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2 episodes with Ricercar
2 episodes with Ricercar
2 episodes with Ricercar
Na petem koncertu Kromatike so sinoči RTV simfoniki zaigrali pod taktirko Oscarja Jockela. Poslušali smo Bachov šestglasni Ricercar iz Glasbene daritve, ki ga je za orkester priredil Anton Webern, Poulencov Koncert za orgle, godala in timpane s solistom Olivierjem Latryjem ter Mozartovo Simfonijo št. 41.
PALESTRINA: Missa Brevis (21.17). The Tallis Scholars. Dir.: P. Phillips. Ricercar primi toni (4.21). Ricercar secondo tono (4.33). J. Rondeau (clv.). Quanti mercenari (7.14). B. Dickey (corneta), L. Tamminga (órg.). Quae es ista (3.12). Cantores in ecclesia. Dir.: M. Howard.Escuchar audio
durée : 00:06:58 - Le Bach du matin du vendredi 31 janvier 2025 - Notre Bach du matin est un bach urbain ! D'Eisenach à Leipzig, le compositeur a sillonné l'Allemagne. Ce matin, nous partons pour Weimar où Bach compose dans les années 1710 une cantate festive, la BWV 63 : Christen ätzet diesen Tag. Elle est ici interprétée par le Ricercar Consort.
durée : 00:06:58 - Le Bach du matin du vendredi 31 janvier 2025 - Notre Bach du matin est un bach urbain ! D'Eisenach à Leipzig, le compositeur a sillonné l'Allemagne. Ce matin, nous partons pour Weimar où Bach compose dans les années 1710 une cantate festive, la BWV 63 : Christen ätzet diesen Tag. Elle est ici interprétée par le Ricercar Consort.
Su mundo interior—inquietante, tenebroso, apocalíptico, espejo de los horrores de la guerra que ha vivido—queda plenamente patente en su obra. Amplia es su paleta de intereses y técnicas, que va del serialismo al collage, del cine a la electrónica, del jazz a la radio._____Has escuchadoConcerto for Trumpet and Orchestra: Nobody Knows the Trouble I See (1954). Hakan Hardenberger, trompeta; SWF Sinfonieorchester Baden-Baden; Michael Gielen, director. Philips (1993)Concerto pour violoncelle et orchestre en forme de “pas de trois” (1965). Siegfried Palm, violonchelo; Rundfunk-Sinfonieorchester Saarbrücken; Hans Zender, director. CPO (1997)Die Soldaten. Primer acto, primera escena: Strofe (1991). Milagro Vargas, mezzo-soprano; Nancy Shade, soprano [et al.]; Chor des Staatstheaters Stuttgart; Staatsorchester Stuttgart; Bernhard Kontarsky, director. Teldec (1991)Requiem für einen jungen Dichter. Prolog a Ricercar (1967-1969). SWF-Sinfonieorchester Baden-Baden; Michael Gielen, director. Sony (1995)_____Selección bibliográficaBERGÉ, Pieter et al., “Bernd Alois Zimmermann: Requiem für einen jungen Dichter”. En: Dies Irae: Kroniek van Het Requiem. Leuven University Press, 2021*EBBEKE, Klaus, Sprachfindung. Studien zum Spätwerk Bernd Alois Zimmermanns. Schott, 1986GRUHN, Wilfried, “Integrale Komposition. Zu Bernd Alois Zimmermanns Pluralismus-Begriff”. Archiv für Musikwissenschaft, vol. 40 (1983), pp. 287-302HELLEU, Laurence, “Les Soldats de Bernd Alois Zimmermann”; une approche scénique. Éditions mf, 2011HIEKEL, Jörn Peter, Bernd Alois Zimmermanns “Requiem für einen jungen Dichter”. Franz Steiner, 1995KONOLD, Wulf, Bernd Alois Zimmermann (1986). Michel de Maule, 1998KORTE, Oliver, “Zu Bernd Alois Zimmermanns später Reihentechnik”. Musiktheorie, vol. 15 (2001), pp. 19-39LOSADA, C. Catherine, “Between Modernism and Postmodernism: Strands of Continuity in Collage Compositions by Rochberg, Berio, and Zimmermann”. Music Theory Spectrum, vol. 31, n.º 1 (2009), pp. 57-100WENZEL, Silke, Text als Struktur. Der Kohelet im Werk Bernd Alois Zimmermanns. Weidler, 2001ZIMMERMANN, Bernd Alois, Écrits. Editado por Philippe Albèra. Contrechamps, 2010 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March
durée : 00:11:03 - Le Disque classique du jour du mardi 17 décembre 2024 - Un hommage du Ricercar Consort et de Philippe Pierlot à la musique de l'époque des Stuart, une période de profonde mutation qui vient résonner avec la nôtre
durée : 00:11:03 - Le Disque classique du jour du mardi 17 décembre 2024 - Un hommage du Ricercar Consort et de Philippe Pierlot à la musique de l'époque des Stuart, une période de profonde mutation qui vient résonner avec la nôtre
Oudemuziekkenner Kees Koudstaal presenteert de mooiste en recentste CD’s met oude en klassieke muziek. Aandacht voor de nieuwe cd-uitgaven van Ensemble InAlto, Concerto Scirocco, William Christie & Justin Taylor en Les Musiciens de Saint-Julien. 1. Giovanni Felice Sances (ca. 1600-1679) – ‘Nel regno d'amore' Uitvoerenden: Ensemble InAlto o.l.v. Lambert Colson (cd: ‘Still und Lieblich…', Ricercar […]
Eine Stunde Musik, die unendlich friedvoll und beruhigend ist. Vollendeter, technisch perfekter, zugleich beseelter und expressiver lassen sich diese wunderbaren Werke kaum interpretieren.
A Child's Christmas in Wales is de titel van een ontroerend kerstverhaal van Dylan Thomas, waarin hij zijn jeugdherinneringen deelt - herinneringen aan de sneeuw, de ooms en tantes die op bezoek waren, de kadootjes, de lekkernijen, en de eindeloze avonturen die je als kind meemaakt. Door de auteur met sonoor stemgeluid voorgelezen in de jaren '50 - enkele fragmenten in deze uitzending, afgewisseld met opnamen van Welshe carols zoals die gezongen worden tijdens Plygain, kerstochtend vóór de zon opkomt; en kerstmuziek uit de 15e eeuw, toen het kerstverhaal langzamerhand in beeld kwam als inspiratie voor componisten, door de Cappella Pratensis. 23.04 CD O admirabile commercium (Ricercar 207572) Antoine Busnoys: Noel, noel, noel + Alleluya. Verbum caro factum est Cappella Pratensis olv Rebecca Stewart 3'08” 23.08 CD Komorebi (fuga libera FUG805) Aino Peltomaa; Mikko Perkola; Harmen Fraanje: Jucundum Peltomaa Fraanje Perkola 2'58” 23.11 CD Caneuon Plygain & Lloft-Stabal (SAIN Recordiau CYF) trad: Deffrown! Deffrown! Parti Gad 1'57” 23.13 CD Caneuon Plygain & Lloft-Stabal (SAIN Recordiau CYF) trad.: Wel dymar borau gorau i gyd Parti Llanrhaeadr-ym-Mochnant 3'07” CD O admirabile commercium (Ricercar 207572) Antoine Brumel: Noe, noe, noe Cappella Pratensis olv Rebecca Stewart 2'07” CD Caneuon Plygain & Lloft-Stabal (SAIN Recordiau CYF) trad: Tramwywn Parti Gad 3'25” CD O admirabile commercium (Ricercar 207572) Jean Mouton: Noe, noe, noe, psallite Jherusalem Cappella Pratensis olv Rebecca Stewart 4'04” CD Caneuon Plygain & Lloft-Stabal (SAIN Recordiau CYF) trad: Agorwyd Priffordd Rydd Parti Pen-y-Groes 2'41” CD An Olde English Christmas (Universal International Music) trad: Good King Wenceslas John Alldis Choir, London Symphony Orchestra olv Sir Colin Davis 2'50” CD O admirabile commercium (Ricercar 207572) Josquin Desprez: O admirabile commercium Cappella Pratensis olv Rebecca Stewart 4'10” 23.50 CD Christmas Album (Inside Out Music – IOMCD 114) Trad.; arr. Stan Funicelli: God Rest Ye Merry Gentlemen California Guitar Trio 1'34” CD Christmas Album (Inside Out Music – IOMCD 11) Trad.: Carol of the bells California Guitar Trio 2'35” CD Christmas Album (Inside Out Music – IOMCD 114) Georg Friedrich Händel: Unto us a Child is born California Guitar Trio 3'46”
durée : 01:59:24 - Le Bach du dimanche du dimanche 08 octobre 2023 - par : Corinne Schneider - Au programme de cette 265e émission : une immersion dans L'Art de la Fugue BWV1080 à l'occasion de la parution du CD de l'ensemble Les Récréations (Ricercar, 25 août); la 28e édition du Festival Toulouse-les-Orgues; et le Dossier Bach du magazine Classica (oct. 2023) avec des exemplaires à gagner ! - réalisé par : Emmanuel Benito
When the King of Prussia requested Bach's presence for a visit, Bach probably expected to be asked to improvise some complex music on the king's prototype fortepiano. But did he expect the king to give him such a twisty, chromatic theme? And, after he played an extemporaneous 3-part fugue successfully, was it then even more unfair for the king to ask for a 6-part fugue immediately following that? And, most intriguing to us, was it actually Bach's son who convinced the king to spring this "trap" on Bach, as theorized by Arnold Schoenberg? Today we dive deeper into the Musical Offering, and take a suggestion from listener Darcy, looking at a fairly jazzy few seconds of Bach. Playlist of the entire Musical Offering, performed by the Netherlands Bach Society Or, go straight to the Ricercar a 3. Ricercar a 6, orchestrated by Anton Webern (as mentioned in this episode), with scrolling score, performed by the LA Philharmonic
durée : 01:58:38 - Le Bach du dimanche du dimanche 19 février 2023 - par : Corinne Schneider - Au programme de cette 240e émission : Bach au clavicorde, avec le nouveau CD d'Andras Schiff (ECM, déc. 2022), Benjamin Alard, Jocelyne Cuiller et Mathieu Dupouy ; le Ricercar à 6 voix de L'Offrande Musicale BWV 1079 dans une nouvelle orchestration de Thomas Lacôte créée au Festival Présences 2023. - réalisé par : Anne-Lise Assada
Greetings! Welcome to another "short on time" show featuring longer pieces from a number of newer releases. During my long weekend trip to visit friends and family in Connecticut, I had the opportunity to see Toby Amies' documentary, "In The Court of the Crimson King: King Crimson at 50". Even if you're not a King Crimson or a progressive rock fan, the film is quite engaging, both funny and moving. Well worth checking out. In addition, on the way back I was able to make my seasonal winter stop at the Princeton Record Exchange and loaded up on goodies to be shared on upcoming programs. Enjoy the show and be sure to check out older programs you might have missed! Joel e-mail: pushingtheenvelopewhus@gmail.com Twitter: https://twitter.com/envpusher1 2-11-23 PTE Playlist Hymn 532292 - Xqui - Hymns for Terry Francis - Subexotic Records (2022) https://xqui.bandcamp.com/album/hymns-for-terry-francis When The Machine Rhymes With My Body - Kukuruz Quartet /composer: Julie Herndon - Breathing – Remembering – Dissolving - Innova Recordings (2023) https://www.innova.mu/albums/kukuruz-quartet/breathing-remembering-dissolving Through The Closing Portal - Robert Scott Thompson - Night and Day - Aucourant Records (2023) https://robert-scott-thompson.bandcamp.com/album/night-and-day Somehow We Can (String Quartet No. 3) - Momenta Quartet / composer: Alvin Singleton - Alvin Singleton: Four String Quartets - New World Records (2022) https://www.newworldrecords.org/collections/recent-release-3/products/alvin-singleton-four-string-quartets Toy Room / Q & A - Circle (Anthony Braxton/Chick Corea/David Holland/Barry Altschul) - Paris-Concert - ECM (1973) https://www.ecmrecords.com/shop/143038750610/paris-concert-circle Section 7 (electronics intro) / Section 8 to X - The Jeff Kaiser Ockodektet - 132350 -pfMENTUM (2022) https://music.jeffkaiser.com/album/132350-the-jeff-kaiser-ockodektet Ricercar Primo for solo cello - cello: Marina Hasselberg / composer: Domenico Gabrielli / improvised electronics: Georgio Magnanensi - Redshift Records (2022) https://redshiftmusicsociety.bandcamp.com/album/red-2 Ricercar for solo cello - cello: Marina Hasselberg / composer: Linda Catlin Smith - RED - Redshift Records (2022) https://redshiftmusicsociety.bandcamp.com/album/red-2
Why can't you just read the score that you want to perform?Dedicated to the Italian genius composer Girolamo Frescobaldi (1583-1643), this episode is an introduction to early music performance and textual sources. Francesco Corti, harpsichordist and conductor, explains the principles of musical improvisation and, above all, how composers told their contemporaries how to play their music. We will then go on to discover the cultural and musical revolution that was the 'Seconda Prattica', a revival to which Frescobaldi contributed greatly.To go further >CREDITSguest Francesco Corti, harpsicordist and conductorinterview & editing Andrew Burnproduction REMAcredits music Platée, Act 1, Orage - Jean-Philippe Rameauperformed by Les Talens Lyriques, dir. Christophe RoussetCamera Lucida 2014All rights reserved - Courtesy of Les Talens Lyriquesdesign Doretta Rinaldioriginal drawings Vincent Flückigercover score Folio, Harpsichord pieces, 1607-1637 (Bibliothèque Nationale de France, FRBNF14792481)musicPrimo Libro di Toccate: Partite sopra La Monica, Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti &Toccata nona, "Non senza fatiga si giunge al fine” - Girolamo Frescobaldiperformed by Lambert Colson, Alice Foccroulle, Bernard FoccroulleOrgan Works, Ricercar 2017
András Schiff is one of the greatest J.S. Bach interpreters of our time and his dedication to Bach's oeuvre has been extensively recorded on ECM's New Series, receiving wide acclaim with his interpretation of the Goldberg Variations (2001) and the Six Partitas (2007), before taking on both books of the Well-Tempered Clavier (2012). The New York Times: “Mr. Schiff is, in Bach, a phenomenon. He doesn't so much perform it as emit, breathe it.” Here Schiff returns to Bach, this time on the clavichord, and presents a special selection, spanning the Capriccio in B-flat major, Bach's Two- and Three-Part Inventions as well as the Chromatic Fantasia and Fugue, the Four Duets and Ricercar à 3 from Musikalisches Opfer.Track Listing:1 Capriccio sopra la lontananza de il fratro dilettissimo BWV 992 - I. Arioso2 II.3 III. Adagissimo4 IV.5 V. Aria di Postiglione. Adagio poco6 VI. Fugue all'imitatione della cornetta di postiglione.7 Inventions BWV 772-786 - No. 1 in C major8 No. 2 in c minor9 No. 3 in D major10 No. 4 in d minor11 No. 5 in E-flat major12 No. 6 in E major13 No. 7 in e minor14 No. 8 in F major15 No. 9 in f minor16 No. 10 in G major17 No. 11 in g minor18 No. 12 in A-flat major19 No. 13 in a minor20 No. 14 in B-flat major21 No. 15 in b minor22 No. 1 in e minor23 Four Duets BWV 802-805 - No. 2 in F major24 No. 3 in G major25 No. 4 in a minor26 Das Musikalische Opfer BWV 1079 - Ricercar a 327 Sinfonias BWV 787-801 - No. 1 in C major28 No. 2 in c minor29 No. 3 in D major30 No. 4 in d minor31 No. 5 in E-flat major32 No. 6 in E major33 No. 7 in e minor34 No. 8 in F major35 No. 9 in f minor36 No. 10 in G major37 No. 11 in g minor38 No. 12 in A major39 No. 13 in a minor40 No. 14 in B-flat major41 No. 15 in b minor42 Chromatic Fantasia and Fugue BWV 903 - I. Fantasia43 II. Fuguech, this time on the clavichord, and presents a special selection, spanning the Capriccio in B-flat major, Bach's Two- and Three-Part Inventions as well as the Chromatic Fantasia and Fugue, the Four Duets and Ricercar à 3 from Musikalisches Opfer.Help support our show by purchasing this album at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).
上期我们细数了一整期巴赫与时代的格格不入，这一期就来系统聊聊我理解的巴赫的伟大之处。本期出现的所有曲子都是我个人最爱的巴赫曲目（的一部分，没办法真的太多了），希望你们听的开心。包含曲目：0:26- Cello Suite No. 6 in D Major, BWV. 1012 - I. Prelude7:26- Ricercar a 3，Bach: The Musical Offering BWV 107916:24- Matthäus-Passion, BWV 244, Pt. 2: No. 39, Aria. "Erbarme dich"26:20- Art of Fugue, BWV. 1080 - Contrapunctus II30:24- Variations Goldberg, BWV. 988 - Aria34:05- Jesus nahm zu sich die Zwölfe, BWV. 22 - V. Ertödt' uns durch dein' Güte
安德烈·加布里埃利和乔万尼·加布里埃利叔侄将威尼斯乐派推向顶峰，后者还是历史上第一个使用协奏曲这个名称的人。他们很好地衔接了文艺复兴和巴洛克时期，他们代表了文艺复兴时期管风琴的最高水平。包含曲目：0:26 - Ricercar del duodecimo tuono (Ricercar On the Twelfth Tone) 2:40 - Suscipe a 127:49 - Quem vidistis pastores a 14
Ansambel Doulce Mémoire esitab Josquin Desprez' prantsusekeelseid laule. Ansambli kunstiline juht on Denis Raisin Dadre.
Vincenzo Capirola - Ricercar No. 1 Franklin Lei, lute More info about today's track: Amadis 7259 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon
1 Orchestral Suite No. 3 in D Major, BWV 1068: II. Aria 00:00 Piano: Giovanni Umberto Battel 2 Suite No. 2 in B Minor, BWV 1067: I. Ouverture. Lentamente 06:21 Orchestra da Camera Fiorentina, Giuseppe Lanzetta, Andreas Blau 3 Suite No. 2 in B Minor, BWV 1067: III. Sarabande 14:07 Orchestra da Camera Fiorentina, Giuseppe Lanzetta, Andreas Blau 4 Suite No. 2 in B Minor, BWV 1067: V. Double 17:08 Orchestra da Camera Fiorentina, Giuseppe Lanzetta, Andreas Blau 5 Suite No. 2 in B Minor, BWV 1067: VI. Minuetto 20:37 Orchestra da Camera Fiorentina, Giuseppe Lanzetta, Andreas Blau 6 Notebooks for Anna Magdalena Bach: Menuet in G Minor, BWV Anh. 114 21:54 Piano: Giovanni Umberto Battel 7 The Well-Tempered Clavier, Book 1, Prelude and Fugue No 16 in G Minor, BWV 861 23:11 Piano: Carlo Balzaretti 8 Brandenburg Concerto No. 3 in G Major, BWV 1048: II. Adagio 28:01 Orchestra da Camera Fiorentina, Giuseppe Lanzetta 9 Das wohltemperierte Klavier I: Prélude & Fugue No. 22 in B-Flat Major, BWV 867 28:27 Piano: Saulis Dirvanauskas 10 Musicalisches Opfer, BWV 1079: Ricercar a 3 35:27 Piano: Giovanni Umberto Battel 11 Ave Maria 41:19 Piano: Carlo Balzaretti 12 Harpsichord Concerto No. 1 in D Minor, BWV 1052: II. Adagio 43:13 ¡Que lo disfrutes! ✅ Si desean sumarse a IVOOX solo tienen que suscribirse o darle el botón del corazoncito ❤️ y comentar : https://www.ivoox.com/podcast-meditaaccion_sq_f1707851_1.html ✅ Si nos sigues en SPOTIFY ó Apple Podcast, ahora nos puedes ayudar a calificar con 5 estrellas ⭐️⭐️⭐️⭐️⭐️. Por favor ayúdanos a llegar a más personas. Tu calificación o Me gusta❤️ no te tomara mas de 10 segundos y ayudará a llegar a más personas. Gracias de antemano!!! Puedes visitarnos en nuestro Sitio Web, para ver el articulo completo: Web: https://meditaaccion.com Síguenos en nuestro canal informativo de Telegram: https://t.me/meditaaccion
A short, simple piece for a solo instrument -- only 35 seconds long. Yet it has captured the imaginations of so many people: musicians, philosophers, artists, mathematicians, and more. It's all because of the unique cleverness of Bach -- showing us here that he can construct a piece that can be played forwards OR backwards... OR both at the same time! Yes, this piece is actually for two instruments -- one playing it normally and the other playing it backwards in time. Alex recounts the story of Bach composing this piece (and the rest of The Musical Offering), and our discussion turns to the monumental book Gödel, Escher, Bach: an Eternal Golden Braid by Douglas Hofstadter (1979) as well as the recent Christopher Nolan film Tenet (2020). All these works are the result of authors striving to understand profound mysteries of the universe -- all by asking one simple question: what would happen if you turned time backwards? Video of Shunske Sato performing "Canon 1 a 2" as a duet with himself: https://www.youtube.com/watch?v=29YwFjE2b1A Overview of Gödel, Escher, Bach: an Eternal Golden Braid, the book we discussed in this episode: https://archive.nytimes.com/www.nytimes.com/books/97/07/20/reviews/hofstadter-grodel.html J. S. Bach's "Crab Canon" visualized on a Möbius strip (video by Jos Leys): https://www.youtube.com/watch?v=xUHQ2ybTejU Examples of M. C. Escher's art: https://mcescher.com/gallery/ Article about the philosophy of Tenet, the film we mentioned in the episode: https://www.psychologytoday.com/us/blog/plato-pop/202009/is-tenet-s-fatalism-excuse-do-nothing More examples from The Musical Offering performed by the Netherlands Bach Society, all of which were played in the background of this episode: Ricercar a 3: https://www.youtube.com/watch?v=Lv5A1gy2oys Ricercar a 6: https://www.youtube.com/watch?v=fjxKy3pP41w Canon a 4 "Quaerendo invenietis" ("Seek and ye shall find"): https://www.youtube.com/watch?v=GRqoP-NdkDg
durée : 01:58:02 - Le Bach du dimanche du dimanche 19 septembre 2021 - par : Corinne Schneider - Au programme de cette 175e émission : le nouveau disque Bach de Skip Sempé « Tradition & Transcription » enregistré sur le “clavecin rouge” Skowroneck (1975) de Gustav Leonhardt (nouveauté Paradizo) ; les Sonates en trio de Johann Gottlieb Goldberg (nouveauté Ricercar) et l'actualité des Festivals. - réalisé par : Emmanuel Benito
Welcome to TOSS A COIN: A Witcher podcast. Join your host, Mike Slamer, as he discusses The Witcher and what to expect from the show as he journeys through the valley of plenty... Host / Editor Mike Slamer Executive Producer Tony Black Support the We Made This podcast network on Patreon: www.patreon.com/wemadethis We Made This on Twitter: @wmt_network wemadethisnetwork.com Title music: Ricercar for Lute, No. 45 performed by John Sheehan
La soprano Alice Foccroulle est née à Bruxelles en 1985. Elle manifeste très tôt un vif intérêt pour la musique et plus particulièrement pour le chant. C'est ainsi qu'elle intègre le Chœur d'enfants du Théâtre Royal de la Monnaie. Elle commence à étudier le chant auprès de Susanna Eken et après avoir étudié deux ans l'Histoire de l'Art et la musicologie à l'Université Libre de Bruxelles, elle obtient son diplôme à la Musikhochschule de Cologne auprès de Joseph Protschka et de Christoph Prégardien. Son intérêt pour la musique baroque la conduit à collaborer en ensemble ou en soliste avec des ensembles spécialisés, tels que Collegium Vocale Gent (Philippe Herreweghe), Pygmalion (Raphaël Pichon), InAlto (Lambert Colson), La Fenice (Jean Tubéry), Utopia ou encore B'Rock. Alice Foccroulle se produit également en récital avec le claveciniste Pierre Gallon, le cornettiste Lambert Colson, l'organiste Bernard Foccroulle ou encore la luthiste Sofie Vanden Eynde. Alice Foccroulle est aussi très attirée par la musique contemporaine et à ce titre elle participe notamment à la création mondiale de l'opéra de Kris Defoort House of the sleeping beauties à la Monnaie sous la direction de Patrick Davin et dans une mise en scène de Guy Cassiers (CD Fuga Libera, 2009). En septembre 2017 elle crée E vidi quattro stelle de Bernard Foccroulle avec l'ensemble InAlto à Bozar, œuvre qui fait en 2019 l'objet d'un enregistrement pour Outhere. Avec l'ensemble InAlto elle enregistre un disque consacré à J.H. Schein sorti en janvier 2015 pour le label Ramée. En 2016, leur enregistrement Schütz and his legacy (Passacaille) est applaudi par la critique internationale, recevant entre autres le Choc Classica et le Diapason d'Or de l'Année. Le disque est également dans la sélection des meilleurs enregistrements de l'année dans les journaux Le Monde et Libération. En 2019 l'ensemble InAlto sort Teatro Spirituale (Ricercar), un disque consacré à la musique romaine du début du XVIIème siècle qui reçoit un nouveau Diapason d'Or. Plusieurs enregistrements discographiques sont à paraitre en 2021, notamment un disque autour de la musique de Correa de Arrauxo avec InAlto pour Ricercar et un enregistrement des Lieder de Joseph Haydn avec le claveciniste Pierre Gallon pour le label Passacaille. Parallèlement à son activité de musicienne, Alice Foccroulle animera une émission autour de la musique ancienne sur Musiq3 (RTBF) à partir du mois de septembre 2021.
Nouvelle diffusion ce dimanche de notre rencontre avec Aurelia Visovan, c'était en octobre 2020. Aurelia Visovan est née à Cluj, en Roumanie, il y a 30 ans. C'est dans son pays qu'elle a étudié le piano moderne. C'est à la faveur d'une Master class de piano moderne, du grand Maître américain, Robert Levin, qu'elle découvre le pianoforte. Il faut dire que l'homme est un grand spécialiste mondial du pianoforte. Et Aurelia Visovan de nous confier que " Robert Levin est l'un des rares pianistes qui peut encore improviser à la manière de Mozart " Mais c'est à Vienne, où elle fera ses études supérieures, qu'elle découvrira le monde des instruments historiques. Elle y étudiera, en parallèle, le clavecin et le pianoforte. Travailleuse et infiniment curieuse, Aurelia Visovan remporte le 1er Prix du Concours de Musique ancienne de Bruges, en 2019, en catégorie pianoforte. C'est suite à ce prix qu'elle a pu enregistrer son 1er disque de Musique de chambre au pianoforte. Il paraît en ce moment chez Ricercar, et sera au coeur de notre entretien. La genèse de ce disque est assez amusante : " Lors du Concours de Bruges en 2019 " nous racontera la jeune pianiste " J'avais à jouer une transcription du 24e Concerto pour piano de Mozart, par Johan Nepomuk Hummel. Une transcription pour pianoforte, flûte, violon et violoncelle. Les musiciens engagés par le Concours étaient la flûtiste Anna Besson; la violoniste Cecilia Bernardini, et le violoncellliste Marcus van den Munckhof. L'entente musicale et humaine ont été telles, qu'au moment d'enregistrer ce disque, j'ai eu l'idée de l'enregistrer avec ces musiciens-là, et avec ce répertoire symphonique, transcrit par Hummel " Le résultat est passionnant. Sur ce disque, on peut entendre deux transcriptions magistrales de J.N. Hummel : celle du 24e Concerto pour piano de Mozart, dont nous parlions, et celle de la 1ère Symphonie de Beethoven. Outre ces transcriptions, la pianofortiste a également enregistré la Sonate en fa mineur, opus 20, toujours de Hummel. Epaulée par trois musiciens aussi efficaces que subtils, Aurelia Visovan fait sonner son piano comme une voix. Elle fait entendre toutes les inégalités de cet instrument, dont on se rappelle, en l'écoutant, que ces inégalités confèrent à l'instrument un feu d'artifice de couleurs. A la question délibérément provocatrice que nous lui poserons : " Mozart aurait certainement été ravi de jouer sur le Steinway de concert moderne, alors pourquoi donc s'évertuer à jouer ce répertoire sur des instruments historiques, et par conséquent imparfaits ? ". La musicienne ne se laissera pas démonter, et nous répondra, pleine de malice : " Si Mozart avait connu le piano moderne, il aurait surtout écrit une autre musique que celle que nous connaissons !! ". Et de rajouter : " Pour nous, jouer les instruments historiques, c'est aussi une immense curiosité ! Ce n'est pas un fardeau, c'est une passion ! ". Tout au fil de l'écoute de ce disque, on est charmés d'abord par le génie de transcription de J.N.Hummel, mais aussi par la fluidité du discours musical de ce quatuor, dont on sent qu'il poursuit le même but : produire de la beauté avec des instruments historiques ! Aurelia Visovan, une musicienne cultivée, raffinée, et généreuse, une femme infiniment sympathique, et ouverte sur le monde. Réalisation et présentation : Laurent GRAULUS
主播：飞面 / 黄瓜 / TAKO来履行“厕所之约”了！这次聊的是17-19世纪之间欧洲是如何从中世纪那样的卫生情况逐渐慢慢诞生公共厕所开始走向干净整洁的呢？BGM：遠天、とある忘れ物 - encounter+Ricercar alla frottola - Marco Dall'Aquila
主播：飞面 / 黄瓜 / TAKO来履行“厕所之约”了！这次聊的是17-19世纪之间欧洲是如何从中世纪那样的卫生情况逐渐慢慢诞生公共厕所开始走向干净整洁的呢？BGM：遠天、とある忘れ物 - encounter+Ricercar alla frottola - Marco Dall'Aquila
主播：飞面 / 黄瓜 / TAKO来履行“厕所之约”了！这次聊的是17-19世纪之间欧洲是如何从中世纪那样的卫生情况逐渐慢慢诞生公共厕所开始走向干净整洁的呢？BGM：遠天、とある忘れ物 - encounter+Ricercar alla frottola - Marco Dall'Aquila
主播：飞面 / 黄瓜 / TAKO来履行“厕所之约”了！这次聊的是17-19世纪之间欧洲是如何从中世纪那样的卫生情况逐渐慢慢诞生公共厕所开始走向干净整洁的呢？BGM：遠天、とある忘れ物 - encounter+Ricercar alla frottola - Marco Dall'Aquila
durée : 00:05:08 - R comme Ricercar - « Ricercar » est un mot italien : on peut le traduire par « recherche », au sens d’invention et d’expérimentation. Dans le domaine musical, ce terme apparaît à la Renaissance : il est exclusivement réservé à la musique instrumentale, d’abord au luth et à l’orgue ...
主播：飞面 / 黄瓜 / TAKOTSP也有金主啦!!!!感谢STR8男士香氛品牌！这期节目我们聊聊漫长的人类文明当中香水这个产物带来的浪漫色彩BGM：Re.incarnation -Last harmony - 上松範康Ricercar alla frottola - Marco Dall'Aquila
主播：飞面 / 黄瓜 / TAKOTSP也有金主啦!!!!感谢STR8男士香氛品牌！这期节目我们聊聊漫长的人类文明当中香水这个产物带来的浪漫色彩BGM：Re.incarnation -Last harmony - 上松範康Ricercar alla frottola - Marco Dall'Aquila
主播：飞面 / 黄瓜 / TAKOTSP也有金主啦!!!!感谢STR8男士香氛品牌！这期节目我们聊聊漫长的人类文明当中香水这个产物带来的浪漫色彩BGM：Re.incarnation -Last harmony - 上松範康Ricercar alla frottola - Marco Dall'Aquila
主播：飞面 / 黄瓜 / TAKOTSP也有金主啦!!!!感谢STR8男士香氛品牌！这期节目我们聊聊漫长的人类文明当中香水这个产物带来的浪漫色彩BGM：Re.incarnation -Last harmony - 上松範康Ricercar alla frottola - Marco Dall'Aquila
Chaque jour, Camille De Rijck reçoit un invité qui fait l'actualité musicale ou culturelle. Production et présentation : Camille De Rijck
Chaque jour, Camille De Rijck reçoit un invité qui fait l'actualité musicale ou culturelle. Production et présentation : Camille De Rijck
durée : 00:12:15 - Mozart, Beethoven : Concertos pour violon en ré - Liya Petrova, Sinfonia Varsovia, Jean-Jacques Kantorow
durée : 01:56:52 - En pistes ! du vendredi 18 décembre 2020 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme aujourd'hui : de la musique de chambre avec le 3ème volume des quatuors de Mozart par le quartet Armida mais aussi Dvorak, Siegfried Fall et Marek Dyakov par le Trio Imàge ; un album Bartok par le pianiste chinois Cheng Zhang et Beethoven arrangé pour ténor et petit ensemble... - réalisé par : Lionel Quantin
durée : 01:58:59 - Relax ! du mercredi 16 décembre 2020 - par : Lionel Esparza - Il y a 40 ans, Jérôme Lejeune, musicologue, gambiste et directeur artistique, se lance dans l’aventure de la création d’un label destiné à la musique ancienne et baroque : Ricercar ! Une marque d’excellence privilégiant des artistes belges et des œuvres liées aux écoles musicales de ce pays. - réalisé par : Antoine Courtin
Chaque jour Nicolas Blanmont met en avant une nouveauté parmi les sorties discographiques classiques.
durée : 01:58:38 - En pistes ! du vendredi 23 octobre 2020 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Également, le coffret sur les maîtres de la musique baroque allemande paru à l'occasion des 40 ans du label Ricercar, le pianiste Luca Quintavalle enregistre les sonates d'Eberl, Escher interprété par le Concertgebouw Orchestra dirigé par Riccardo Chailly... - réalisé par : Gilles Blanchard
Aurelia Visovan est née à Cluj, en Roumanie, il y a 30 ans. Pianiste de formation, elle a également étudié, en parallèle le clavecin dans son pays. C'est à la faveur d'une Master class de piano moderne, du grand Maître américain, Robert Levin, qu'elle découvre le pianoforte. Il faut dire que l'homme est un grand spécialiste mondial du pianoforte. Et Aurelia Visovan de nous confier que " Robert Levin est l'un des rares pianistes qui peut encore improviser à la manière de Mozart " Mais c'est à Vienne, qu'elle fera ses études supérieures, au cours desquelles elle étudiera en profondeur le pianoforte. Cela étant dit, notre invitée continue à jouer du piano moderne, et du clavecin. Travailleuse et infiniment curieuse, Aurelia Visovan remporte le 1er Prix du Concours de Musique ancienne de Bruges, en 2019. C'est suite à ce prix qu'elle a pu enregistrer son 1er disque de Musique de chambre au pianoforte. Il paraît en ce moment chez Ricercar, et sera au coeur de notre entretien. La genèse de ce disque est assez amusante : " Lors du Concours de Bruges en 2019 " nous racontera la jeune pianiste " J'avais à jouer une transcription du 24e Concerto pour piano de Mozart, par Johan Nepomuk Hummel. Une transcription pour pianoforte, flûte, violon et violoncelle. Les musiciens engagés par le Concours étaient la flûtiste Anna Besson; la violoniste Cecilia Bernardini, et le violoncellliste Marcus Van Den Munckhof. L'entente musicale et humaine ont été telles, qu'au moment d'enregistrer ce disque, j'ai eu l'idée de le faire avec ces musiciens-là, et avec ce répertoire symphonique, transcrit par Hummel " Le résultat est passionnant. Sur ce disque, on peut entendre deux transcriptions magistrales de J.N. Hummel : celle du 24e Concerto pour piano de Mozart, dont nous parlions, et celle de la 1ère Symphonie de Beethoven. Outre ces transcriptions, la pianofortiste a également enregistré la Sonate en fa mineur, opus 20, toujours de Hummel. Epaulée par trois musiciens aussi efficaces que subtils, Aurelia Visovan fait sonner son piano comme une voix. Elle fait entendre toutes les inégalités de cet instrument, dont on se rappelle, en l'écoutant, que ces inégalités confèrent à l'instrument un feu d'artifice de couleurs. A la question délibérément provocatrice que nous lui poserons : " Mozart aurait certainement été ravi de jouer sur le Steinway de concert moderne, alors pourquoi donc s'évertuer à jouer ce répertoire sur des instruments historiques, et par conséquent imparfaits ? ". La musicienne ne se laissera pas démonter, et nous répondra, pleine de malice : " Si Mozart avait connu le piano moderne, il aurait surtout écrit une autre musique que celle que nous connaissons !! ". Et de rajouter : " Pour nous, jouer les instruments historiques, c'est aussi une immense curiosité ! Ce n'est pas un fardeau, c'est une passion ! ". Tout au fil de l'écoute de ce disque, on est charmés d'abord par le génie de transcription de J.N.Hummel, mais aussi par la fluidité du discours musical de ce quatuor, dont on sent qu'il poursuit le même but : produire de la beauté avec des instruments historiques ! Aurelia Visovan sera en récital à Bozar, à Bruxelles, ce dimanche 11 octobre à 11h. Aurelia Visovan, une musicienne cultivée, raffinée, et généreuse, et une femme infiniment sympathique, et ouverte sur le monde. Bonne écoute ! Réalisation et présentation : Laurent GRAULUS
durée : 01:59:16 - Relax ! du lundi 28 septembre 2020 - par : Lionel Esparza - On écoute "Deux mezzos sinon rien", le nouveau disque de mélodies de Karine Deshayes et Delphine Haidan. On fête aussi le quarantenaire du label Ricercar, fondé en 1980 par le violiste Jérôme Lejeune. Et à 16h, notre légende du disque est la version de "Didon et Enée" de Purcell par Jessye Norman. - réalisé par : Antoine Courtin
Tracklist1. Hanne Darboven, Abschliessend (op. 22, book 61) (« Requiem », 2005, Hanne Darboven Stiftung) 2.Emmanuel Holterbach with Blutwurst, Ricercar nell’ombra (excerpt) (« Ricercar nell’ombra », 2020, Another Timbre) 3.Gavin Bryars, White’s SS (« From Brussels with Love », 1980, Les Disques du Crépuscule) 4.Steven Brown, Waltz (« Music for Solo Piano », 1984, Another Side) 5.Jill Kroesen, I’m Just a Human Being (« Stop Vicious Cycles », 1982, Lovely Music) 6.John Cale,The Jeweller (« Slow Dazzle », 1975, Island) 7.Anthony Moore, Johnny’s Dead (« Out », 1976, Virgin) 8.Virginia Astley, We Will Meet Them Again (« A Bao A Qu » 10’, 1982, Why Fi) 9.Blaine L. Reininger & Mikel Rouse,Windy Outside (« Colorado Suite », 1984, Crammed Discs) 10. Anna Domino, Land of My Dreams (« East and West », 1984, Les Disques du Crépuscule) 11.Mark Isham / Marianne Faithfull, The Hawk (El Gavilan) (« Trouble in Mind » OST, 1986, Island) 11.Brian Eno, Daniel Lanois & Roger Eno, Weightless (« Apollo. Atmospheres and Soundtracks », 1983, EG)
durée : 00:24:35 - Ricercar Consort (5/5) - Fondé en 1980, le Ricercar Consort célèbre cette année ses 40 ans ! Un anniversaire qu'En Pistes fête toute la semaine en musique...
durée : 00:27:34 - Ricercar Consort (4/5) - Fondé en 1980, le Ricercar Consort célèbre cette année ses 40 ans ! Un anniversaire qu'En Pistes fête toute la semaine en musique. Aujourd'hui : Joseph Haydn, Pergolèse et Henry Dumont...
durée : 00:26:23 - Ricercar Consort (3/5) - Fondé en 1980, le Ricercar Consort célèbre cette année ses 40 ans ! Un anniversaire qu'En Pistes fête toute la semaine en musique. Aujourd'hui, Matthias Weckmann, Henry Purcell et Carl Phillip Emanuel Bach...
durée : 00:27:30 - Ricercar Consort (2/5) - Fondé en 1980, le Ricercar Consort célèbre cette année ses 40 ans ! Un anniversaire qu'En Pistes fête toute la semaine en musique. Aujourd'hui : la musique de Jean-Sebastien Bach...
durée : 00:26:53 - Ricercar Consort (1/5) - Fondé en 1980, le Ricercar Consort célèbre cette année ses 40 ans ! Un anniversaire qu'En Pistes fête toute la semaine en musique. Aujourd'hui : les premiers disques notamment, avec Marin Marais, Antonio Vivaldi et Heinrich Ignaz Franz Von Biber...
Saates kõlab heliloojate Hugo ja Arnold de Lantins'i muusika, kes olid arvatavasti vennad. Nad tegutsesid 15. sajandi alguses Põhja-Itaalias ja nende looming on võrreldav nende kuulsa kaasaegse Guillaume Dufay omaga. Muusikat esitab ansambel Le miroir de musique Baptiste Romaini juhatusel. (Ricercar 2014). Saate autor on Robert Staak.
Saates kõlab heliloojate Hugo ja Arnold de Lantins'i muusika, kes olid arvatavasti vennad. Nad tegutsesid 15. sajandi alguses Põhja-Itaalias ja nende looming on võrreldav nende kuulsa kaasaegse Guillaume Dufay omaga. Muusikat esitab ansambel Le miroir de musique Baptiste Romaini juhatusel. (Ricercar 2014). Saate autor on Robert Staak.
23 maart 1685, Georgenkirche, Eisenach. Sebastian Nagel houdt zijn petekind vast, dat zijn naam zal dragen en de naam van Johann Ambrosius Bach, de vader van het kind. Kortom, Johann Sebastian’s doopdag! Johann Christoph Bach Der Mensch, vom Weibe geboren Vox Luminis Ricercar 347 3’37’’ Johann Christoph Bach Bist willkommen Vox Luminis Ricercar 347 2’18’’
durée : 01:58:23 - En pistes ! du lundi 23 décembre 2019 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Les plus beaux chants extraits de Noël baroque réunis en 2 CD par Alpha, Lars Vogt et Anne Queffelec abordent les sonates de Mozart, une flûte enchantée transcrite pour quatuor à Cordes par le Quatuor Zaïde, Kent Nanago consacre son troisième album chez Decca Classics à l'œuvre de John Adams... - réalisé par : Romain Masson
durée : 01:58:54 - Le Bach du dimanche du dimanche 23 juin 2019 - par : Corinne Schneider - Au programme de cette 86e émission : la fête de la Saint Jean-Baptiste avec la Cantate BWV 7 (Leipzig, 1724) ; le nouveau disque « Cantates de la famille Bach » de l’ensemble Vox Luminis de Lionel Meunier (label Ricercar) et le concert inaugural (14 juin 2019) du Bachfest de Leipzig ! - réalisé par : Céline Parfenoff
Dans le monde de la flûte à bec, on entend fréquemment parler de consort : tel luthier vient de livrer un consort au conservatoire, les élèves commencent le consort en second cycle, le consort Untel a gagné tel concours prestigieux… consort par ci, consort par là, tout ceci n’est pas familier à tout le monde et mérite quelques éclaircissements… Je vous propose de découvrir les différents sens de ce terme et d’approcher son évolution du XVème siècle à nos jours ! Ressources : Généralités : http://www.recorderhomepage.net https://www.etymonline.com/word/consort https://en.wikipedia.org/wiki/Consort_of_instruments Virdung Musica getutschtet Agricola Musica Instrumentalis : https://blogs.univ-tlse2.fr/musique-renaissance/theorie-pratique/traites/226-2/ Podcast Bons Becs : Épisode 2 – Bruno Reinhard a bon bec (à partir de 20’58) : https://www.bonsbecs.fr/2019/04/29/épisode-2-bruno-reinhard-a-bon-bec/ Épisode 4 - Cécile Orsini a bon bec : https://www.bonsbecs.fr/2019/05/27/épisode-4-cécile-orsini-a-bon-bec/ Instruments et étuis : Flûtes colonne Paris : https://collectionsdumusee.philharmoniedeparis.fr/0161966-flutes-colonnes-hans-rauch-von-schratt.aspx Et présentation : https://www.dailymotion.com/video/x2i3qvq Etui flutes KHM Wien : https://www.khm.at/objektdb/detail/84890/ Facteurs : Adrian Brown : https://adrianbrown.org Adrianna Breukink : http://www.adrianabreukink.com/recorders.php#recorders Ture Bergström : https://bergstrom.dk Bob Marvin : https://bobmarvinrecorders.wordpress.com Bruno Reinhard : http://www.flutes-bruno-reinhard.com Consorts de flûtes à bec professionnels : Sour Cream : https://www.youtube.com/watch?v=ddsnuL1h1aQ Flanders recorder quartet : http://www.flanders-recorder-quartet.be/en/home/ Royal Wind Music : http://royalwindmusic.org Amsterdam Loeki Stardust quartet : https://www.youtube.com/watch?v=VhmUQ5wZfiA Consort Brouillamini : https://www.consortbrouillamini.com Seldom Sene : https://www.seldomsene.com Block 4 : https://www.block4.co.uk Brisk : http://www.brisk.nl/main-en/?lang=en Autres ensembles cités : Ricercar consort : https://www.ricercarconsort.com/ Le Consort : https://www.justintaylorharpsichord.com/leconsort Orchestre de flûtes à bec du Bas-Rhin : https://fiatiinsieme.jimdo.com/l-orchestre-de-flûtes-à-bec/ Compositeurs: Matthias Maute : https://www.matthiasmaute.com/ Makus Zahnhausen : http://www.zahnhausen.com/Start.html Sören Sieg : http://www.soerensieg.de/fr Chaîne youtube pédagogique (en anglais) : The Consort counsellors :https://www.youtube.com/channel/UCS3jGCY50YujsfsP7czQmxA Musique : un grand merci au Consort Brouillamini (Guillaume Beaulieu, Virginie Botty, Élise Ferrière, Florian Gazagne, Aranzazu Nieto) pour les enregistrements de Arrangements de K. Serocki et In nomine XIX crye de C. Tye. Ils jouent un ensemble de flûtes Moeck, Mollenhauer et Aesthé (Serocki) ainsi qu'un consort réalisé par Bob Marvin. Son initial : ambiance sur une expo de flûtes à bec (enregistrement perso
We look at several readings, focusing on those beyond a single keyboard
The Walter Proof Experiment on W.A.P.X ! Le trou géant dans la banquise en Antarctique, t'en as entendu parler ? Eh bien Walter aussi. Et comme c'est pas loin de chez lui, il y est allé faire un tour pour voir à quoi ça ressemblait. Attends-toi donc à d'étonnantes révélations, aussi bien géologiques que musicales, dans ce 35e numéro du Wapx ! Dans cet épisode Le trou géant : Sweet home Alabama Replikator Hey Ya ! (le wapx) Gainsbourg inspiration : Initials BB & Dvorak Symphonie n°9 Lemon incest & Chopin Étude n°3 My Lady Héroïne & Sur un marché persan Jane B & Chopin Prélude en mi mineur Ma Lou & Beethoven Sonate n°23 Baby alone in Babylone & Brahms Symphonie n°3 Dépression au-dessus du jardin & Chopin Étude n°10 Lost song & Grieg Chanson de Solveig Poupée de cire, Poupée de son & Beethoven Sonate n°1 Charlotte forever & Khatchaturian Andantino Lucky Chops : Buyo Coco Helter Skelter Instruments bizarres : Feel Good inc. Pipe Drumz Toy party Mozart Heroes : Mozart Metallica Bach Game of thrones Doctor 3 : Sgt Pepper Covers : Hanna Peel : Tainted Love - Honeywagon : Billie Jean - Leroy Justice : Purple Rain - Japanese kids : Born to be wild - Swingle Singers underground - Four calculators : Super Mario - Toxicity acoustic cover - Neko Light Orchestra - Damian Salazar : Hotel California Tash Sultana : Jungle Yma Sumac : Chuncho Greatest hits Miracles Brassens : Demi Portion Al' Tarba : Walk with the beast Brassens & Trenet : Tout est au Duc Trucs en vrac : Sample Gobelet - Drums Boogie - Mitchell Cullen : Fingers - Les yeux noirs - T'as la touche manouche - Scottish street music - Le mime La +BCdM : Quand les hommes vivront d'amour par Raymond Lévesque par Eddie Constantine - Offenbach - Luce Dufault avec Nanette Workman & Mélanie Renaud - Celine Dion - Jill Barber - Philip Glass - LMDS - Félix Leclerc Gilles Vigneault & Robert Charlebois La Playlist de la +BCdM : sur le Tube à Walter sur Spotify (merci John Cytron) et sur Deezer (merci MaO de Paris) Le son mystèèère : Ricercar, à la viola organista Bach, Toccata et Fugue, guitares électriques
durée : 01:58:44 - Concert de Cornelius Zirbo à Bucarest - par : Gaëlle Le Gallic - ## Concert **[Cornelius Zirbo](https://fr-fr.facebook.com/cornelius.zirbo), violoncelle Dana Badoï, piano** **Niccolo Paganini** _Variations sur une seule corde en sol majeur sur un thème de Moïse en Egypte de Gioacchino Rossini_ **Ludwig van Beethoven** _Sonate pour piano et violoncelle n° 4 en ut majeur op. 102 n° 1 I. Andante - Allegro vivace / II. Adagio - Tempo d'andante - Allegro vivace_ **Bohuslav Martinu** _Variations sur un thème de Rossini_ **Serge Rachmaninov** _Vocalise_ **Astor Piazzolla** _Le Grand Tango_ **Alexandre Aroutiounian** _Impromptu_ _**Enregistré le 7 mars 2017 à la Petite Salle, Athénée Roumain, Bucarest**_ ## Au disque {% image f8ad88d1-971b-43e1-b93e-71d0a21fbc40 %} **Joseph Bodin de Boismortier** _Sonate pour flûte, violon et basse continue en sol majeur op. 41 n° 3 I. Allegro / II. Affettuoso / III. Vivace / IV. Presto_ Le Petit Trianon : Olivier Riehl, flûte / Amandine Solano, violon / Xavier Marquis, basson / Cyril Poulet, violoncelle / Paolo Corsi, clavecin [Ricercar](https://www.outhere-music.com/fr/albums/sonatas-trios-ric-381) {% image 9fc5dc2d-3483-4da5-9e66-050904a678ba %} **Maurice Ravel** _Le Tombeau de Couperin (extraits) I. Prélude / II. Fugue / V. Menuet / VI. Toccata_ Ryutaro Suzuki, piano [Claves Records](https://www.claves.ch/products/ryutaro-suzuki-piano-scarlatti-ravel-mozart-liszt) **Ryutaro Suzuki sera l'invité de Génération jeunes interprètes le lundi 18 décembre** {% image 13b694fb-e704-4d1a-9f05-d5b79c574750 %} **Robert Schumann** _Quatuor à cordes n° 3 en la majeur op. 41 n° 3 I. Andante espressivo - Allegro molto moderato / II. Assai agitato / III. Adagio molto / IV. Finale - Allegro molto vivace_ Quartet Gerhard Lluis Castán Cochs, violon / Judit Bardolet Vilaró, violon / Miguel Jordà Saún, alto / Jesus Miralles Roger, violoncelle Harmonia Mundi (collection [Harmonia Nova](http://www.harmoniamundi.com/|#!/albums/2292)) ## Agenda [Les Pianissimes](http://www.pianissimes.org/), saison 2017/18 **Lundi 13 novembre - 20 h** : Vikingur Olafsson aux Récollets (Paris) [Les Grandes Voix de demain](http://spectacles.aixlesbains-rivieradesalpes.com/programmation/par-genre-par-mois/detail/les-grandes-voix-de-demain-4718532/) au Théâtre du Casino d'Aix-les-Bains Récital Marie Perbost et Joshua Morris **Dimanche 12 novembre - 16 h** Mozart contre la barbarie : [Don Giovanni à Bobino](http://operaenherbe.fr/don-giovanni-bobino-13-novembre-2017/) Hommage aux victimes des attentats du 13 novembre 2015 **Lundi 13 novembre - 19 h 30** [Journées de musiques anciennes](https://journees-musiques-anciennes.org/), Vanves Du 15 au 19 novembre La Nouvelle Génération : **dimanche 19 novembre - 16 h** [Le Nain de Zemlinsky à l'Opéra de Lille](https://opera-lille.fr/fr/-saison-17-18/bdd/cat/opera/sid/99693_le-nain-der-zwerg-) Avec l'ensemble Ictus et une jeune distribution soutenue par l'Unité scénique de la Fondation Royaumont **Du 16 au 20 novembre** Musique de chambre à la [Salle Cortot](http://www.sallecortot.com/concert/beclassical1.htm?idr=7721) Onze musiciens dont la plupart familiers de Génération jeunes interprètes : Alexandra Conunova, Manuel Vioque-Judde, Joséphine Olech, Anaïs Gaudemard, Célia Oneto-Bensaïd... **17 novembre - 20 h 30** **Le Ban des Arts de Gadagne propose [Les Musicales de l'Orangerie](http://lebandesartscdg.wixsite.com/leban-2) : 2ème saison En partenariat avec Génération jeunes interprètes 7 concerts d'octobre 2017 à avril 2018 Dimanche 19 novembre - 16 h : Guilhem Fabre, piano Schumann, Debussy, Rachmaninov Domaine de Blanche Fleur, 84470 Châteauneuf de Gadagne** ## Réseaux sociaux[](https://fr-fr.facebook.com/generationjeunesinterpretes/) [La page facebook du Fan club de Génération jeunes interprètes](https://fr-fr.facebook.com/generationjeunesinterpretes/) - réalisé par : Jean-Pierre Collard
Ep. 4, The Life of JS Bach, "Old Man Bach, The Twilight of a God" brings us to the end of the great man's life and to the beginning of his immortality. As Bach grew to old age, his music slowly faded out of fashion and appreciation for his great musical achievements diminished. Even so, he would continue his work, dedicated as always to spirits greater than his own, and press on towards musical godhood. ---------------- For all things GCP Please rate, review, and subscribe on iTunes! The App! https://apps.apple.com/us/app/the-great-composers-the-gcp/id1465809545?fbclid=IwAR0tQTElluT8I3jn6SYFcQst70IY0Ym52LjEz1Z3DR11oq5ZGDLV_URNyHk&ls=1 Like our Facebook page! https://www.facebook.com/thegreatcomposerspodcast/ A complete bibliography for all episodes can be found on my website: www.kevinnordstrom.com Thank you to musopen.org for the royalty free music! -Art of Fugue, Canone no. 2 "all' ottava" (https://archive.org/details/AOC26B/onclassical_palareti_bach_art-of-fugue_5-ii_canon_in_hypodiapason.mp3) -Cantata “Jesu, der du meine Seele”, BWV 78 - museopen european Archive -Goldberg Variations, BWV 988 Aira and var. 1 Shelley Katz, piano -Mass in B minor, Kyrie (opening) -The Musical Offering, Sonata for flute, violin, and keyboard mvt. 2 -The Musical Offering, Ricercar in 6 parts -Mass in B minor, Gloria Material produced all episodes of The GCP are for educational purposes only.
Ich gieng einmal spatieren, Canzon in d, Ricercar del secondo tono, Magnificat quarti toni | Jan Katzschke
A 2014 Ricercar release from Ensemble Céladon, led by Paulin Bündgen, presents music of the Troubadours.
JS Bach's - Goldberg Variations #5Our version of JS Bach's - Goldberg Variations #5blessings,Shiloh Worship MusicThe Goldberg Variations, BWV 988, is a work for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, the work is considered to be one of the most important examples of variation form. The Variationsare named after Johann Gottlieb Goldberg, who may have been the first performer.Johann Sebastian Bach from WikipediaJohann Sebastian Bach[1] (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer, organist, harpsichordist, violist, and violinist of the Baroque Period. He enriched many established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach wrote much music that was revered for its intellectual depth, technical command, and artistic beauty. Many of his works are still known today, such as the Brandenburg Concertos, the Mass in B minor, the Well-Tempered Clavier, and his cantatas, chorales, partitas, passions, and organ works.Bach was born in Eisenach, Saxe-Eisenach into a very musical family; his father, Johann Ambrosius Bach was the director of the town's musicians, and all of his uncles were professional musicians. His father taught him to play violin and harpsichord, and his brother, Johann Christoph Bach taught him the clavichord and exposed him to much contemporary music.[2][3] Bach also sang, and he went to the St Michael's School in Lüneburg because of his skill in voice. After graduating, he held several musical posts across Germany: he served as Kapellmeister (director of music) to Leopold, Prince of Anhalt-Köthen, Cantor of Thomasschule in Leipzig, and Royal Court Composer to August III.[4][5] Bach's health and vision declined in 1749, and he died on 28 July 1750. Modern historians believe that his death was caused by a combination of stroke and pneumonia.[6][7][8]Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognised as a great composer until a revival of interest and performances of his music in the first half of the 19th century. He is now generally regarded as one of the main composers of the Baroque period, and as one of the greatest composers of all time.[9]LifeChildhood (1685–1703)Johann Sebastian Bach was born in Eisenach, Saxe-Eisenach, on 21 March 1685 O.S. (31 March 1685 N.S.). He was the son of Johann Ambrosius Bach, the director of the town musicians, and Maria Elisabeth Lämmerhirt.[10] He was the eighth child of Johann Ambrosius; the eldest son in the family was 14 at the time of Bach's birth.[11] His father taught him violin and harpsichord.[12] His uncles were all professional musicians, whose posts included church organists, court chamber musicians, and composers. One uncle, Johann Christoph Bach (1645–93), introduced him to the organ, and an older second cousin, Johann Ludwig Bach (1677–1731), was a well-known composer and violinist. Bach drafted a genealogy around 1735, titled "Origin of the musical Bach family".[13]Bach's mother died in 1694, and his father died eight months later.[5] Bach, 10, moved in with his oldest brother, Johann Christoph Bach (1671–1721), the organist at the Michaeliskirche in Ohrdruf, Saxe-Gotha-Altenburg.[14] There he studied, performed, and copied music, including his own brother's, despite being forbidden to do so because scores were so valuable and private and blank ledger paper of that type was costly.[15][16] He received valuable teaching from his brother, who instructed him on the clavichord. J.C. Bach exposed him to the works of great composers of the day, including South German composers such as Johann Pachelbel (under whom Johann Christoph had studied)[2] and Johann Jakob Froberger; North German composers;[3] Frenchmen, such as Jean-Baptiste Lully, Louis Marchand, Marin Marais; and the Italian clavierist Girolamo Frescobaldi. Also during this time, he was taught theology, Latin, Greek, French, and Italian at the local gymnasium.[17]At the age of 14, Bach, along with his older school friend George Erdmann, was awarded a choral scholarship to study at the prestigious St. Michael's School in Lüneburg in the Principality of Lüneburg.[18] Although it is not known for certain, the trip was likely taken mostly on foot.[17] His two years there were critical in exposing him to a wider facet of European culture. In addition to singing in the choir he played the School's three-manual organ and harpsichords.[17] He came into contact with sons of noblemen from northern Germany sent to the highly selective school to prepare for careers in other disciplines.Although little supporting historical evidence exists at this time, it is almost certain that while in Lüneburg, Bach visited the Johanniskirche (Church of St. John) and heard (and possibly played) the church's famous organ (built in 1549 by Jasper Johannsen, and played by Georg Böhm). Given his musical talent, Bach had significant contact with prominent organists of the day in Lüneburg, most notably Böhm, but also including organists in nearby Hamburg, such as Johann Adam Reincken.[19]Weimar, Arnstadt, and Mühlhausen (1703–08)In January 1703, shortly after graduating from St. Michael's and being turned down for the post of organist at Sangerhausen,[20] Bach was appointed court musician in the chapel of Duke Johann Ernst in Weimar. His role there is unclear, but likely included menial, non-musical duties. During his seven-month tenure at Weimar, his reputation as a keyboardist spread so much that he was invited to inspect the new organ, and give the inaugural recital, at St. Boniface's Church in Arnstadt, located about 40 km southwest of Weimar.[21] In August 1703, he became the organist at St Boniface's, with light duties, a relatively generous salary, and a fine new organ tuned in the modern tempered system that allowed a wide range of keys to be used.Despite strong family connections and a musically enthusiastic employer, tension built up between Bach and the authorities after several years in the post. Bach was dissatisfied with the standard of singers in the choir, while his employer was upset by his unauthorised absence from Arnstadt; Bach was gone for several months in 1705–06, to visit the great organist and composer Dieterich Buxtehude and his Abendmusiken at the Marienkirche in the northern city of Lübeck. The visit to Buxtehude involved a 400 kilometre (250 mi) journey on foot each way. The trip reinforced Buxtehude's style as a foundation for Bach's earlier works. Bach wanted to become amanuensis (assistant and successor) to Buxtehude, but did not want to marry his daughter, which was a condition for his appointment.[22]In 1706, Bach was offered a post as organist at St. Blasius's in Mühlhausen, which he took up the following year. It included significantly higher remuneration, improved conditions, and a better choir. Four months after arriving at Mühlhausen, Bach married Maria Barbara Bach, his second cousin. They had seven children, four of whom survived to adulthood, including Wilhelm Friedemann Bach and Carl Philipp Emanuel Bach who both became important composers as well. Bach was able to convince the church and city government at Mühlhausen to fund an expensive renovation of the organ at St. Blasius's. Bach, in turn, wrote an elaborate, festive cantata—Gott ist mein König, BWV 71—for the inauguration of the new council in 1708. The council paid handsomely for its publication, and it was a major success.[17]Return to Weimar (1708–17)In 1708, Bach left Mühlhausen, returning to Weimar this time as organist and concertmaster at the ducal court, where he had an opportunity to work with a large, well-funded contingent of professional musicians.[17] Bach moved with his family into an apartment very close to the ducal palace. In the following year, their first child was born and Maria Barbara's elder, unmarried sister joined them. She remained to help run the household until her death in 1729.Bach's time in Weimar was the start of a sustained period of composing keyboard and orchestral works. He attained the proficiency and confidence to extend the prevailing structures and to include influences from abroad. He learned to write dramatic openings and employ the dynamic motor-rhythms and harmonic schemes found in the music of Italians such as Vivaldi, Corelli, and Torelli. Bach absorbed these stylistic aspects in part by transcribing Vivaldi's string and wind concertos for harpsichord and organ; many of these transcribed works are still played in concert often. Bach was particularly attracted to the Italian style in which one or more solo instruments alternate section-by-section with the full orchestra throughout a movement.[24]In Weimar, Bach continued to play and compose for the organ, and to perform concert music with the duke's ensemble.[17] He also began to write the preludes and fugues which were later assembled into his monumental work Das Wohltemperierte Clavier ("The Well-Tempered Clavier"—Clavier meaning clavichord or harpsichord),[25] consisting of two books, compiled in 1722 and 1744,[26] each containing a prelude and fugue in every major and minor key.Also in Weimar Bach started work on the Little Organ Book for his eldest son, Wilhelm Friedemann, containing traditional Lutheran chorales (hymn tunes) set in complex textures to train organists. In 1713 Bach was offered a post in Halle when he advised the authorities during a renovation by Christoph Cuntzius of the main organ in the west gallery of the Marktkirche Unser Lieben Frauen. Johann Kuhnau and Bach played again when it was inaugurated in 1716.[27][28] Musicologists debate whether his first Christmas cantata Christen, ätzet diesen Tag, BWV 63, was premiered here in 1713[29], or if it was performed for the bicentennial of the Reformation in 1717.[30] Bach eventually fell out of favour in Weimar and was, according to a translation of the court secretary's report, jailed for almost a month before being unfavourably dismissed:“On November 6, [1717], the quondam concertmaster and organist Bach was confined to the County Judge's place of detention for too stubbornly forcing the issue of his dismissal and finally on December 2 was freed from arrest with notice of his unfavourable discharge.[31]”Köthen (1717–23)Leopold, Prince of Anhalt-Köthen hired Bach to serve as his Kapellmeister (director of music) in 1717. Prince Leopold, himself a musician, appreciated Bach's talents, paid him well, and gave him considerable latitude in composing and performing. The prince was Calvinist and did not use elaborate music in his worship; accordingly, most of Bach's work from this period was secular,[32] including the Orchestral Suites, the Six Suites for Unaccompanied Cello, the Sonatas and Partitas for Solo Violin, and the Brandenburg Concertos.[33] Bach also composed secular cantatas for the court such as the Die Zeit, die Tag und Jahre macht, BWV 134a.Despite being born in the same year and only about 80 miles apart, Bach and Handel never met. In 1719 Bach made the 20 mile journey from Köthen to Halle with the intention of meeting Handel, however Handel had recently departed the city.[34] In 1730, Bach's son Friedmann travelled to Halle to invite Handel to visit the Bach family in Leipzig, however the visit did not eventuate.[35]On 7 July 1720, while Bach was abroad with Prince Leopold, Bach's first wife suddenly died. The following year, he met Anna Magdalena Wilcke, a young, highly gifted soprano 17 years younger than he was who performed at the court in Köthen; they married on 3 December 1721.[36] Together they had 13 more children, six of whom survived into adulthood: Gottfried Heinrich, Johann Christoph Friedrich, and Johann Christian, all of whom became significant musicians; Elisabeth Juliane Friederica (1726–81), who married Bach's pupil Johann Christoph Altnikol; Johanna Carolina (1737–81); and Regina Susanna (1742–1809).[37]Leipzig (1723–50)In 1723, Bach was appointed Cantor of the Thomasschule at Thomaskirche in Leipzig, and Director of Music in the principal churches in the town, namely the Nikolaikirche and the Paulinerkirche, the church of the University of Leipzig.[38] This was a prestigious post in the mercantile city in the Electorate of Saxony, which he held for 27 years until his death. It brought him into contact with the political machinations of his employer, Leipzig's city council.Bach was required to instruct the students of the Thomasschule in singing and to provide church music for the main churches in Leipzig. Bach was required to teach Latin, but he was allowed to employ a deputy to do this instead. A cantata was required for the church service on Sundays and additional church holidays during the liturgical year. He usually performed his own cantatas, most of which were composed during his first three years in Leipzig. The first of these was Die Elenden sollen essen, BWV 75, first performed in the Nikolaikirche on 30 May 1723, the first Sunday after Trinity. Bach collected his cantatas in annual cycles. Five are mentioned in obituaries, three are extant.[39] Most of these concerted works expound on the Gospel readings prescribed for every Sunday and feast day in the Lutheran year. Bach started a second annual cycle the first Sunday after Trinity of 1724, and composed only Chorale cantatas, each based on a single church hymn. These include O Ewigkeit, du Donnerwort, BWV 20, Wachet auf, ruft uns die Stimme, BWV 140, Nun komm, der Heiden Heiland, BWV 61, and Wie schön leuchtet der Morgenstern, BWV 1.Bach drew the soprano and alto choristers from the School, and the tenors and basses from the School and elsewhere in Leipzig. Performing at weddings and funerals provided extra income for these groups; it was probably for this purpose, and for in-school training, that he wrote at least six motets, at least five of which are for double choir.[40] As part of his regular church work, he performed other composers' motets, which served as formal models for his own.[17]Bach broadened his composing and performing beyond the liturgy by taking over, in March 1729, the directorship of the Collegium Musicum, a secular performance ensemble started by the composer Georg Philipp Telemann. This was one of the dozens of private societies in the major German-speaking cities that was established by musically active university students; these societies had become increasingly important in public musical life and were typically led by the most prominent professionals in a city. In the words of Christoph Wolff, assuming the directorship was a shrewd move that "consolidated Bach's firm grip on Leipzig's principal musical institutions".[41] Year round, the Leipzig's Collegium Musicum performed regularly in venues such as the Zimmermannsches Caffeehaus, a Coffeehouse on Catherine Street off the main market square. Many of Bach's works during the 1730s and 1740s were written for and performed by the Collegium Musicum; among these were parts of his Clavier-Übung (Keyboard Practice) and many of his violin and harpsichord concertos.[17]In 1733, Bach composed the Kyrie and Gloria of the Mass in B minor. He presented the manuscript to the King of Poland, Grand Duke of Lithuania and Elector of Saxony, August III in an eventually successful bid to persuade the monarch to appoint him as Royal Court Composer.[4] He later extended this work into a full Mass, by adding a Credo, Sanctus and Agnus Dei, the music for which was almost wholly taken from his own cantatas. Bach's appointment as court composer was part of his long-term struggle to achieve greater bargaining power with the Leipzig Council. Although the complete mass was probably never performed during the composer's lifetime,[42] it is considered to be among the greatest choral works of all time. Between 1737 and 1739, Bach's former pupil Carl Gotthelf Gerlach took over the directorship of the Collegium Musicum.In 1747, Bach visited the court of the King of Prussia in Potsdam. There the king played a theme for Bach and challenged him to improvise a fugue based on his theme. Bach improvised a three-part fugue on Frederick's pianoforte, then a novelty, and later presented the king with a Musical Offering which consists of fugues, canons and a trio based on this theme. Its six-part fugue includes a slightly altered subject more suitable for extensive elaboration. Bach wrote another fugue, The Art of Fugue, shortly before his death, but never completed the final fugue. It consists of 18 complex fugues and canons based on a simple theme.[43] It was only published posthumously in 1751.[44]The final work Bach completed was a chorale prelude for organ, entitled Vor deinen Thron tret ich hiermit (Before thy throne I now appear, BWV 668a) which he dictated to his son-in-law, Johann Altnikol, from his deathbed. When the notes on the three staves of the final cadence are counted and mapped onto the Roman alphabet, the initials "JSB" are found.[45]Death (1750)Bach's health declined in 1749; on 2 June, Heinrich von Brühl wrote to one of the Leipzig burgomasters to request that his music director, Gottlob Harrer, fill the Thomascantor and Director musices posts "upon the eventual ... decease of Mr. Bach."[29] Bach became increasingly blind, so the British eye surgeon John Taylor operated on Bach while visiting Leipzig in March or April of 1750.[46]On 28 July 1750 Bach died at the age of 65. A contemporary newspaper reported "the unhappy consequences of the very unsuccessful eye operation" as the cause of death.[47] Modern historians speculate that the cause of death was a stroke complicated by pneumonia.[6][7][8] His son Emanuel and his pupil Johann Friedrich Agricola wrote an obituary of Bach.[48]Bach's estate included five Clavecins, two lute-harpsichords, three violins, three violas, two cellos, a viola da gamba, a lute and a spinet, and 52 "sacred books", including books by Martin Luther and Josephus.[49] He was originally buried at Old St. John's Cemetery in Leipzig. His grave went unmarked for nearly 150 years. In 1894 his coffin was finally found and moved to a vault in St. John's Church. This building was destroyed by Allied bombing during World War II, so in 1950 Bach's remains were taken to their present grave at Leipzig's Church of St. Thomas.[17]LegacyA detailed obituary of Bach was published (without attribution) four years later in 1754 by Lorenz Christoph Mizler (a former student) in Musikalische Bibliothek, a music periodical. The obituary remains probably "the richest and most trustworthy"[50] early source document about Bach. After his death, Bach's reputation as a composer at first declined; his work was regarded as old-fashioned compared to the emerging classical style.[51] Initially he was remembered more as a player and teacher.During the late eighteenth and early nineteenth century, Bach was widely recognised for his keyboard work. Mozart, Beethoven, Chopin, Robert Schumann, and Felix Mendelssohn were among his most prominent admirers; they began writing in a more contrapuntal style after being exposed to Bach's music.[52] Beethoven described him as the "Urvater der Harmonie", "original father of harmony".[53]Bach's reputation among the wider public was enhanced in part by Johann Nikolaus Forkel's 1802 biography of Bach.[54] Felix Mendelssohn significantly contributed to the revival of Bach's reputation with his 1829 Berlin performance of the St Matthew Passion.[55] In 1850, the Bach Gesellschaft (Bach Society) was founded to promote the works; in 1899 the Society published a comprehensive edition of the composer's works with little editorial intervention.During the 20th century, the process of recognising the musical as well as the pedagogic value of some of the works continued, perhaps most notably in the promotion of the Cello Suites by Pablo Casals, the first major performer to record these suites.[56] Another development has been the growth of the "authentic" or "period performance" movement, which attempts to present music as the composer intended it. Examples include the playing of keyboard works on harpsichord rather than modern grand piano and the use of small choirs or single voices instead of the larger forces favoured by 19th- and early 20th-century performers.[57]Bach's music is frequently bracketed with the literature of William Shakespeare and the teachings of Isaac Newton.[58] In Germany, during the twentieth century, many streets were named and statues were erected in honour of Bach. His music features three times - more than any other composer - on the Voyager Golden Record, a phonograph record containing a broad sample of the images, common sounds, languages, and music of Earth, sent into outer space with the two Voyager probes.[59]WorksIn 1950, a thematic catalogue called Bach Werke Verzeichnis (Bach Works Catalogue) was compiled by Wolfgang Schmieder.[60] Schmieder largely followed the Bach Gesellschaft Ausgabe, a comprehensive edition of the composer's works that was produced between 1850 and 1905: BWV 1–224 are cantatas; BWV 225–249, large-scale choral works including his Passions; BWV 250–524, chorales and sacred songs; BWV 525–748, organ works; BWV 772–994, other keyboard works; BWV 995–1000, lute music; BWV 1001–40, chamber music; BWV 1041–71, orchestral music; and BWV 1072–1126, canons and fugues.[61]Organ worksBach was best known during his lifetime as an organist, organ consultant, and composer of organ works in both the traditional German free genres—such as preludes, fantasias, and toccatas—and stricter forms, such as chorale preludes and fugues.[17] At a young age, he established a reputation for his great creativity and ability to integrate foreign styles into his organ works. A decidedly North German influence was exerted by Georg Böhm, with whom Bach came into contact in Lüneburg, and Dieterich Buxtehude, whom the young organist visited in Lübeck in 1704 on an extended leave of absence from his job in Arnstadt. Around this time, Bach copied the works of numerous French and Italian composers to gain insights into their compositional languages, and later arranged violin concertos by Vivaldi and others for organ and harpsichord. During his most productive period (1708–14) he composed several pairs of preludes and fugues and toccatas and fugues, and the Orgelbüchlein ("Little organ book"), an unfinished collection of 46 short chorale preludes that demonstrates compositional techniques in the setting of chorale tunes. After leaving Weimar, Bach wrote less for organ, although his best-known works (the six trio sonatas, the "German Organ Mass" in Clavier-Übung III from 1739, and the "Great Eighteen" chorales, revised late in his life) were all composed after his leaving Weimar. Bach was extensively engaged later in his life in consulting on organ projects, testing newly built organs, and dedicating organs in afternoon recitals.[62][63]Other keyboard worksBach wrote many works for harpsichord, some of which may have been played on the clavichord. Many of his keyboard works are anthologies that encompass whole theoretical systems in an encyclopaedic fashion. • The Well-Tempered Clavier, Books 1 and 2 (BWV 846–893). Each book consists of a prelude and fugue in each of the 24 major and minor keys in chromatic order from C major to B minor (thus, the whole collection is often referred to as 'the 48'). "Well-tempered" in the title refers to the temperament (system of tuning); many temperaments before Bach's time were not flexible enough to allow compositions to utilise more than just a few keys.[64] • The 15 Inventions and 15 Sinfonias (BWV 772–801). These short two- and three-part contrapuntal works are arranged in the same chromatic order as the Well-Tempered Clavier, omitting some of the rarer keys. These pieces were intended by Bach for instructional purposes.[65] • Three collections of dance suites: the English Suites (BWV 806–811), the French Suites (BWV 812–817), and the Partitas for keyboard (BWV 825–830). Each collection contains six suites built on the standard model (Allemande–Courante–Sarabande–(optional movement)–Gigue). The English Suites closely follow the traditional model, adding a prelude before the allemande and including a single movement between the sarabande and the gigue.[66] The French Suites omit preludes, but have multiple movements between the sarabande and the gigue.[67] The partitas expand the model further with elaborate introductory movements and miscellaneous movements between the basic elements of the model.[68] • The Goldberg Variations (BWV 988), an aria with thirty variations. The collection has a complex and unconventional structure: the variations build on the bass line of the aria, rather than its melody, and musical canons are interpolated according to a grand plan. There are nine canons within the 30 variations, one every three variations between variations 3 and 27.[69] These variations move in order from canon at the unison to canon at the ninth. The first eight are in pairs (unison and octave, second and seventh, third and sixth, fourth and fifth). The ninth canon stands on its own due to compositional dissimilarities. • Miscellaneous pieces such as the Overture in the French Style (French Overture, BWV 831), Chromatic Fantasia and Fugue (BWV 903), and the Italian Concerto (BWV 971).Among Bach's lesser known keyboard works are seven toccatas (BWV 910–916), four duets (BWV 802–805), sonatas for keyboard (BWV 963–967), the Six Little Preludes (BWV 933–938), and the Aria variata alla maniera italiana (BWV 989).Orchestral and chamber musicBach wrote for single instruments, duets, and small ensembles. Many of his solo works, such as his six sonatas and partitas for violin (BWV 1001–1006), six cello suites (BWV 1007–1012) and Partita for solo flute (BWV 1013), are among the most profound works in the repertoire.[70] Bach composed a suite and several other works for solo lute. He wrote trio sonatas; solo sonatas (accompanied by continuo) for the flute and for the viola da gamba; and a large number of canons and ricercare, mostly with unspecified instrumentation. The most significant examples of the latter are contained in The Art of Fugue and The Musical Offering.Bach's best-known orchestral works are the Brandenburg Concertos, so named because he submitted them in the hope of gaining employment from Margrave Christian Ludwig of Brandenburg-Schwedt in 1721; his application was unsuccessful.[17] These works are examples of the concerto grosso genre. Other surviving works in the concerto form include two violin concertos (BWV 1041 and BWV 1042); a Concerto for Two Violins in D Minor (BWV 1043), often referred to as Bach's "double" concerto; and concertos for one to four harpsichords. It is widely accepted that many of the harpsichord concertos were not original works, but arrangements of his concertos for other instruments now lost.[71] A number of violin, oboe and flute concertos have been reconstructed from these. In addition to concertos, Bach wrote four orchestral suites, and a series of stylised dances for orchestra, each preceded by a French overture.[72]Vocal and choral worksCantatasAs the Thomaskantor, beginning mid of 1723, Bach performed a cantata each Sunday and feast day that corresponded to the lectionary readings of the week.[17] Although Bach performed cantatas by other composers, he composed at least three entire annual cycles of cantatas at Leipzig, in addition to those composed at Mühlhausen and Weimar.[17] In total he wrote more than 300 sacred cantatas, of which approximately 200 survive.[73]His cantatas vary greatly in form and instrumentation, including those for solo singers, single choruses, small instrumental groups, or grand orchestras. Many consist of a large opening chorus followed by one or more recitative-aria pairs for soloists (or duets) and a concluding chorale. The recitative is part of the corresponding Bible reading for the week and the aria is a contemporary reflection on it. The melody of the concluding chorale often appears as a cantus firmus in the opening movement. Among his best known cantatas are: • Christ lag in Todes Banden, BWV 4 • Ich hatte viel Bekümmernis, BWV 21 • Ein feste Burg ist unser Gott, BWV 80 • Gottes Zeit ist die allerbeste Zeit, BWV 106 (Actus Tragicus) • Wachet auf, ruft uns die Stimme, BWV 140 • Herz und Mund und Tat und Leben, BWV 147In addition, Bach wrote a number of secular cantatas, usually for civic events such as council inaugurations. These include wedding cantatas, the Wedding Quodlibet, the Peasant Cantata and the Coffee Cantata.[74]PassionsBach's large choral-orchestral works include the grand scale St Matthew Passion and St John Passion, both written for Good Friday vespers services at the Thomaskirche and the Nikolaikirche in alternate years, and the Christmas Oratorio (a set of six cantatas for use in the Liturgical season of Christmas).[75][76][77] The two versions of the Magnificat (one in E-flat major, with four interpolated Christmas-related movements, and the later and better-known version in D major), the Easter Oratorio, and the Ascension Oratorio are smaller and simpler than the Passions and the Christmas Oratorio.Mass in B minorMain article: Mass in B minorBach assembled his other large work, the Mass in B minor, near the end of his life, mostly from pieces composed earlier (such as the cantatas Gloria in excelsis Deo, BWV 191 and Weinen, Klagen, Sorgen, Zagen, BWV 12). The mass was never performed in full during Bach's lifetime.[78] All of these movements, unlike the six motets (Singet dem Herrn ein neues Lied; Der Geist hilft unser Schwachheit auf; Jesu, meine Freude; Fürchte dich nicht; Komm, Jesu, komm!; and Lobet den Herrn alle Heiden), have substantial solo parts as well as choruses.Musical styleBach's musical style arose from his skill in contrapuntal invention and motivic control, his flair for improvisation, his exposure to North and South German, Italian and French music, and his devotion to the Lutheran liturgy. His access to musicians, scores and instruments as a child and a young man and his emerging talent for writing tightly woven music of powerful sonority, allowed him to develop an eclectic, energetic musical style in which foreign influences were combined with an intensified version of the pre-existing German musical language. From the Period 1713-14 onward he learned much from the style of the Italians.[79]During the Baroque Period, many composers only wrote the framework, and performers embellished this framework with ornaments and other elaboration.[80] This practice varied considerably between the schools of European music; Bach notated most or all of the details of his melodic lines, leaving little for performers to interpolate. This accounted for his control over the dense contrapuntal textures that he favoured, and decreased leeway for spontaneous variation of musical lines. At the same time, Bach left the instrumentation of major works including The Art of Fugue open.[81]Bach's devout relationship with the Christian God in the Lutheran tradition[82] and the high demand for religious music of his times placed sacred music at the centre of his repertory. He taught Luther's Small Catechism as the Thomascantor in Leipzig,[83] and some of his pieces represent it;[84] the Lutheran chorale hymn tune was the basis of much of his work. He wrote more cogent, tightly integrated chorale preludes than most. The large-scale structure of some of Bach's sacred works is evidence of subtle, elaborate planning. For example, the St Matthew Passion illustrates the Passion with Bible text reflected in recitatives, arias, choruses, and chorales.[85] The structure of the Easter Oratorio, BWV 249, resembles The Crucifixion.[86]Bach's drive to display musical achievements was evident in his composition. He wrote much for the keyboard and led its elevation from continuo to solo instrument with harpsichord concertos and keyboard obbligato.[87] Virtuosity is a key element in other pieces, such as the Prelude and Fugue in E minor, BWV 548 for organ in which virtuosic passages are mapped onto alternating flute and reed solos within the fugal development.[88]Bach produced collections of movements that explored the range of artistic and technical possibilities inherent in various genres. The most famous example is the Well Tempered Clavier, in which each book presents a prelude and fugue in every major and minor key. Each fugue displays a variety of contrapuntal and fugal techniques.[89]PerformancesPresent-day Bach performers usually pursue one of two traditions: so-called "authentic performance practice", utilising historical techniques; or the use of modern instruments and playing techniques, often with larger ensembles. In Bach's time orchestras and choirs were usually smaller than those of later composers, and even Bach's most ambitious choral works, such as his Mass in B minor and Passions, were composed for relatively modest forces. Some of Bach's important chamber music does not indicate instrumentation, allows a greater variety of ensemble.Easy listening realisations of Bach's music and their use in advertising contributed greatly to Bach's popularisation in the second half of the twentieth century. Among these were the Swingle Singers' versions of Bach pieces that are now well-known (for instance, the Air on the G string, or the Wachet Auf chorale prelude) and Wendy Carlos's 1968 Switched-On Bach, which used the Moog electronic synthesiser. Jazz musicians have adopted Bach's music, with Jacques Loussier, Ian Anderson, Uri Caine and the Modern Jazz Quartet among those creating jazz versions of Bach works.[90]See also • List of fugal works by Johann Sebastian Bach • List of transcriptions of compositions by Johann Sebastian Bach • List of students of Johann Sebastian BachReferences 1. German pronunciation: [joˈhan] or [ˈjoːhan zeˈbastjan ˈbax] 1. ^ a b Christoph Wolff, Johann Sebastian Bach: The Learned Musician (New York: W.W. Norton and Company, Inc., 2000), 19. 2. ^ a b Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company. p. 46. ISBN 0-393-04825-X. 3. ^ a b "BACH Mass in B Minor BWV 232" . www.baroquemusic.org. Retrieved 21 February 2012. 4. ^ a b Russell H. Miles, Johann Sebastian Bach: An Introduction to His Life and Works (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1962), 86–87. 5. ^ a b Breitenfeld, Tomislav; Solter, Vesna Vargek; Breitenfeld, Darko; Zavoreo, Iris; Demarin, Vida (3 Jan. 2006). "Johann Sebastian Bach's Strokes" (PDF). Acta Clinica Croatica (Sisters of Charity Hospital) 45 (1). Retrieved 20 May 2008. 6. ^ a b Baer, Ka. (1956). "Johann Sebastian Bach (1685–1750) in medical history". Bulletin of the Medical Library Association (Medical Library Association) 39 (206). 7. ^ a b Breitenfeld, D.; Thaller V, Breitenfeld T, Golik-Gruber V, Pogorevc T, Zoričić Z, Grubišić F (2000). "The pathography of Bach's family". Alcoholism 36: 161–64. 8. Blanning, T. C. W.The triumph of music: the rise of composers, musicians and their art , 272: "And of course the greatest master of harmony and counterpoint of all time was Johann Sebastian Bach, 'the Homer of music' 9. Jones, Richard (2007). The Creative Development of Johann Sebastian Bach. Oxford University Press. p. 3. ISBN 0-19-816440-8. 1. "Lesson Plans" . Bach to School. The Bach Choir of Bethlehem. Retrieved 8 March 2012. 1. Malcolm Boyd, Bach (New York: Oxford University Press, 2000), 6 2. Printed in translation in The Bach Reader (ISBN 0-393-00259-4) 3. Malcolm Boyd, Bach (New York: Oxford University Press, 2000), 7–8. 4. Mendel et al (1998), 299 5. Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company. p. 45. ISBN 0-393-04825-X. 1. ^ a b c d e f g h i j k l m "Johann Sebastian Bach: a detailed informative biography" . baroquemusic.org. Retrieved 19 February 2012. 1. Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company
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