Recording Location: CBS Recording Studios, New York, NY, 1982
ONE-SENTENCE REVIEW:
There is nothing to review about Glenn Gould’s final piano recordings – just listen and love.
ORIGINAL LINER NOTES: (by Peter Eliot Stone)
The nineteenth century ballade took its earliest inspiration from literary sources – the ballads or narrative poems, usually German or English in origin, dealing with legendary, historical or often purely romantic characters and happenings.
Thus, ballades were early characterized by a programmatic content that could easily seize the imagination both of composer and listener alike. Works by some composers, such as Frederic Chopin, were even considered to parallel lines of poems – in Chopin’s case those by fellow-countryman Adam Mickiewicz.
Johannes Brahms, on the other hand, devoted his ballades, as a rule, to “absolute” music, and his Four Ballades, Op. 10 of 1854 contain only one “programmatic” piece – the first in D minor.
This Ballademusically embodies the famous Scottish ballad of patricide, Edward (“Why does your brand sae drop wi’ bluid, Edward, Edward?”), which Brahms knew in translation from Johann Gottfried Herder’s Stimmen der Volker and which he later set for alto and tenor (Op. 75, No. 1). Brahms climaxes this grim dialogue between mother and son with the Beethovenian fate motif that was to color many of his other works. When the opening theme returns, Brahms treats it in a surprisingly operatic fashion.
The second Ballade, in D major, departs from its lyrical mood with a dramatically contrasting middle section.
The elfin third Ballade, in B minor, labelled intermezzo and functioning in the set as a scherzo, likewise differentiates its middle section. Brahm’s interest in the inner voices of the fourth Ballade, in B major, reveals the influence of his friend Robert Schumann, but Brahm’s more classic reserve and his formal sophistication yield glimpses of the master’s mature style.
Brahms dedicated his Two Rhapsodies, Op. 79 (1879), to the charming and musical Elisabeth von Herzogenberg, originally entitling them “Capriccio (presto agitato)”and “Molto passianato.”For Brahms, the word capriccio did not seem to imply a light-hearted caprice (unless he used the titles ironically). Almost all of his caprices were gloomy, turbulent, and in the minor mode.
Regarding publication in 1880, Brahms suggested the title “Rhapsody”to Elisabeth. She answered: “You know I am almost most partial to the non-committal word Klavierstucke, just because it is non-committal: but probably that won’t do, in which case the name Rhapsodien is the best, I expect, although the clearly defined form of both pieces seems somewhat at variance with one’s conception of a rhapsody.”
Somewhat at variance, indeed!
Temperamentally “youthful” but compositionally mature, there is nothing improvisatory or irregular about these pieces. The first, in B minor, contains its agitation within a da capo form to which a coda has been added.
The second, in G minor, unleashes its passion through what for all intents and purposes is a sonata form. Yet the pieces do not resemble movements that might flow from the pen of the neo-classicist Brahms when he intended to write a sonata. Here, Brahms eschews the stable expository section for the instability of development right from the start.
In the first Rhapsody, the middle, bagpipe-like section, is based on a complete exposition of a “second theme” that had been arrived at prematurely and in the “wrong” key in the first section where it was then interrupted by a further intensive development of the first theme.
The G-minor Rhapsodyopens with a true primary-group theme whose iambic rhythm, one of Brahm’s fingerprints, contrasts fittingly with the march-like secondary group theme. But the oppressive nature of this second Rhapsody continues to the bitter end, unlike the brief B-major close of the first Rhapsody which somewhat softens its turbulence.
TRACK LISTING:
1: Brahms Ballade, Op. 10, No.1 (D-Minor)
2: Brahms Ballade, Op. 10, No. 2 (D-Major)
3: Brahms Ballade, Op. 10, No. 3 (B-Minor)
4: Brahms Ballade, Op. 10, No. 4 (B-Major)
5: Brahms Rhapsody, Op. 79, No. 1 (B-Minor)
6: Brahms Rhapsody, Op. 79, No. 2 (G-Minor)
FINAL THOUGHT:
Below is a fascinating (audio) recording of the complete Brahms Ballades recording session from 1982. I didn’t listen to the complete 5 HOUR (!!) recording – but just so much great audio of Gould being Gould (so to speak). Enjoy!
[This recording receives the VERY RARE 88 out of 88 for the simple fact – it’s Glenn Gould’s last piano recording before his death. It may not deserve 88 out of 88 (from a review standpoint) but as a huge Gould fan, anything less would be silly.]
This is one of those Enhanced CDs from the early 1990s that was supposed to be interactive (by letting you follow the score as the music plays on your computer) but, in reality, did nothing but take up your time while you searched for Drivers that still couldn’t play the disc. (And, for some reason, I didn’t throw it away.)
ORIGINAL LINER NOTES (by Drs. Lyn and Lawrence Schenbeck):
Johann Sebastian Bach was born March 21, 1685, in Eisenach, Germany. During his 65 years, he wrote over 200 sacred cantatas (some of which were also lost); five masses; two magnificats; six passions; six motets (or seven, depending on whom you ask); 518 chorales, sacred songs and arias; 215 keyboard works, including many toccatas and fugues; five pieces for lute; 37 chamber sonatas and 30 orchestral works, including several suites, violin concertos and the six Brandenburg Concertos.
Bach came from a large musical family. While most Bachs were instrumentalists, only a few composed. His early years were spent in Eisenach, where he entered the Latin School in the spring of 1692. By the age of 17, both of his parents had died, so he briefly lived with his older brother Johann Christoph.
In 1703, Bach was appointed organist of the New Church in Arnstadt. Unfortunately, not all went well. On August 29, 1705, he was disciplined for calling a student a “Zippelfagottist” (a “nanny-goat bassoonist”) and was told to behave better with the students. (The Bach Reader, David and Mendel, eds.)
The following year, Bach was reproved for other matters, as excerpted from the Proceedings of the Arnstadt Consitory:
February 21, 1706: The organist Bach had previously played rather too long, but, after his attention had been called to it by the Superintendent, he had, at once, fallen into the other extreme and had made it too short. Reprove him for having hitherto, made many curious “variations” in the chorale and mingled many strange tunes in it and for the fact that the Congregation has been confused by it.
November 11, 1706: “If he considers it no disgrace to be be connected with the Church and to accept his salary, he must not be ashamed to make music with the students assigned to do so, until other instructions are given… [Bach is told to] declare himself in writing concerning this matter. [He shall then] be asked further by what right he recently caused the strange maiden [probably his first wife and cousin Maria Barbara Bach, whom he married in 1707] to be invited into the choir loft and let her make music there.
Bach later held positions in other cities. After leaving Arnstadt, he was an organist in Muhlhausen (1707-08). According to the Proceedings of st. Blasius’ Church Parish meetings, he received 85 gulden in salary, plus the following in-kind emoluments:
54 bushels of grain; two cords of wood [one beech and the other oak or aspen]; and six times three-score fagots delivered to the door instead of acreage. (The Bach Reader, 55)
Six of Bach’s children were born during his stay in Weimar (1708-17). Also, many of his keyboard works were written there, including the famous organ toccatas, and some of the popular Brandenburg Concertos.
Bach’s illustrious career continued in Cothen (1717-23), where he served as capellmeister. Prince Leopold, whom Bach served, loved music and wanted the chapel instruments to be in excellent condition. Bach supervised the repair of the chapel organ and personally fixed the prince’s harpsichords.
Several important events in Bach’s life happened in Cothen. The first involved the marriage of his second wife, Anna Magdalena, December 3, 1721. In addition to being his wife, she was a fine court singer. According to an excerpt from the Accounts of the Cothen Capelle, both were paid for their musical services to the prince.
Also that same year, the Brandenburg Concertos were published. This lively set of six concertos was dedicated to Lord Christian Ludwig, the elector of Brandenburg.
Lastly, in 1722, the first book of the Well-Tempered Clavier, a collection of 24 preludes and fugues, was composed. “Clavier” is Germany for “keyboard,” but, during Bach’s day, it referred only to the harpsichord and clavichord.
The last 27 years of Bach’s life were spent in Leipzig, where he was cantor and music director of the St. Thomas Church. In reality, he was music director of the entire city. His first production at St. Thomas was May 30, 1723.
Bach’s writing flourished in Leipzig. All his major vocal works – the B Minor Mass, St John and St. Matthew Passions, six (or seven) motets, two magnificats and many of the 200 sacred cantatas – were composed there. During this time, Bach wrote many instructional works for his pupils, including The Art of the Fugueand numerous canons.
In the 1740s, Bach’s eyesight began to fail due to cataracts. In 1750, he was twice operated on by John Taylor, a British eye specialist. Both were unsuccessful.
Sick and virtually blind, Bach spent the last year of his life fighting the perennial battle of music teacher against city hall. He engaged in heated correspondence with the headmaster in Freiberg, Herr Bidermann, who opposed the “cultivation of music in schools.” Bach felt his moral obligation was to write vehement letters against Bidermann’s position.
By the summer of 1750, Bach’s health had seriously declined. In July, he suffered a stroke and, six days later, died on the 28th.
TRACK LISTING:
1: Toccata and Fugue [8:10]
2: Orchestral Suite No. 3 – Air for the “G” String [3:15]
3: Brandenburg Concerto No. 3 – Allegro [6:50]
4: Jesu, Joy of Man’s Desiring [3:51]
5: Orchestral Suite No. 2 – Minuet and Badinerie [2:44]
6: Brandenburg Concerto No. 5 – Allegro [9:54]
FINAL THOUGHT:
While, in general, this is a pretty worthless disc (basically six of Bach’s “greatest hits” performed very studiously), the biographical notes are very concise and give a good amount of information. For that reason, I hope this little write up was worth your time.
Recorded December 19-20 & 23, 1992 at the Performing Arts Center, SUNY, Purchase, NY (Musical Heritage Society)
ONE-SENTENCE REVIEW:
It doesn’t get any more authentic than this boring ass shit (that’s a joke – lighten up).
ORIGINAL LINER NOTES (by Harris Goldsmith):
“Weimer,” “Cothen” and “Leipzig”: These three locations can be used to neatly divide the towering musical legacy of J.S. Bach – an arrangement analogous to the “Early,” “Middle” and “Late” groupings habitually bestowed upon Beethoven’s output. The tryptych approach for both of these musical geniuses has undeniable utility but can sometimes be misleading.
It was in 1713, during his employ as organist to the Duke of Weimar, that Bach first encountered the then new Italian music of Antonio Vivaldi, TomasoAlbinoni, ArcangeloCorelli and the other violinist-composers.
The Duke’s young nephew, Prince Johann Ernst, had developed a passionate fondness for this fare and had brought some of these concerti (recently published in the Netherlands) back with him as additions to his uncle’s library.
Bach had a favorable impression, particularly so in Vivaldi’s case – for he thought sufficiently well of the latter’s music to arrange six of his Concerti Grossifor solo keyboard. And in some of his subsequent original works (the F major Concerto in the Italian Manner, BWV 971, springs immediately to mind), Bach assimilated the style in all its specifics and immeasurably transcended it – an observation that, likewise, applies to several of the compositions heard on this recording.
In 1719, Bach moved to Cothen where he served as Kapellmeister and Director of Chamber Music. The court of Cothen, according to Bach’s biographer Spitta, was “held on a modest scale.” “It had never possessed a theatre and the Reformed (Calvinist) services did not encourage music.” But Bach’s employer, Leopold did. He was, in the composer’s words, “an amiable prince who knew and loved music.”
Indeed, Leopold was an accomplished player of three instruments – the clavier, the violin and the viola da gamba – and it was under his aegis that Bach spent what was reputably the happiest part of his life and certainly – at least in terms of purely instrument music – the most productive. During this period, he penned the six suites for unaccompanied cello, the sonatas and partitas for violin, the concertos for violin (all but three of which are lost), all six Brandenburgsand Book One of the Well Tempered Clavier – all in all, a pretty fair accomplishment.
All good things must come to an end and, unfortunately, the good prince too him self a spouse who didn’t share his affection for music and, moreover, resented her noble husband’s consorting with one of his servants (by then, a close friendship had developed between Bach, who was already a musical celebrity, and the much younger prince). In fact, the good (?) woman was instrumental in hastening Bach’s departure to St. Thomas and it was in Leipzig where he stayed to his dying day.
Bach began his tenure as Cantor at St. Thomas in 1723. He was the third choice for the position, hired only after Georg Philipp Telemann (1681-1767) and Christoph Graupner (1683-1760) had declined the offer. His duties were primarily ecclesiastical and although he had, until then, composed relatively little church music, he was now required to produce cantatas every Sunday, and for major church holidays as well.
By 1729, he had composed four complete cycles, each numbering about sixty cantatas, and he had composed two Passionsin addition. But he felt disillusioned because there was little support or enthusiasm for his efforts.
This lack of gratitude led to his seeking an additional outlet and incentive for his creativity and he thus became director of the Collegium Musicum, an organization of university students that had been established by Telemann in 1702, when he was studying law in Leipzig. Meeting at Zimmermann’s coffee house – and, during the summer months, outdoors – this amiable assemblage performed a wide variety of secular vocal and instrumental music.
With so much music to compose, it is little wonder that Bach was not above occasionally recycling an earlier work or two for reuse. For his Cantata No. 156, for instance, he devised its Sinfoniaby transposing the slow movement of his Cothen period Harpsichord Concerto in F Minor, BWV 1056 downward from A flat Major to F Major. Or, more correctly, this lovely movement for oboe solo is a borrowed item from a lost concerto for either violin or oboe (of which the Harpsichord version is a subsequent arrangement).
Similarly, the Concerto for Oboe and Violin, BWV 1060 is a bit of speculative guesswork: a reconstruction of a Cothen period concerto, either for two violins or (more probably) for oboe and violin, that was among the aforementioned lost works from that epoch.
Again, the concerto’s musical material survives by way of the composer’s later arrangement for two harpsichords. To my ears, it sounds far more agreeable in its presumed original instrumentation, and the aural superiority is particularly striking when one compares the central Adagio– angular and earth-bound in its dual-keyboard form, but flowing “on wings of song” when intoned by oboe and violin. In its three movement, fast-slow-fast format, and its subtle alternation of solo instruments alongside (but sometimes in juxtaposition with) the tutti strings and continuo, BWV 1060 – in whichever form – is recognizably “to the Italian taste.”
So, too, is the Fifth– and arguably grandest – of the immortal Brandenburg Concertos. Dating from circa 1719 (it is all but impossible to ascertain definite vintage dates for most of Bach’s output), the concerto was probably composed to inaugurate the new harpsichord that Bach had brought back from Berlin. Probably the last of the six, the Fifth Brandenburg, like its brethren, shows how Bach had assimilated all the stylistic prerequisites of Italian style but, with his genius for innovation, far transcended the “role model” in terms of structural dimensions and spiritual profundity.
On a purely subjective plane, confluence of the solo concerto and the concerto grosso – with its gigantic written-out first movement cadenza – the work is unmistakably a harpsichord concerto, and one that paved the way to, if not Liszt and Rachmaninoff, certainly to Beethoven.
Conversely, and heart-stoppingly so in its central unaccompanied Affetuoso, the spirit of intimate chamber music – a memorable three-way conversation between the harpsichord (now subdued where it was, just a movement earlier, explosively public), violin and flute. Incidentally, this is the first time Bach wrote specifically for the flauto traverso, or transverse flute, rather than (as in the Fourth Brandenburg) for a pair of recorders. In the final Allegro, Bach repeatedly uses a sprinting figure indicated in conventional baroque notation wherein the upbeat is written as a sixteenth note rather than as the third of a triplet (which is almost certainly the way it was intended to sound).
Bach’s four orchestral suites (sometimes called Ouvertures) are in the French rather than the Italian style. Two of them (No. 1 in C, BWV 1066, and No. 4 in D, BWV 1069) were composed at Cothen, the others (No. 3 in D, BWV 1068 and the present No. 3 in B Minor, BWV 1067) at Leipzig.
The B minor Suite, despite its misleading designation as “No. 2,” was the last, with a vintage date from the 1730s. Unlike the clarion trumpet and tympani-laden D major works and the relatively more subdued but still strongly oboe-permeated C major, the B minor Suite projects a grave persona, sternly-but tenderly set forth by a solo flute against a backdrop of strings and continuo. Its eponymous Ouverturefulfills its role as a throat-clearing call to order without violating the work’s essential intimacy. It somewhat reminds this listener of the opening Sinfonia of the C minor Partita for keyboard, BWV 826(but unlike that work, returns to the slower-moving opening material).
A series of contrasted dances follows: First a Rondeau, then a Sarabanda, a pair of Bourrees, a Polonaiseand its double variant, a Menuetand, finally, a Badinerie– Bach’s only know use of this bantering plaisanterie (“Badinerie” or “Badinage” can be translated to mean jest, trifle or piece of fun).
TRACK LISTING:
1-3: Concerto in C Minor for Oboe, Violin, Strings and Basso Continuo, BWV 1060
4-6: Brandenburg Concerto No. 5 for Flute, Violin, Obbligato Harpsichord, Strings and Basso Continuo, BWV 1050
7: Sinfonia in F Major “Ich steh’ mit einem Fulz im Grabe” for Oboe, Strings, and Basso Continuo, BWV 156
8-14: Suite in B Minor for Flute, Strings, and Basso Continuo, BWV 1067
FINAL THOUGHT:
And “piece of fun” it is because once you go Bach you never go back! (Hey, what do you want from me?! I’ve been listening to nothing but Bach for the past week!)
Vladimir Feltsman, Pianist & Conductor – The Orchestra of St. Luke’s. Recorded July 12, 13, and 14, 1993 at the American Academy and Institute of Arts and Letters (Musical Heritage Society)
ONE-SENTENCE REVIEW:
Smooth, clean and by the book, Vladimir Feltsman does a very workmanlike job on the “Keyboard Concertos” (originally written for violin or oboe) of J.S. Bach – though the ghost of Gould lingers.
ORIGINAL LINER NOTES (by Tim Page):
Styles change, and it is a relief for those of us who have always enjoyed listening to – and playing – Bach’s music on the piano not to have to make any more apologies for our taste.
I acknowledge that the piano many not have been the instrument for which Bach wrote these pieces – for that matter, the concertos on this disc were not originally intended for keyboard at all – but, in an era where there are any number of “authentic” recordings on clavichord or harpsichord available, why shouldn’t we explore the multiplicity of colors, textures and dynamics intrinsic in Bach’s music that can only be made accessible by a pianist?
As the late Glenn Gould once observed, back in the days when musicological dogma was at its most rigid, if you take the notion of authenticity too far, about the only thing a conscientious musician would be able to play proudly on a modern piano was Rachmaninoff – and even that would have to be played on a turn-of-the-century Bosendorfer or German Steinway!
All of Bach’s keyboard concertos were originally scored for small orchestra and solo violin or oboe. Perhaps the greatest self-transcriber of all time, Bach blithely recycled this music for other pieces (for example, two movements of the Concerto in D Minor, BWV 1052, are also to be found in the cantata “Wir muessen durth viel Treubsal,” BWV 146) and then, working at what seems to have been unusual haste even for the man who regularly churned out a cantata each week, he wrote down all of his keyboard concertos in a single manuscript volume, apparently sometime around 1735.
The Concerto in D Minor, BWV 1052, is a vast, panoramic structure in three large movements that prefigures the romantic piano concerto to a remarkable degree (indeed, Felix Mendelssohn, who did so much to revive Bach’s reputation in the early 19th century, loved to perform this work).
The violin concerto from which this was presumably transcribed has not survived, but an early version for keyboard does exist; curiously, this was probably arranged not by Bach but by one of his sons, Carl Philipp Emanuel Bach.
The opening movement, in particular, is one of Bach’s grandest conceptions – an extended tutti in unison leads directly to a flowing, meditative passage for the piano; throughout, Bach seems to be straining against formal strictures even as he is fulfilling them flawlessly.
Likewise, we do not have the original version of the Concerto in E, BWV 1053, but it, too, seems to have been written for violin. In any event, Bach raided it for subsequent cantatas (this time for BWV 49, “Ich geh’ und suche mit Verlangen,”and BWV 169, “Gott soll allein mein Herze haben”) before turning it into this keyboard concerto.
As James Goodfriend, the former music editor of Stereo Review, once observed: “Bach produced both sacred and secular music on demand and, with the pressure of immutable deadlines, borrowed freely from one for the other with no feeling of sacrilege.”
Happily, in the case of the Concerto in D, BWV 1054, we have Bach’s original on hand; the familiar Violin Concerto in E, BWV 1042, one of the treasures of the string repertory. It is not clear why Bach lowered the concerto a whole tone when he decided to transcribe it for keyboard (perhaps to bring the violin part more fully within the range of the harpsichord); the transcription will surprise – and possibly bother – those listeners with perfect pitch who are used to the original.
Critical consensus tends to favor the violin version of this concerto over the arrangement for keyboard, but I find much to admire in the later version, particularly the bracing muscularity of the outer movements. (Ingmar Bergman made unforgettable use of the central Adagio of the violin concerto in his film Persona.)
“Ultimately, for Bach, the process of composition was an unending one,” the New Grove Dictionary of Music and Musicians has rightly observed. “Dynamic markings and indications of articulation would be inserted as he looked through the parts; he would revise and improve a work when he was copying it out, and when giving further performances would make fresh alterations and improvements. He also inserted corrections, already in print. Throughout his life, Bach was his own severest critic. Even in works which went through two or three difference versions… the ‘final’ version does not represent a definitive one but merely a further state in the search for perfection – the central and ultimate concern of Bach’s method of composition.”
Albert Schweitzer, the organist and humanitarian, loved Bach as have few others. Yet, in his two-volume study of the composer, he had some withering words for the keyboard concertos: “Bach needed clavier concertos when he directed the Telemann Society. The arrangements are often made with quite incredible haste and carelessness; either time was pressing, or he felt no interest in what he was going. Violin effects to which he could easily have given a pianistic turn are not remodeled at all; later on he improves them here and there in the score but leaves them as they are in the clavier part…” “We are under no special obligation to incorporate these transcriptions in our concert programmes,” Schweitzer concluded.
Many of us will disagree and I think this disc can stand as eloquent refutation of the good Doctor’s last statement. It was Bach’s habit to work quickly – this is, after all, a man who was capable of producing a whole cantata every week – and if there are signs of haste in the concertos, it is still the haste of an extraordinarily great musician. Some of the material is recycled, to be sure, but that’s certainly no rarity in Bach (who was loathe to waste a good idea by using it just once and some of the passages are not fleshed out for keyboard in the tidy manner that we associate with more academic composers).
Yet the fact remains that these concertos have proven remarkably durable. They are perhaps more popular today than at any previous time; recordings and performances are proliferating and there is no end in sight.
The Concerto No. 4 in A, BWV 1055, seems to have begun life as either a concerto for violin or for oboe d’amore, in either case probably written during Bach’s tenure in Cothen, around 1720; Bach transcribed it for keyboard (along with the other keyboard concertos) more than a decade later. It is a brisk, buoyant work in three brief movements, smaller in scale than several of the others, yet boasting rather more soloistic filigree for the keyboard than was customary for Bach in these works.
The Largo of the Concerto No. 5 in F Minor, BWV 1056, is far and away the most famous movement in any of Bach’s keyboard concertos – most likely due to its use as the theme for the 1972 film Slaughterhouse Five.
Curiously, some commentators have questioned the concerto’s authenticity (at least one musicologist has suggested that it may have been written by Vivaldi, whose music Bach admired and transcribed). I find this unlikely – there is a distinctly Bach-ian mixture of austerity and drama throughout the work; moreover, Bach had already used the Largo as the introduction for one of his cantatas, “Ich steh’ mit einem Fuss im Grabe,” BWV 156 (where the melody is taken up, quite convincingly, by the oboe). Whether originally fashioned for violin, oboe – or even by some other composer – this is a justly popular piece, with the exquisitely calm and centered Largo providing a calm between two highly stormy outer movements.
Bach lowered his Violin Concerto in E, BWV 1042, a whole tone when he transcribed it for keyboard; seemingly following the same philosophy (which has never been fully explained) he transposed his equally successful Violin Concerto in G Minor, BWV 1041, a whole tone to create the keyboard Concerto in G Minor, BWV 1058.
Most scholars prefer the versions for violin, yet there is something enormously exciting about listening to a world-class pianist (or, for that matter, harpsichordist) dash through this music and the very different character it naturally assumes by being played on a keyboard.
The “Italian Concerto”– or, rather, the “Concerto After the Italian Taste… Composed for Music Lovers, To Refresh Their Spirits” – needs no defense from me or from anybody. A work for solo keyboard, it was immediately recognized for what it is – a successful, varied, highly engaging entertainment.
Indeed, the critic Johann Adolph Scheibe, a contemporary of Bach’s, said it was “arranged in the best possible fashion for this kind of work.” “It will doubtless be familiar to all great composers and experienced clavier players,” he added, “as well as to amateurs of the clavier and music in general. Who is there who will not admit that this clavier concerto is to be regarded as a perfect model of a well-designed solo concerto?”
Who indeed?
[Tim Page is the chief classical music critic for New York and Long Island Newsday and the author, most recently, of “William Kapell” and “Music from the Road: Views and Reviews 1978-1992”.]
TRACK LISTING:
CD No. 1:
1-3: Concerto in D Minor, BWV 1052
4-6: Concerto in E Major, BWV 1053
7-9: Concerto in D Major, BWV 1054
CD No. 2:
1-3: Concerto in A Major, BWV 1055
4-6: Concerto in F Minor, BWV 1056
7-9: Concerto in G Minor, BWV 1058
10-12: Concerto Nach Italienischem Gusto
FINAL THOUGHT:
Well, I certainly learned a lot reading those (very long) liner notes. And I must say, how can you not like a Concerto named “Concerto After the Italian Taste – Composed for the Music Lovers, To Refresh Their Spirts”?!
Glenn Gould, Piano – Columbia Symphony Orchestra (Vladimir Golschmann, Conductor). Recorded at 30th Street Studio, New York, 1958 (CBS Records)
ONE-SENTENCE REVIEW:
Who am I to disagree with Robert Schumann (see below)?
ORIGINAL LINER NOTES (uncredited):
In 1837, a noted keyboard virtuoso gave a performance of J.S. Bach’sClavier Concerto No. 1 in D Minor, after which an influential music journalist had the following remarks to make:
“I should like to speak of many thoughts that were awakened in my mind by this noble work… Will it be believed that on the music shelves of the Berlin Singakademie, to which old Zelter bequeathed his library, at least seven such concertos, and a countless number of other Bach compositions, in manuscript, are carefully stowed away? Few persons are aware of it; but they lie there notwithstanding. Is it not time, would it not be useful for the German nation, to publish a perfect edition of the complete works of Bach? The idea should be considered, and the words of a practical expert, who speaks of this undertaking on page 76 of the current volume of the Neue Zeitschrift fur Musik, would serve as a motto. He says: ‘The publication of the works of Sebastian Bach is an enterprise I hope soon to see in execution – one that delights my heart, which beats wholly for the great and lofty art of this father of harmony.'”
The virtuoso who performed the Concerto was Felix Mendelssohn. The music journalist was Robert Schumann. The “expert” cited was Ludwig Van Beethoven. The quotation was from a letter Beethoven wrote to the music publisher Hofmeister in 1801. So much for establishing the validity and stature of Bach’s clavier concertos as great works of musical art.
To a certain extent, such a validation is necessary for the present-day listener, since Bach’s keyboard concertos differ in many ways from the archetype of the concerto as it was established in the nineteenth century.
To begin with, there is nothing of the heroic drama engendered by the opposition of forces as in the Romantic concerto. In the BrahmsSecond Piano Concerto – to take a random example – the soloist and the orchestra are pitted against each other as adversaries in a titanic struggle.
Not so with Bach. Nor is there, in his keyboard concertos, even much of the opposition and contrast of the seventeenth- and eighteenth-century concerto grosso, or for that matter, of the Vivaldi violin concerto. Rather, since the clavier plays even in the orchestral tutti, the works are completely clavier-dominated.
In the worlds of Philipp Spitta, the German music scholar and author of a biography of Bach, “These works are, we may say, clavier compositions, cast in concerto form, that have gained in tone, parts, and color through the cooperation of string instruments.”
In the genesis of Bach’s clavier concertos, we find additional differences. The nineteenth century established originality as a primary standard for judging the artistic merit of a work. But such a standard was, in many ways, foreign to earlier times.
One may see, in early painting and graphics, near-identical layouts of subject material, differing only in the stylistic elements that the artist brought to the execution of the idea (and sometimes not even that).
And in the music of the seventeenth and eighteenth centuries and earlier, thematic ideas and harmonic progressions are to be found floating freely from one composer to another; sometimes whole movements or even whole compositions were adapted and reworked; and, certainly, and most commonly, composers refashioned their own materials to fit new forms or fulfill new functions.
The majority of Bach’s clavier concertos fall into this latter category as rewrites of previously existing concertos, mostly for violin. Herein lies a principal reason for the clavier domination of the works, for the part previously assigned to the solo violin is now given to the keyboard player’s right hand, and the left hand, as if it were another instrument, plays a bass part.
In fact, Bach’s usage of the musical material contained in these works did not stop with the concertos themselves. Movements from them can be found re-worked and re-orchestrated and fulfilling a completely new function in the church cantatas he wrote for later occasions.
No antecedent is known for Concerto No. 4 in A Major,although despite being a bit more keyboard-like in figurational detail than most of the other concertos, it is still presumed to have been based on a violin (perhaps oboe?) original.
Two final points remain to be made about the concertos, the first having to do with the occasions for which they were composed. Bach went to Leipzig to become Cantor of the Thomasschule – a fairly prestigious position and one that involved an enormous amount of labor, all of it devoted to sacred music. Since Bach’s musical interests extended beyond the boundaries of the sacred, it is not altogether surprising that, in 1729, he added to his responsibilities the job of conductor of the Collegium Musicum, a purely secular society.
The Collegium Musicum met one a week, in Zimmermann’s coffee house, or, in summer months, in his garden. For those meetings, Bach supplied secular cantatas and instrumental music, including the seven known complete clavier concertos (there exists a fragment of an eighth).
Personnel for an orchestra was invariably present at these meetings, as was something of an audience. And Herr Zimmermann, perhaps impressed by Bach’s reputation as a virtuoso organist and harpsichordist, purchased for the meetings an exceedingly fine, large, double-manual harpsichord. It was a happy combination of factors, for the concertos played at these meetings were probably the first clavier concertos ever written.
The presence, too, of an audience was significant in the history of music, for it signaled, in its small way, the movement away from the church and the court and toward the public concert as a center of music.
TRACK LISTING:
1-3: Concerto No. 1 for Piano & Orchestra in D Minor, BWV 1052
4-6: Concerto No. 4 for Piano & Orchestra in A Major, BWV 1055
7-9: Concerto No. 5 for Piano & Orchestra in F Minor, BWV 1056
FINAL THOUGHT:
I would have loved to be a fly on the wall during the Leonard Bernstein/Glenn Gould recording sessions. What did they talk about during lunch? Imagine Glenn Gould’s reaction to Lenny’s smoking, drinking and cursing!
More like the “Fart” Of The Fugue! (No, actually this is quite good.)
ORIGINAL LINER NOTES (uncredited):
Bach began composing his Art Of The Fugue in 1748 or 1749 and continued to work on it in 1759, the last year of his life. He had finished three-quarters of Fugue No. 15when a severe eye disease obliged him to leave off work on his artistic last will and testament and undergo an operation.
A combination of primitive medical techniques and a blundering doctor proved fatal – within six months of this operation Bach was dead.
He spent his last days in a darkened room, alone with the God he had served and glorified all his life.
When he felt death close upon him, he sent for his son-in-law, the musician Altnikol, and dictated to him not the conclusion of the great B-A-C-H fugue but a chorale fantasia on melody “When We Are In Deepest Need,” telling Altnikol to entitle it “I Draw Near Unto Thy Throne.” In the manuscript we can see all the pauses that the “sick man had to permit himself.”
Albert Schweitzer narrates: “The drying ink becomes more watery from day to day – the notes written in the twilight, with the windows closely curtained, can hardly be deciphered.”
This last composition from Bach’s pen was included in the first edition of the Art Of The Fugue, not because it belongs with that work but as an apologetic compensation to the purchaser for the completeness of the work itself. How incomplete the Art Of The Fugueis we do not know.
The mammoth Fugue No. 15may have been the final one of the series, or Bach may have planned to follow it with a still more grandiose quadruple fugue. The latter contention was Sir Donald Tovey’s and Tovey actually complete the fifteenth fugue and composed, as the sixteenth, a totally invertible fugue with four subjects, to prove that such a feat was possible and that Bach had something of a the sort in mind.
Most performances of the Art Of The Fugue, however, are content to break off where Bach himself broke off, for there is something awesome about this sudden silence just at the point when Bach introduced the letters of his own name for the first time into one of his works.
The most vexing problem, of course, is whether or not Bach intended the Art Of The Fugue to be played at all. He does not once in the entire work indicate a tempo or a dynamic marking. He does not indicate what instrument or instruments should play the work. He writes each of the voices on a separate staff (in so-called “open score”), which is very helpful for the student but anything but helpful for the keyboard player.
This leaves the field open to the arranger, and arrangers have eagerly rushed in. There are multiple versions for orchestra, for string quartet, for two pianos, for organ, for piano solo. Only the musical pedant can find these various realizations a source of annoyances – the genuine music lover will make his own choice or choices and take pleasure in the process.
Whatever choice he makes, the Art Of The Fugueremains massively and imperturbably itself. For though it is devoid neither of humanity nor emotion, the human and the emotional are not its real concern. Like the figure on Keats’ urn, it has passed out of time and accident, and wears the changeless beauty of pure thought.
George Frideric Handel wrote a great deal of music for the harpsichord. Yet, the publication in 1720, of his first book of Suites de pieces de clavecinwas still an extraordinary event. It was the first authorized publication of any of his instrumental works, and it was to remain the only collection of harpsichord suites he issued under his own auspices.
The Suitesare rather unorthodox in form and do not follow the generally established dance sequence of the eighteenth century instrumental suite. Each of the four recorded here follows a difference pattern, and they are best described individually.
No. 1 in A Major – The Prelude for this suite consists primarily of a sequence of chords that invite the performer to invent his own embellishments. Glenn Gould contributed an intricate personal statement composed expressly for this recording. This brilliant Prelude, combining arpeggios and scales, is followed by three dances – Allemande, Courante, and Gigue – that are in Italian style.
No. 2 in F Major – This is not really a suite at all but a sonata de chiesa in the Italian style, of the type often composed for violin and continuo. The movements follow the common pattern: Adagio, Allegro, Adagio, Allegro.
No. 3 in D Minor – Like Bach whose Clavierubung Book IIappeared fifteen years later, Handel here is writing orchestral music for harpsichord. Unlike Bach, Handel later reused some of the pieces in the Concerti Grossi of Op. 3. The first two movements, Prelude and Allegro, are actually a prelude and fugue. Italianate dances, an Allemande and a Courante, are then followed by an Air and Variations and a concluding Presto.
No. 4 in E Minor – The opening Allegro is a fugue, in the style of Italian violin music. The following movements, Allemande, Courante, Sarabande and Gigue, comprise the most, orthodox suite sequence in the entire collection.
While Handel’s harpsichord works may not be the most important segment of his production, the best of them are fully worthy of his genius. Their values in relation to Handel’s better known music are pointed out by the eminent musicologist Paul Henry Lang: “A number of these compositions serve as proving grounds for his dramatic works in them appear certain basic ideas and models that were to follow Handel throughout his career.”
And of all his works, it is probably the first book of suites, along with the Organ Concertos, that provides us with the best picture of Handel as performer-composer.
TRACK LISTING:
1-9: Bach – The Art Of The Fugue, BWV 1080
10-13: Handel – Harpsichord Suite No. 1 in A Major
14-17: Handel – Harpsichord Suite No 2. in F Major
18-22: Handel – Harpsichord Suite No. 3 in D Minor
23-27: Handel – Harpsichord Suite No. 4 in E Minor
FINAL THOUGHT:
Listening to solo organ is not the most pleasant experience (even Bach), but I can imagine how thrilling it would have been to be sitting in a symphonic hall or grand church and listening to Glenn Gould play the Art Of The Fugue. I’m fairly certain that wouldn’t suck.
Named the “Italian” concerto because it was composed in “the Italian style,” this is a great disc of Bach keyboard “hits” and is definitely worth a listen (or two or three).
A little French Suite goes a long way – even with Glenn Gould at the keyboard.
ORIGINAL LINER NOTES (uncredited):
The suite occupies a prominent place among Johann Sebastian Bach’s instrumental works. In addition to four for orchestra, he wrote suites for unaccompanied violin, unaccompanied cello, lute, and keyboard (clavichord or harpsichord).
Variously titled Overture, Suite, or Partita, there are nineteen well-known examples from the period of Bach’s full maturity written for the keyboard, composed in sets of six except for the Overture in the French Style, BWV 831.
The French Suiteswere among the first compositions in suite form written by Bach, but their exact chronology is uncertain.
The first four were certainly finished by 1723, for they appear in a manuscript of that date as part of a traditional set of six but in company with two other suites (now known separately as BWV 818-9) instead of those now known as the Fifthand Sixth.
It was Thurston Dart’s supposition that the first four suites were composed over the period of about 1717 to 1723. Surviving bits of evidence suggest that the pieces were revised a number of times, both in their internal content and in their order. The last two of the suites were apparently added somewhat later, and the sequence as we know it does not seem to have been completed until at least 1725.
The purpose of all these revisions is obvious. What had begun merely as a set of pieces in dance styles was transformed by Bach into a unified group, perhaps even to be regarded as one work.
The first three of the suites, seemingly the earliest in order of composition as well, are in minor keys and are of a serious nature, while the last three are in major and show increasingly joyful qualities.
The Firstused the (by then) archaic device of beginning all of the dances with variants on similar musical themes, a seventeenth-century device know as the “variation suite,” while the others are more “progressive” in style. The very number of movements increases from six in the first two suites to seven in the Fourthand Fifth, and to eight in the Sixth.
(Karl Geiringer suggests that the Minuet of the Fourth Suite was a later addition, evidence of another revision aimed at a musical progression.)
And so far as we can determine, the exact ordering of the suites may well conform to their chronology of composition as well as an overall musical plan.
Another indication of Bach’s efforts toward uniformity is found in the Fourth Suite, which was first written with a prelude. The prelude was eliminated, and all six of the suites as they now stand consist of dance movements only.
(An apparent contradiction to this principle, the “Air,” is explained easily; this was actually a French dance, as well as a term for a song.)
The term “French” for these suites is so shrouded in obscurity that the true origin may never be known. The title of the original manuscripts is written in French, but so is that for the English Suites, and neither one mentions “French” or “English” as part of the title.
Bach’s first biographer, Johann Nicolaus Forkel, said the name had been given to these works “because they are written in the French taste,” but that explanation has been discarded along with Forkel’s wrong guess that the English Suites were “made for an Englishman of rank.”
(There is, however, still validity in Forkel’s description of the music: “By design, the composer is here less learned than in his other suites, and has mostly used a pleasing, more prominent melody.”)
Bach biographer Philipp Spitta wrote that “the name ‘French’ was given to them on account of the meager form of their component sections, which, even in external dimensions, adhere as closely as possible to the dance type n which they are founded.” But he admits that “there is no idea of imitating or carrying out any specially French characteristics; none such are to be discerned anywhere in Bach, nor could they be possible except in his very earliest work.”
All we know for certain is that both titles, “English” and “French,” were added after the fact by an unknown hand and that they do make convenient handles.
While much is made of the dance-like qualities of Bach’s music in these suites, there has never been any suggestion that the music was actually used for dancing.
In fact, most of the dance forms used were obsolete when Bach composed. And though it is fine for the performer to bring out the kinetic qualities of the music, particularly in the fast movements, the music was written primarily for expressive purposed – a fact that should be paramount in the minds of performers and listeners alike.
The basic sequence of the dances in the suites (allemande, courante, sarabande, and gigue) was apparently established by German (not French) composers during the mid-seventeenth century.
Additions were allowed between the sarabande and gigue, and Bach made additions in all six of the French Suites. Each of the first three contain two additional movements; the fourth and fifth add three and the sixth adds four.
The allemandes, deliberately given by Bach an introductory quality to compensate for the lack of preludes, are quiet dances.
The couranteis a livelier dance, in triple time.
The sarabandeis a slow, dignified dance, also in triple time.
By Bach’s day, all three of these were outmoded as actual dances, existing only in their stylized forms in instrumental suites.
The movements added by Bach, however, were currently in use in his time. The gavottewas a French dance, in moderate tempo. Its movements are characterized by lifting the feet off the ground, a departure from the shuffling motion of similar earlier dances.
The polonaise(the French name is used even in Poland) was original a primitive folk dance, slow and stately, in three-beat rhythm, most commonly done at weddings. Later it was taken up by the Polish nobility, who maintained much of its original character but enhanced its grandeur.
Bach’spolonaises are of an earlier type than Chopin’s, naturally, but they are already the dances of the nobility – instrumental pieces, rather than the sung polonaises of the peasants.
The bourree, yet another French dance, is said by some experts to have originated in Spanish Biscay. It is a rapid dance, similar to the gavotte except that it has two beats to the bar instead of four. Its phrases begin on the second beat of the measure.
The loure, which appears in Bach’s works only in the fifth French Suite, is a French bagpipe dance, similar to the giguebut slower.
The minuetis too well-known to require much description, but it is interesting to note that despite the derivation of its title (from the French “menu,” small), the dance was characterized by its slow tempo and grace of execution, not necessarily by small steps.
All of the French Suites end with a gigue, derived from the sixteenth-century Irish or English Jib. However, by Bach’s time, the giguehad taken on European characteristics, and those ending the firth and sixth French Suiteshave an obvious Italian flavor.
TRACK LISTING:
1-6: Suite No. 1 in D minor, BWV 812
7-12: Suite No. 2 in C minor, BWV 813
13-18: Suite No. 3 in B minor, BWV 814
19-25: Suite No. 4 in E-flat major, BWV 815
26-32: Suite No. 5 in G major, BWV 816
33-40: Suite No. 6 in E major, BWV 817
FINAL THOUGHT:
I hope you were holding onto your hats and glasses while reading the Liner Note descriptions of all the French dances because it was like a roller coaster of emotion! Seriously, if you made it through those horribly boring LIner Notes, you get extra credit. (And not a word about Glenn Gould! – whatever.) This is a pretty good, minor disc of Bach by Gould – worth a listen but not too carefully. But it’s still Glenn Gould – so it gets a high rating.
If Alkan do it – so can you (actually you probably can’t but Marc-Andre Hamelin comes pretty damn close in this brilliant recording)
ORIGINAL LINER NOTES [EXCERPT] (by Francois Luguenot):
Charles-Valentin Alkan: A Life’s Works
The Grande Sonate and Sonatine, brought together on this recording, are Charles-Valentin Alkan’s first and last masterpieces for solo piano and illustrate two extremes in the composer’s aesthetic development.
In many respects, the Grande Sonate Op. 33is one of the pinnacles not only of Alkan’s output but of the entire Romantic piano repertoire.
In writing a piano sonata, Alkan was reviving and preserving a form which was not merely undervalued by the French but was even described by Schumann as being “worn out.”
In the hands of this extremely discreet composer, it could almost claim to be a manifesto: composed in the wake of the 1848 Revolution, and dedicated to his father, it is prefaced by what constitutes one of the rare official examples of the composer’s taking an aesthetic stand on an extremely controversial matter: programme music.
His text is not to be overlooked:
Much has been said and written about the limitations of expression through music. Without adopting this rule or that, without trying to resolve any of the vast questions raised by this or that system, I will simply say why I have given these four pieces such titles and why I have sometimes used terms which are simply never used by others.
It is not a question here, of imitative music; even less so of music seeking its own justification, seeking to explain its particular effect or its validity, in a realm beyond the music itself. The first piece is a Scherzo, the second an Allegro, the third and fourth an Andante and a Largo; but each one corresponds, to my mind, to a given moment in time, to a specific frame of mind, a particular state of the imagination. Why should I not portray it? We will always have music in some form and it can but enhance our ability to express ourselves: the performer without relinquishing anything of his individual sentiment, is inspired by the composer’s own ideas: a name and an object which in the realm of the intellect form a perfect combination, seem, when taken in a material sense, to clash with one another. So, however ambitious this information may seem at first glance, I believe that I might be better understood and better interpreted by including it here than I would be without it.
Let me also call upon Beethoven in his authority. We know that, towards the end of his career, this great man was working on a systematic catalogue of his major works. In it, he aimed to record the plan, memory or inspiration which gave rise to each one.
The composition and publication of the Grande Sonate occurred at a crucial moment in the composer’s life.
During the summer of 1848, when the Revolution was not yet over, Zimmerman, Alkan’s teacher, resigned from his position as Professor of Piano at the Paris Conservatoire.
It would seem natural enough that Charles-Valentin, his most brilliant and promising student, should succeed him; but in the troubled climate of the time, and as a result of some predictable intrigue, it was in fact a second-rate musician, Antoine Marmontel, who was to gain the post.
This was a particularly bitter pill for Alkan to swallow; he was to fade gradually further into obscurity and renounce all public and official posts.
The Revolution was also to harm any publicity which might have surrounded the publication of the Grande Sonate; although it was well heralded in the music magazines, it would appear that there was not one single review of the piece, nor one public performance thereafter.
The British pianist Ronald Smith is fully justified in thinking that he brought the piece to life in America in 1973 when he gave it its first public performance!
TRACK LISTING:
1-4: Grande Sonate ‘Les Quatre Ages’ Op. 33 [38:48]
5-8: Sonatine Op. 61 [18:05]
9: Barcarolle Op. 65 no. 6 [3:41]
10: Le Festin D’Esope Op. 39 no. 12 [8:40]
FINAL THOUGHT:
Seriously, if you’ve heard the Grande Sonate ‘Les Quatre Ages’you would feel as I do – completely stunned that this great piano work didn’t have its public premiere until 1973. Alkan got screwed.
Emily Sachs – President – Manka Music Group (A division of Manka Bros. Studios – The World’s Largest Media Company)
