When we speak about music, baroque means more than the age of figured bass and stile concertato. Today, as never before, there is a growing awareness that it is also the era of transcriptions and arrangements, which are just as indicative of the face of the age as are any innovations in the sphere of musical composition.
In those far off times, the public’s attitude to their favorite works of art was quite different to what it is today. It would never occur to anyone then to jealously guard from interference — as if it were sacred — each note of a generally recognized masterpiece. If a composition was popular it should be played as often as possible, in different transcriptions and arrangements. No musician would miss the opportunity of re-arranging a work, that had caught the public’s fancy, for different players: for the leading court soloists, for his friends and pupils, or even for musicians who were quite unknown to him — professionals and wealthy amateurs (willing to spend a fair sum of money on the acquisition of sheet music for a piece they liked). And even the duties of court music director or leader of a church choir were inconceivable without the constant re-working of their own pieces — for yet another holiday or some other ceremonial occasion.
Total time: 01:02:21
Neumann km130 DPA (B & K) 4006 ; DPA (B & K) 4011
|Original Recording Format|
Erdo de Groot, Roger de Schot
Manege Hall of the Moscow Theatre School of Dramatic Art
|Recording Type & Bit Rate|
|Release Date||October 23, 2015|
This is a marvellous disc of Harpsichord gems. The pieces by Sylvius Leopold Weiss are not only wonderful, but also the pieces that falls easiest on the ear. Weiss was a lutenist and this suite is a transcription from his tablature. The music is somewhat melancholy, always with a lovely flow.
The piece by Bach is actually a reworking of a trio sonata by J.A. Reincken. Something that intrigued the young Bach about Reincken was his ability to write fugues, they where all perfect. But Bach made his own imprint when he arranged these pieces and it is surely an original piece from start to finish. Well, you know what I mean, it sounds original anyway.
The Francesco Geminiani pieces are also transcriptions. In this case from violin sonatas – Geminiani made a fortune from these arrangements. Music with a bit more passion, a bit more fire. The Weiss suite I can only describe a French elegance despite its origins. The Bach more controlled and thought out, in the best sense.
The playing of Olga Martynova is absolutely brilliant. It is obvious that she loves this music and her temperament and skill makes this a very successful recording. Her phrasing is superb and I simply adore her feeling for timing. More please!
The sound is perfect. Olga Martynova is in my room. The surround sound from Polyhymnia is as good as it gets, and a bit more actually.
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