of rhythm, often answer automatically questions of style, especially when they are understood as basic elements of the musical language. The complex subject of ornamentation, both Bach's written out ornaments and the liberty given in repeats of movements, is most challenging and rewarding when there is the concept of freedom of execution and the manner is improvisational and imaginative.
Dynamic shadings within figurations, motivic material, and entire musical lines in any part of the polyphonic structure becomes particularly exciting and meaningful upon melodic and harmonic analysis.
BACH, J.S.: French Suites Nos. 1-6, BWV 812-817 / Suites, BWV 818 and 819a (Belder)
Important pitches, in the greater sense of the direction, can be pointed out by dynamic control and nuance and by the effect of rhythmic flexibility within the structure of the melodic line. The degree of such bending in time is most personal and strongly communicative when applied with balance and refinement of taste.
The process of merging the "old" and the "new" in Bach's keyboard works will be an ongoing pursuit for me as it will most likely be for pianists with an interest in early music who strive for reorganization of the ear before fingers are expected to reflect such inner feelings. Since such musical detail is best demonstrated by the music itself, it is my hope that this recording will be a helpful example in this process and that listeners and students alike will find it an enjoyable means of communication.
Based now in the Chicagoarea, he has held a professorship at Northwestern University since and since has served as University Organist at the University of Chicago.westncidhyreskou.ml
Minuet from French Suite c minor BWV a scored for Keyboard
International recognition came in , when he won the Grand Prix de Chartres, Interpretation, and has continued to grow through his recording career, with over eighty recordings, many of them winning awards. He gives masterclasses in the interpretation of early and romantic organ repertoire and in the interpreting of the keyboard music of J. Home My First Bach. My First Bach. Easiest Piano Pieces by J.
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