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> Anne Galowich / J.S.Bach, C.P.E.Bach, H. Distler, SACD

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Elephantus
post 20/06/2009, 12:32
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Anne Galowich / J.S.Bach, C.P.E.Bach, H. Distler, SACD


Anne Galowich / J.S.Bach, C.P.E.Bach, H. Distler , SACD

Genre: Classical – Instrumental

Гибридный SACD 5.0

Anne Galowich - Harpsichord
with
Jos Van Immerseel - Harpsichord (tracks 22,23,24)
AnimaEterna
Jos van Immerseel - musical director

Carl Philipp Emanuel Bach (1714-1788)
Suite in E minor, W.62/12 (H.66)
1. Allemande 3:52
2. Courante 2:04
3. Sarabande 2:28
4. Menuet 1/ Menuet 2/ Menuet 3 3:16
5. Gigue 1:51

Hugo Distler (1908-1942)
Variationen "Ei du feiner Reiter", aus:
Konzert für Cembalo und Streichorchester opus 14
6. Thema (Samuel Scheidt, Tabulatura Nova, 1624) 0:40
7-19. Var. 1 t/m 13 9:10
20. Thema da capo 2:00

Johann Sebastian Bach (1685-1750)
Concerto a due Cembali BWV 1061a (original first version)
21. (...) 7:32
22. Adagio ovvero Largo 4:42
23. Fuga 5:58

Total time: 43:49


Recorded on October 27-30, 2004 in Concertgebouw Brugge and 'De Singel', Internationaal Kunstcentrum, Antwerp
Producer & editing: Bert van der Wolf
Balance engineers: Bert van der Wolf & Fir Suidema
Mastering: Bert van der Wolf, Fir Suidema & Harry van Dalen
Executive producer: Martin Odijk


Turtle Records (TRSA0024, 8 713606 240009), 2004
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Elephantus
post 20/06/2009, 12:46
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Цитата( буклет )
Harmony, not repetition: that what I took for when working cm & musical program.

I. THE HARPSICHORDS
For me, the starting point is always the instrument (or instruments) at my disposal. Each historical keyboard instrument has its own socio-geographical context. A particularity that counts as one of the great pleasures in the life of a harpsichordist for during its heyday, which lasted for over three centuries, the harpsichord was never a standardized instrument. Its compass, pitch and disposition evolved over time, and the choice of materials used for its manufacturing was largely conditioned by the geographical location of a particular workshop. This resulted in a multitude of styles, bringing a variety of sound and touch ('toucher), in short: a range of possibilities. It is indeed the rather enviable duty of a harpsichord player (as it is any other musician's playing historical instruments) to establish a happy marriage between an instrument and a composition, happy for it is based on harmony between history and aesthetics.

For this recording, i was lucky to have two absolutely extraordinary harpsichords at my disposal. The white harpsichord that I play, was made in 2001 by Matthias Griewisch. This harpsichord has two keyboards, with two registers at 8' and one at 4'. It is a reconstruction of an instrument by Michael Mietke, a Berlin based harpsichord maker (c. 1665-1726 or 1729). Research interest in Mietke was awakened when it was discovered that Johann Sebastian Bach had ordered a harpsichord from him for the court of Cöthen, where Bach was employed from 1717 till 1723.

Three of Mietke's harpsichords have been preserved. Two of them, a black one and a white one, are currently in the Schloss Charlottenburg in Berlin; the third Mietke instrument is preserved at the Halsingiands Museet, in Hudiksvall, Sweden. Matthias Griewisch set out to re-create the instrument that Bach had ordered. In order to do so, it was not possible to copy any of these three instruments since the two Berlin instruments, both showing two keyboards, had already been transformed during the 18th century and they therefore no longer represented the exact work of Mietke, whereas the Sweden harpsichord, though well preserved in its original state, only has one keyboard. The Griewish harpsichord is thus not a copy of an existing instrument but truly a reconstruction. The result is a magnificent harpsichord, capable of rendering simultaneously the elegance and rhetorical expression found in the compositions of Carl Philipp Emanuel Bach, the rhythmical, energetic drive necessary  for the interpretation of Distler's piece, as well as the clarity and transparency essential for the understanding of the polyphonic writing of father Bach.

The black harpsichord, which is played by Jos van Immersed in Johann Sebastian Bach's Concerto a due Cembali, is made by Michel De Mayer and dates from 1988. The disposition is identical to that of the white harpsichord, showing two keyboards, with two registers at 8' and one at 4'. It is a copy of a harpsichord made by Pierre Donzelague (1668-1747) in Lyons in 1716. The original is currently preserved in the Musée Lyonnais des Arts Décoratifs.

Professionally active both as an instrument maker and as a musician (he was employed at the Lyons opera house), Donzelague, whose father originated from Bruges, made harpsichords which were clearly influenced by the world renowned Antwerp style. And so, this marvellous copy made by Michel De Mayer is suitable not only for the performance of French pieces, but it also serves the music of the Northern Schools. The stunning decoration - I love it! - of this harpsichord combines Japanese and French elements. Odd as it may seem, this style of decoration was fairly common in France and Germany in the 17th and 18th century.

[/b]II. THE PROGRAMME[b]
In choosing the three works for this recording, the given instruments were a decisive factor, as was the striving for a balanced programme. But there are a number of other links between them, even if the piece by Distler was written nearly two hundred years later than the others.

First, the influence of Johann Sebastian Bach is undeniable. In his autobiography, Carl Philipp Emanuel, Bach's second son, clearly says that he only had one music teacher: his father. Johann Sebastian taught his sons at home and at the famed Thomasschule in Leipzig, where he was employed as Kantor (from 1723 to 1750). In 1927, Distler arrived in Leipzig to study composition and organ with Günther Ramin, one of the leaders of the Orgelbewegung, a movement whose aim it was to rediscover the specific sound of the baroque and pre-baroque organ. The influence of Ramin, the concerts of the Thomanerchor and the Bach tradition still very much alive in Leipzig, encouraged the young Distler to immerse body and soul in the study of Bach's works. After his studies, Distler took up the position of organist at the Jacobikirche of Lübeck. One of the organs in this church, the so-called Kleine Orgel, lends itself wonderfully to the understanding of Bach's works for organ.

Another unifying element in this-programme is the geographical context. Like Leipzig, Berlin is a key place. For thirty years Carl Philipp Emanuel was harpsichordist at the Court of Friedrich II in Berlin, where he regularly accompanied the King, who was a fervent flutist himself. Johann Sebastian visited Berlin on many occasions, not only to place his order for the Mietke harpsichord, but also to stay on good terms with the court. In 1940, Distler was appointed professor of composition, organ and choral conducting at the Staatliche Akademische Hochschule für Musik in Charlottenburg. What should have been the start of a brilliant career turned into a nightmare. The Nazis became increasingly hostile towards the church and its musical activities. Distler, the most important church musician at time, time, risked witnessing his work being classified a degenerate art - entarteteKunst. In the end, the Nazi threats and the daily horrors of the war became inescapable: in 1942 Distler took his own life, at the age of only thirty-four.

For what reasons did we record only part of  Distler's harpsichord concerto?
1. The idea that one 'must' present a complete work is relatively recent. In the 10th century, it was still quite common to play only one movement from a symphonv. one page of a sonata, one aria from an opera... in a concert performance. Apparently, variety was more in favour than the idea of completeness.
2. From a stylistical point of view, the variations have relatively little; in common with the preceding movements.
3. Admittedly, the first two movements are musically very interesting as well. Still, there is no doubt whatsoever that the variations represent the work's artistic climax. What is more: they are truly imbued with genius!

Fascinated by early music, Distler acquired in 1931 a Neupert harpsichord. These instruments were quite widespread at the time but they had very little in common with the historical harpsichord: the materials that were used and the sound that was sought in the making of these instruments were almost completely contrary to period instruments' features. Although harpsichords of this type played a role in the rediscovery of early music at the beginning of the 20th century, historically and aesthetically they are unsatisfactory. Nowadays, very few musicians, composers or scientists are nostalgic about those early 20th century harpsichords. In any case, Distler did not have much choke. Period harpsichords that were still playable were rare and even rarer still were the occasions on which one could hear them being played.

Personally. I am convinced that Distler would have been excited about the idea of his work being interpreted on a reconstruction of the instrument that his 'mentor' Bach had ordered from Mietke.

In determining the strength of the string orchestra, we were scrupulous in following Distler's instructions. In his score Distler wrote explicitly: Besetzung: Vier erste Geigen, vier zweite Geigen, drei Bratschen, zwei Ceili, ein Bass. [...] Größer sei die Besetzung auf  keinen Fall, höchstens noch kleiner [...]. Moreover, the musicians of Anima Eterna all play on gut strings, as was still common in Distler's time.

Finally, a last word on the Concerto a due Cembali by Johann Sebastian Bach: this work is nowadays generally played with the accompaniment of a string ensemble. Original sources however clearly confirm that Bach's original score was written for two unaccompanied harpsichords. The origin of these string parts is uncertain but they are definitely not the work of Bach.

Anne Galowich
Antwerp. October 2004

Начало было впечатляющим. Белый клавесин уроженке Люксембурга, Анне Галович, (его белизну она сама подчеркивает, тем более будет еще и черный), с немного суховатым звуком, но красиво представленный за фронтами с мягкими реверберациями зала исполняют Сюиту Баха-сына с темой вполне современного романса в куранте. Такое десяточное благолепие. Но потом всё меняется. Оба Баха (затем и отец будет) используются как обрамление для одной из работ Хуго Дистлера, музыканта, органиста, композитора с трагической судьбой. А чтобы связать с Бахами, выбрана вариация на тему композитора добаховского периода Самуэля Шейдта. Тема скорее не характерная для для придворного композитора. Это простенькая народная песня. Дистлер придает этой теме атональную обработку с еврейскими мотивами. Сама по себе композиция интересная, только с Бахами ну ни как не вяжется. А тут и еще проблема. Клавесин исполняет в сопровождении ансамбля АнимаЭтерна, только звук последнего как бы прилеплен к клавесиновому. В нем придавлены высокие, вроде как одни альты и виолончели остались, а скрипки в них превратились, хотя суховатый клавесин в высоких имеется. А еще этот ансамбль (14 человек) представлен совсем без глубины на линии фронтов, но с эхом среднего зала. Когда дело до второго обрамления добирается, Баха отца, опять всё меняется. Концерт для двух клавесинов (черный и белый), Анне на пару со своим частым партнером Йосом ван Иммерсеелом. Отличный дуэт. Инструменты чуть ближе к вам, осязаемые. Вот и получается, что все три работы по отдельности бы представить, а не лепить винегрет этой неудачной идей объединения. А техперсоналу учиться ансамбль удачно представлять.

Музыка – 8 (неудачная программа)
Запись – 8
Многоканальность - 7


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