Bach's collection of English Suites are French-inspired keyboard suites. In the sixth suite, he starts with an elaborate prelude that starts slow then takes on motion through counterpoint. The dual sarabandes and dual gavottes are the two dance sets of special interest, as is the concluding gigue, borrowing the affect of the trills from the opening prelude.

<p>Bach's collection of English Suites are French-inspired keyboard suites. In the sixth suite, he starts with an elaborate prelude that starts slow then takes on motion through counterpoint. The dual sarabandes and dual gavottes are the two dance sets of special interest, as is the concluding gigue, borrowing the affect of the trills from the opening prelude.</p>

Bachcast 62: English Suite #6 BWV 811

Shownotes  Bach Cantatas Website - BWV 1020 NBA  Performances by:  Red Priest, Johann, I'm dancing... Ashley Solomon and Terrence Charlston, Bach Flute Sonatas, Volume 2 Reinhard Goebel (Musica Antiqua Köln), Kammermusik Amandine Beyer and Edna Stern, CPE Bach Violin Sonatas

<h1>Shownotes</h1> <ul> <li><a href="http://www.bach-cantatas.com/Ref/BWV1020-Ref.htm" rel="nofollow" target="_blank">Bach Cantatas Website - BWV 1020</a></li> <li><a href="https://www.baerenreiter.com/programm/gesamt-und-werkausgaben/bach-johann-sebastian/nba/" rel="nofollow" target="_blank">NBA</a></li> </ul> <p>Performances by:</p> <ul> <li>Red Priest, <em>Johann, I'm dancing...</em></li> <li>Ashley Solomon and Terrence Charlston, <em>Bach Flute Sonatas, Volume 2</em></li> <li>Reinhard Goebel (Musica Antiqua Köln), <em>Kammermusik</em></li> <li>Amandine Beyer and Edna Stern, <em>CPE Bach Violin Sonatas</em></li></ul>

Bachcast 61: Sonata, BWV 1020

Shownotes I like the intimate nature of this cantata, where the "chorus" of soloists also take on their own roles beyond singing together. Many commentators believe this to have been intended for a wedding celebration.  Links  Bach Cantatas Website Cantus Cölln Recording Amsterdam Baroque Recording Accademia Bizantina Recording Ensemble Baroque Atlantique Recording

<h1>Shownotes</h1> <p>I like the intimate nature of this cantata, where the "chorus" of soloists also take on their own roles beyond singing together. Many commentators believe this to have been intended for a wedding celebration. </p> <h2>Links</h2> <ul> <li><a href="http://www.bach-cantatas.com" rel="nofollow" target="_blank">Bach Cantatas Website</a></li> <li><a href="https://www.amazon.com/J-S-Cantus-Cölln-Konrad-Junghänel/dp/B00B9A9CP4" rel="nofollow" target="_blank">Cantus Cölln Recording</a></li> <li><a href="https://www.amazon.com/J-S-Bach-Cantatas-Vol-1/dp/B000QZZR6Q/ref=sr_1_1?s=dmusic&amp;ie=UTF8&amp;qid=1548629821&amp;sr=1-1-mp3-albums-bar-strip-0&amp;keywords=koopman+bach+cantatas" rel="nofollow" target="_blank">Amsterdam Baroque Recording</a></li> <li><a href="https://www.amazon.com/Bach-Accademia-Bizantina-Ottavio-Dantone/dp/B005XLZ9WK/ref=sr_1_1?s=dmusic&amp;ie=UTF8&amp;qid=1548629839&amp;sr=1-1-mp3-albums-bar-strip-0&amp;keywords=dantone+bach+sinfonias" rel="nofollow" target="_blank">Accademia Bizantina Recording</a></li> <li><a href="https://www.amazon.com/Ensemble-baroque-Atlantique-Guillaume-Rebinguet/dp/B00XLQUOQU/ref=sr_1_1?s=dmusic&amp;ie=UTF8&amp;qid=1548629857&amp;sr=1-1-mp3-albums-bar-strip-0&amp;keywords=sudre+ensemble+baroque+atlantique" rel="nofollow" target="_blank">Ensemble Baroque Atlantique Recording</a></li></ul>

Bachcast 60: Cantata, Der Herr Denket An Uns, BWV 196

My first discovery of the world of baroque music is tied to this very concerto. I survey a number of excellent recordings.   Andreas Staier with FBO Francesco Cera with I Barocchisi Pierre Hantaï with Le Concert Français Sergio Ciomei with Europa Galante  The harpsichord concertos by Bach are believed by some to all be arrangements of concertos Bach originally wrote for different instruments. In the case of BWV 1054, we have the surviving version for violin, the Concerto in E, BWV 1042. The harpsichord version differs, with Bach adding more idiomatic material for the harpsichord in several sections. Formally, the first and second movement contain more musical material and a short finale closes the concerto in the similar affable, cheery style that opened the concerto with a major triad.

<p>My first discovery of the world of baroque music is tied to this very concerto. I survey a number of excellent recordings. </p> <ul> <li>Andreas Staier with FBO</li> <li>Francesco Cera with I Barocchisi</li> <li>Pierre Hantaï with Le Concert Français</li> <li>Sergio Ciomei with Europa Galante</li> </ul> <p>The harpsichord concertos by Bach are believed by some to all be arrangements of concertos Bach originally wrote for different instruments. In the case of BWV 1054, we have the surviving version for violin, the Concerto in E, BWV 1042. The harpsichord version differs, with Bach adding more idiomatic material for the harpsichord in several sections. Formally, the first and second movement contain more musical material and a short finale closes the concerto in the similar affable, cheery style that opened the concerto with a major triad.</p>

Bachcast 59: Harpsichord Concerto, BWV 1054

Show Notes I first discovered the cello suites by accident, exploring new works by Bach in middle school after falling in love with his harpsichord concertos. Within my freshman English class, my teacher eventually struck up a conversation with me about Yo-Yo Ma's rendition and how he liked listening to the album on cassette tape while on an exercise bike. I'd just been exploring the suites and I remember finding someone else who so enjoyed them was a real treat. Since high school I have colllected a number of favorite recordings, and among dances of the first suite, the opening Prelude and concluding Gigue are my favorites. Performers in this episode include:  Yo-Yo Ma (1983 CBS Masterworks) Yo-Yo Ma (2018 Sony Classical) Kuniko (2017 Linn Records) Bruno Cocset (2002 Alpha) Pieter Wispelwey (2012 Evil Penguin Records) Paolo Pandolfo (2004 Glossa)

<h1>Show Notes</h1> <p>I first discovered the cello suites by accident, exploring new works by Bach in middle school after falling in love with his harpsichord concertos. Within my freshman English class, my teacher eventually struck up a conversation with me about Yo-Yo Ma's rendition and how he liked listening to the album on cassette tape while on an exercise bike. I'd just been exploring the suites and I remember finding someone else who so enjoyed them was a real treat.</p> <p>Since high school I have colllected a number of favorite recordings, and among dances of the first suite, the opening Prelude and concluding Gigue are my favorites.</p> <p>Performers in this episode include:</p> <ul> <li>Yo-Yo Ma (1983 CBS Masterworks)</li> <li>Yo-Yo Ma (2018 Sony Classical)</li> <li>Kuniko (2017 Linn Records)</li> <li>Bruno Cocset (2002 Alpha)</li> <li>Pieter Wispelwey (2012 Evil Penguin Records)</li> <li>Paolo Pandolfo (2004 Glossa)</li></ul>

Bachcast 58: Suite for Cello in G, BWV 1007

The 'Dorian' Toccata and Fugue for organ gets its name from the absence of a key signature in the score. In the first movement, Bach sets off with a strong theme that gets treated similarly to the theme from a concerto, bouncing between "ripieno" and "concerto" textures. Likewise, he employs harmonic progressions in similarity to Venetian composers' practice in concertos from strings. It's a powerful opening that is counterbalanced with a slower-moving fugue theme. The fugue and countersubjects introduce the opportunity for some real dissonance which Bach eventually breaks out of pure harmony with and rhythmically drives the whole idea home at the end. The two featured performances on this episode come from:  Leo Van Doeselaar (Etcetera) Ton Koopman (Teldec Das Alte Werk)  I also share an earlier clip of Koopman from his recording on the Archiv Produktion label, (p) 1984.

<p>The 'Dorian' Toccata and Fugue for organ gets its name from the absence of a key signature in the score. In the first movement, Bach sets off with a strong theme that gets treated similarly to the theme from a concerto, bouncing between "ripieno" and "concerto" textures. Likewise, he employs harmonic progressions in similarity to Venetian composers' practice in concertos from strings. It's a powerful opening that is counterbalanced with a slower-moving fugue theme. The fugue and countersubjects introduce the opportunity for some real dissonance which Bach eventually breaks out of pure harmony with and rhythmically drives the whole idea home at the end.</p> <p>The two featured performances on this episode come from:</p> <ul> <li>Leo Van Doeselaar (Etcetera)</li> <li>Ton Koopman (Teldec Das Alte Werk)</li> </ul> <p>I also share an earlier clip of Koopman from his recording on the Archiv Produktion label, (p) 1984.</p>

Bachcast 57: Toccata and Fugue in D minor, BWV 538

Show Notes Bach's third partita is most famous for its gavottes en rondeau and it's opening preludio. Not only is the preludio easily recognizable today due to its popularity, but it was no doubt was popular in Bach's own time, as he re-used the material in arrangements for strings for two cantatas. In addition, he made an arrangement for another instrument, most likely the lute. Performers today, both in response to the competition for recordings and to the rise of the historically-informed performance practice, have a lot in this partita (read: suite of dances) from which to make personal decisions. The normal ones are there, such as tempo, or a legato vs. detached articulation. But how we feel the rhythm and where we place emphasis with articulation is another decision, typically articulated as a lens on big phrases versus note groupings (microphrases). Typically the slower-played renditions will focus on the smaller groups of notes, which we might traditionally call "articulation" decisions. In the recordings chosen for this episode, a third element also creeps in: the tradition of this piece, most notably the preludio, for being a "show piece" for the violin. The variety presented here will certain elicit some different responses. Both do well to highlight the richness of the music. The technical ability of both Isabelle Faust and of Rachel Podger, I believe, make their recordings both strong and they tend to shy from any major controversy in their interpretive decisions.  Other renditions push or pull our assumptions in both fast/furious and slow/deliberate directions. Enjoy!  Phorion for orchestra by Lukas Foss, conducted by Leonard Bernstein Enrico Onofri (violin) Elizabeth Wallfisch (violin) Rachel Podger (violin) Amandeine Beyer (violin) Axel Wolff (lute) Paul Galbraith (modified guitar) Gunar Letzbor (violin) Monica Huggett (violin) Skip Sempé and Olivier Fortin (harpsichords) Red Priest (ensemble, arranged for recorder, violin, and continuo)

<h2>Show Notes</h2> <p>Bach's third partita is most famous for its <em>gavottes en rondeau</em> and it's opening <em>preludio</em>. Not only is the preludio easily recognizable today due to its popularity, but it was no doubt was popular in Bach's own time, as he re-used the material in arrangements for strings for two cantatas. In addition, he made an arrangement for another instrument, most likely the lute.</p> <p>Performers today, both in response to the competition for recordings and to the rise of the historically-informed performance practice, have a lot in this partita (read: suite of dances) from which to make personal decisions. The normal ones are there, such as tempo, or a legato vs. detached articulation. But how we feel the rhythm and where we place emphasis with articulation is another decision, typically articulated as a lens on big phrases versus note groupings (microphrases). Typically the slower-played renditions will focus on the smaller groups of notes, which we might traditionally call "articulation" decisions. In the recordings chosen for this episode, a third element also creeps in: the tradition of this piece, most notably the <em>preludio</em>, for being a "show piece" for the violin. The variety presented here will certain elicit some different responses. Both do well to highlight the richness of the music.</p> <p>The technical ability of both Isabelle Faust and of Rachel Podger, I believe, make their recordings both strong and they tend to shy from any major controversy in their interpretive decisions. </p> <p>Other renditions push or pull our assumptions in both fast/furious and slow/deliberate directions. Enjoy!</p> <ul> <li><em>Phorion</em> for orchestra by Lukas Foss, conducted by Leonard Bernstein</li> <li>Enrico Onofri (violin)</li> <li>Elizabeth Wallfisch (violin)</li> <li>Rachel Podger (violin)</li> <li>Amandeine Beyer (violin)</li> <li>Axel Wolff (lute)</li> <li>Paul Galbraith (modified guitar)</li> <li>Gunar Letzbor (violin)</li> <li>Monica Huggett (violin)</li> <li>Skip Sempé and Olivier Fortin (harpsichords)</li> <li>Red Priest (ensemble, arranged for recorder, violin, and continuo)</li></ul>

Bachcast 56: Partita no. 3 for violin, BWV 1006/1006a

Shownotes This is in fact the 54th episode, but I got ahead of myself in the recording. Our next podcast will be #54, so enjoy here #55.  Score  This fugue is a great example of great things in small packages. Bach's use of counterpoint is heightened when two voices highlight his countersubject and subject when the rhythmic motifs align to allow harmonization of the themes. Performances include:  Brad Mehldau, After Bach Christophe Rousset, The Well-Tempered Clavier I&amp;II Emerson Quartet, Bach Fugues The Bach Players, Bach Arranging and Arranged Angela Hewitt, The Well-Tempered Clavier, Book II Fretwork, Alio Modo

<h2>Shownotes</h2> <p><em>This is in fact the 54th episode, but I got ahead of myself in the recording. Our next podcast will be #54, so enjoy here #55.</em></p> <ul> <li><a href="https://musescore.com/user/13172/scores/131081" rel="nofollow" target="_blank">Score</a></li> </ul> <p>This fugue is a great example of great things in small packages. Bach's use of counterpoint is heightened when two voices highlight his countersubject and subject when the rhythmic motifs align to allow harmonization of the themes.</p> <p>Performances include:</p> <ul> <li>Brad Mehldau, <em>After Bach</em></li> <li>Christophe Rousset, The Well-Tempered Clavier I&amp;II</li> <li>Emerson Quartet, <em>Bach Fugues</em></li> <li>The Bach Players, <em>Bach Arranging and Arranged</em></li> <li>Angela Hewitt, The Well-Tempered Clavier, Book II</li> <li>Fretwork, <em>Alio Modo</em></li></ul>

Bachcast 55: Fugue in G minor, BWV 885

Bach's first partita from his Sei Solo a Violino senza Basso accompagnato is a set of four baroque dances coupled with doubles, or variations of the dances that preceed the first. There's a tight connection between the themes across the dances which is only intensified by the inclusion of variations for each one. The performances here show very viable interpretations but the ripe opportunity for different interpretations. These performers take Bach's working material and vary it to their own devices, from Bach's use of double stopped chords at rhythmically-important places, of both small and big phrases, of the tempos of dances, and improvisation, as much as these performers feel allowed, through ornaments and through the decoration of phrases. Performances sampled:  Gunar Letzbor (Pan Classics) Viktoria Mullova (Philips Classics) Viktoria Mullova (Onyx) Gidon Kremer (ECM New Series) Itzhak Perlman (EMI) Hélène Schmitt (Alpha) Isabelle Faust (Harmonia Mundi)  We also open with a quotation from a solo sonata by Johann Pisendel from Johannes Pramsohler (Bach &amp; Entourage, Audax, 2015).

<p>Bach's first partita from his <em>Sei Solo a Violino senza Basso accompagnato</em> is a set of four baroque dances coupled with <em>doubles</em>, or variations of the dances that preceed the first. There's a tight connection between the themes across the dances which is only intensified by the inclusion of variations for each one.</p> <p>The performances here show very viable interpretations but the ripe opportunity for different interpretations. These performers take Bach's working material and vary it to their own devices, from Bach's use of double stopped chords at rhythmically-important places, of both small and big phrases, of the tempos of dances, and improvisation, as much as these performers feel allowed, through ornaments and through the decoration of phrases.</p> <p>Performances sampled:</p> <ul> <li>Gunar Letzbor (Pan Classics)</li> <li>Viktoria Mullova (Philips Classics)</li> <li>Viktoria Mullova (Onyx)</li> <li>Gidon Kremer (ECM New Series)</li> <li>Itzhak Perlman (EMI)</li> <li>Hélène Schmitt (Alpha)</li> <li>Isabelle Faust (Harmonia Mundi)</li> </ul> <p>We also open with a quotation from a solo sonata by Johann Pisendel from Johannes Pramsohler (Bach &amp; Entourage, Audax, 2015).</p>

Bachcast 54: Partita no. 1, BWV 1002

Bach penned two versions of a concerto for two soloists: 1043 for two violins in D minor and 1062 for 2 harpsichords in C minor. The transition likely is to accommodate the compass of the keyboard instruments. It's believed the violin version preceded the one for two harpsichords. We listen to a variety of performances and settle on liking ones where the character between soloists is clear enough to differentiate the musical dialog taking place between the two solo parts. Featured performances from:  The Academy of Ancient Music (Harmonia Mundi) The English Concert (DG Archiv) Café Zimmermann (Alpha) Freiburg Baroque Orchestra (Harmonia Mundi) Red Priest Musica Amphion (Brilliant Classics)

<p>Bach penned two versions of a concerto for two soloists: 1043 for two violins in D minor and 1062 for 2 harpsichords in C minor. The transition likely is to accommodate the compass of the keyboard instruments.</p> <p>It's believed the violin version preceded the one for two harpsichords. We listen to a variety of performances and settle on liking ones where the character between soloists is clear enough to differentiate the musical dialog taking place between the two solo parts.</p> <p>Featured performances from:</p> <ul> <li>The Academy of Ancient Music (Harmonia Mundi)</li> <li>The English Concert (DG Archiv)</li> <li>Café Zimmermann (Alpha)</li> <li>Freiburg Baroque Orchestra (Harmonia Mundi)</li> <li>Red Priest</li> <li>Musica Amphion (Brilliant Classics)</li></ul>

Bachcast 53: Concerto(s) for 2 Soloists, BWV 1043 and 1062

Discover outstanding recordings of Bach's music and some of the interesting details in Bach's works. Each episode is dedicate to one work by J.S. Bach.

The only reason this isn&#39;t five stars is that some episodes are missing the music!

Great podcast

This podcast is a breath of fresh air. Keep up the great work and I look forward to continuing to enjoy this with my morning coffee.

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Great to See This Out There

Bachcast - biberfan

The Goldberg Variations were written for solo keyboard, and is most easily realized on a two-manual harpsichord, based on the technical demands Bach placed on the performer. It's among his most important keyboard works and is hugely popular. In this episode, I discuss some of my favorite performances and some things to listen for. Show Notes Check out the following links to learn more about this work.  Open Goldberg Project - Kimiko Ishizaka Gould's Bach Collection from Sony Ton Koopman performs BWV 988 Blandine Rannou performs BWV 988 Jacques Loussier Trio performs BWV 988  Bach would of course take on the art of variation writing in his later works, such as the Art of Fugue and the Musical Offering, using counterpoint as the mechanism by which to weave new music. Counterpoint does play a role here in these variations, especially those featuring canons. Bach's treatment of the "variation" however is through the bass line as presented in the opening Aria. While more difficult to hear, it is a potent teacher that profoundly great things can be built upon a good foundation.   Glenn Gould performing the Goldberg Variations in 1981

<p>The <strong>Goldberg Variations</strong> were written for solo keyboard, and is most easily realized on a two-manual harpsichord, based on the technical demands Bach placed on the performer. It's among his most important keyboard works and is hugely popular. In this episode, I discuss some of my favorite performances and some things to listen for.</p> <h2>Show Notes</h2> <p>Check out the following links to learn more about this work.</p> <ul> <li><a href="http://www.opengoldbergvariations.org" rel="nofollow" target="_blank">Open Goldberg Project - Kimiko Ishizaka</a></li> <li><a href="http://www.amazon.com/Glenn-Gould-Complete-Bach-Collection/dp/B0086WQNZ0/ref=sr_1_1?ie=UTF8&amp;qid=1432174712&amp;sr=8-1&amp;keywords=bach+glenn+gould" rel="nofollow" target="_blank">Gould's Bach Collection from Sony</a></li> <li><a href="http://www.amazon.com/Bach-Goldberg-Variations-Ton-Koopman/dp/B00000E6TS/ref=sr_1_2?ie=UTF8&amp;qid=1432174737&amp;sr=8-2&amp;keywords=ton+koopman+goldberg+bach" rel="nofollow" target="_blank">Ton Koopman performs BWV 988</a></li> <li><a href="http://www.amazon.com/Goldberg-Variations-J-S-Bach/dp/B005KAA9YW/ref=sr_1_1?ie=UTF8&amp;qid=1432174772&amp;sr=8-1&amp;keywords=rannou+bach+goldberg" rel="nofollow" target="_blank">Blandine Rannou performs BWV 988</a></li> <li><a href="http://www.amazon.com/Jacques-Loussier-Trio-Goldberg-Variations/dp/B00004TD2H/ref=sr_1_1?ie=UTF8&amp;qid=1432174791&amp;sr=8-1&amp;keywords=loussier+trio+bach+goldberg" rel="nofollow" target="_blank">Jacques Loussier Trio performs BWV 988</a></li> </ul> <p>Bach would of course take on the art of variation writing in his later works, such as the Art of Fugue and the Musical Offering, using counterpoint as the mechanism by which to weave new music. Counterpoint does play a role here in these variations, especially those featuring canons. Bach's treatment of the "variation" however is through the bass line as presented in the opening Aria. While more difficult to hear, it is a potent teacher that profoundly great things can be built upon a good foundation. </p> <ul> <li><a href="https://www.youtube.com/watch?v=N2YMSt3yfko" rel="nofollow" target="_blank">Glenn Gould performing the Goldberg Variations in 1981</a></li></ul>

Episode #10: the Goldberg Variations, BWV 988

Shownotes BWV 1014 is the first in a series of sonatas for violin and keyboard. In the two recordings featured here, a violinist is pitted against a keyboard player. Bach’s writing in these is not simply a figured bass line, but instead, has a written-out right hand part, giving him the opportunity to create a 3-voice texture (right hand, violin as solo voices, and the left hand with bass). In this episode, I feature recordings by Jaime Laredo (violin) and Glenn Gould (piano) from 1976 and a 2006 recording by Stephano Montanari (violin) and Christophe Rousset, harpsichord.  Score, BWV 1014 - please note that this score has been edited with dynamics, and information not present in the original score Information on Jaime Laredo Information on Glenn Gould Information on Christophe Rousset Information on Stephano Montanari Montanari/Rousset Recording on Ambrosie  Corelli Op. 5, volume 1 - Enrico Onfori, Imaginarium Ensemble

<h2>Shownotes</h2> <p><strong>BWV 1014</strong> is the first in a series of sonatas for violin and keyboard. In the two recordings featured here, a violinist is pitted against a keyboard player. Bach’s writing in these is not simply a figured bass line, but instead, has a written-out right hand part, giving him the opportunity to create a 3-voice texture (right hand, violin as solo voices, and the left hand with bass). In this episode, I feature recordings by Jaime Laredo (violin) and Glenn Gould (piano) from 1976 and a 2006 recording by Stephano Montanari (violin) and Christophe Rousset, harpsichord.</p> <ul> <li><a href="http://www.scribd.com/doc/271337561/Bach-Violin-Sonata-Bwv-1014-Score" rel="nofollow" target="_blank">Score, BWV 1014</a> - please note that this score has been edited with dynamics, and information not present in the original score</li> <li><a href="https://en.wikipedia.org/wiki/Jaime_Laredo" rel="nofollow" target="_blank">Information on Jaime Laredo</a></li> <li><a href="https://en.wikipedia.org/wiki/Glenn_Gould" rel="nofollow" target="_blank">Information on Glenn Gould</a></li> <li><a href="https://en.wikipedia.org/wiki/Christophe_Rousset" rel="nofollow" target="_blank">Information on Christophe Rousset</a></li> <li><a href="https://www.facebook.com/StefanoMontanariFanpage" rel="nofollow" target="_blank">Information on Stephano Montanari</a></li> <li><a href="http://www.arkivmusic.com/classical/album.jsp?album_id=149859" rel="nofollow" target="_blank">Montanari/Rousset Recording</a> on Ambrosie </li> <li><a href="http://www.amazon.com/gp/product/B00CE28SM4/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00CE28SM4&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=RGHTCXPUS2H7V26G" rel="nofollow" target="_blank">Corelli Op. 5, volume 1 - Enrico Onfori, Imaginarium Ensemble</a></li></ul>

Bachcast Episode #25: Sonata in B minor, BWV 1014

Shownotes Several of these dances/movements from Bach's second English Suite have to put a big smile on your face. Stand out movements include the first Bourée and the Sarabande.   Prelude Allemande Courante Sarabande Bourées I, II, I Gigue  This copy of the score writes out a da capo for the bourrees, asking the performer to return to the minor-keyed first dance to round off the pair.  Featured Performances:  Blandine Rannou Anne-Marie McDermott Stefan Temmingh RedPriest - Johann, I'm Only Dancing Harpsichordist Pierre Hantaï via YouTube - Hantaï takes the liberty of offering his own "pre-prelude" which makes sense to me since the prelude by Bach dives right into a strict contrapuntal structure

<h2>Shownotes</h2> <p>Several of these dances/movements from Bach's second English Suite have to put a big smile on your face. Stand out movements include the first Bourée and the Sarabande. </p> <ul> <li>Prelude</li> <li>Allemande</li> <li>Courante</li> <li>Sarabande</li> <li>Bourées I, II, I</li> <li>Gigue</li> </ul> <p><a href="http://conquest.imslp.info/files/imglnks/usimg/a/a8/IMSLP02095-BWV0807.pdf" rel="nofollow" target="_blank">This copy of the score</a> writes out a <em>da capo</em> for the bourrees, asking the performer to return to the minor-keyed first dance to round off the pair. </p> <p>Featured Performances:</p> <ul> <li><a href="http://www.amazon.com/gp/product/B000092OX8/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B000092OX8&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=6S3OZOEUFASAJEU5" rel="nofollow" target="_blank">Blandine Rannou</a></li> <li><a href="http://annemariemcdermott.net/page10/recordings.html" rel="nofollow" target="_blank">Anne-Marie McDermott</a></li> <li><a href="http://www.stefantemmingh.com/sites_english/cds_english.htm" rel="nofollow" target="_blank">Stefan Temmingh</a></li> <li><a href="http://www.amazon.com/gp/product/B0035KTIM8/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B0035KTIM8&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=SICVW65SLFFFWBOS" rel="nofollow" target="_blank">RedPriest - Johann, I'm Only Dancing</a></li> <li><a href="https://youtu.be/Sw3PNMJo3BM" rel="nofollow" target="_blank">Harpsichordist Pierre Hantaï</a> via YouTube - Hantaï takes the liberty of offering his own "pre-prelude" which makes sense to me since the prelude by Bach dives right into a strict contrapuntal structure</li></ul>

Bachcast Episode 17: BWV 807

Shownotes The opening to Bach's Well-tempered clavier is well known for a variety of reasons. In this episode, we compare multiple performances and I realize in so doing what an amazing amount of quality musical material is contained within. It is really though the different lenses of different performances that we can begin to appreciate the quality of Bach's writing.  Andras Schiff, piano Emerson Quartet: Fugues Modern String Quartet P. Hantaï - WTC 1 Igor Kipnis YLK Organization - Happiness Jacques Loussier Trio Play Bach 1  N.B. Purchase of albums through the links above helps support this podcast.

<h2>Shownotes</h2> <p>The opening to Bach's <em>Well-tempered clavier</em> is well known for a variety of reasons. In this episode, we compare multiple performances and I realize in so doing what an amazing amount of quality musical material is contained within. It is really though the different lenses of different performances that we can begin to appreciate the quality of Bach's writing.</p> <ul> <li><a href="http://www.amazon.com/gp/product/B008NR8YXC/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B008NR8YXC&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=JQI6Q7VQEZDETJ5M" rel="nofollow" target="_blank">Andras Schiff, piano</a></li> <li><a href="http://www.amazon.com/gp/product/B0011WMWV6/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B0011WMWV6&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=J4BLQVRNPYCOPXVV" rel="nofollow" target="_blank">Emerson Quartet: Fugues</a></li> <li><a href="http://www.amazon.com/gp/product/B00GDL594W/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00GDL594W&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=IMABEFC4VZYRXC5F" rel="nofollow" target="_blank">Modern String Quartet</a></li> <li><a href="http://www.amazon.com/gp/product/B00007F8W4/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00007F8W4&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=ZGRXA6BOGP2AZ2WX" rel="nofollow" target="_blank">P. Hantaï - WTC 1</a></li> <li><a href="http://www.amazon.com/gp/product/B000005IX1/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B000005IX1&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=PI223AGIYQS3GCM6" rel="nofollow" target="_blank">Igor Kipnis</a></li> <li><a href="https://en.wikipedia.org/wiki/YLK_Organization" rel="nofollow" target="_blank">YLK Organization - Happiness</a></li> <li><a href="http://www.amazon.com/gp/product/B008EU399M/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B008EU399M&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=NGQKBFGZYS457Y6C" rel="nofollow" target="_blank">Jacques Loussier Trio Play Bach 1</a></li> </ul> <p>N.B. Purchase of albums through the links above helps support this podcast.</p>

Bachcast 38: Prelude and Fugue in C major, BWV 846

Shownotes Partita for Solo Violin in B minor, BWV 1002  Allemanda Double Corrente Double Sarabande Double Tempo di Borea Double  On the surface, we have a four movement structure of “dance pieces” forming a baroque suite. Bach attaches to each a variation, or double. What’s interesting is Bach’s use of French and Italian language in describing these pieces. Not a Bourée, but a borea. Not a courante, but a corrente. Bach no doubt was channeling the Italian avant garde, when it came to violin writing. When dance suites were, in fact, dance suites, these doubles could be used to extend the dancing, in a very pragmatic way. In Bach’s hands, here however, the variations are not written for pragmatic concerns, they are are but the one example in the series of the six sonatas and partitas for Bach to demonstrate his mastery in writing variations. The challenge for the performer is to keep the pulse of the dance established in the preceding movement alive in the variation that contains more complexity in way of the phrases and number of notes. Since Bach’s Sonatas and Partitas are so famous and so popular in the recorded canon, there are so many takes on how these dances can be performed. I look at these pairs as statements and counter-statements, the one containing the theme or compositional germ, and the second presenting the opportunity for the virtuoso to show off. The pairings in this way can be seen as written for the introvert and extrovert.  Helene Schmitt, violin Gunar Letzbor, violin Chris Thile, mandolin Paul Galbraith, 8-string guitar

<h2>Shownotes</h2> <p>Partita for Solo Violin in B minor, BWV 1002</p> <ol> <li>Allemanda</li> <li>Double</li> <li>Corrente</li> <li>Double</li> <li>Sarabande</li> <li>Double</li> <li>Tempo di Borea</li> <li>Double</li> </ol> <p>On the surface, we have a four movement structure of “dance pieces” forming a baroque suite. Bach attaches to each a variation, or <em>double</em>. What’s interesting is Bach’s use of French and Italian language in describing these pieces. Not a <em>Bourée</em>, but a <em>borea</em>. Not a <em>courante,</em> but a <em>corrente</em>. Bach no doubt was channeling the Italian avant garde, when it came to violin writing. When dance suites were, in fact, <em>dance suites</em>, these doubles could be used to extend the dancing, in a very pragmatic way. In Bach’s hands, here however, the variations are not written for pragmatic concerns, they are are but the one example in the series of the six sonatas and partitas for Bach to demonstrate his mastery in writing variations. The challenge for the performer is to keep the pulse of the dance established in the preceding movement alive in the variation that contains more complexity in way of the phrases and number of notes.</p> <p>Since Bach’s <em>Sonatas and Partitas</em> are so famous and so popular in the recorded canon, there are so many takes on how these dances can be performed. I look at these pairs as statements and counter-statements, the one containing the theme or compositional germ, and the second presenting the opportunity for the virtuoso to show off. The pairings in this way can be seen as written for the introvert and extrovert.</p> <ul> <li><a href="https://www.outhere-music.com/en/artists/helene-schmitt/releases" rel="nofollow" target="_blank">Helene Schmitt</a>, violin</li> <li><a href="http://www.ars-antiqua-austria.com/alle/htmlFrSet.htm" rel="nofollow" target="_blank">Gunar Letzbor</a>, violin</li> <li><a href="http://www.nonesuch.com/journal/nonesuch-releases-chris-thile-bach-sonatas-partitas-vol-1-august-6-2013-06-19" rel="nofollow" target="_blank">Chris Thile</a>, mandolin</li> <li><a href="http://www.paul-galbraith.com/engl/discografia.htm" rel="nofollow" target="_blank">Paul Galbraith</a>, 8-string guitar</li></ul>

Bachcast 41: Partita for Violin, BWV 1002

Shownotes Bach parodied himself. He was pragmatic!  BWV 207 BWV 207a BWV 1046 - Brandenburg Concerto no. 1 Ton Koopman - Amsterdam Baroque Orchestra Reinhard Goebel - Musica Antiqua Köln

<h2>Shownotes</h2> <p>Bach parodied himself. He was pragmatic!</p> <ul> <li><a href="https://en.wikipedia.org/wiki/Vereinigte_Zwietracht_der_wechselnden_Saiten,_BWV_207" rel="nofollow" target="_blank">BWV 207</a></li> <li><a href="https://en.wikipedia.org/wiki/Auf,_schmetternde_Töne_der_muntern_Trompeten,_BWV_207a" rel="nofollow" target="_blank">BWV 207a</a></li> <li><a href="https://en.wikipedia.org/wiki/Brandenburg_Concertos#No._1_in_F_major,_BWV_1046" rel="nofollow" target="_blank">BWV 1046 - Brandenburg Concerto no. 1</a></li> <li><a href="https://www.amazon.com/Complete-Cantatas-Amsterdam-Baroque-Orchestra/dp/B002O0Q652/ref=pd_lpo_sbs_15_t_2?_encoding=UTF8&amp;psc=1&amp;refRID=8Q2FXAGRD1J4SW522D49" rel="nofollow" target="_blank">Ton Koopman - Amsterdam Baroque Orchestra</a></li> <li><a href="https://www.amazon.com/J-S-Bach-Cantatas-Weltliche-Kantaten/dp/B0000060AL/ref=sr_1_1?s=music&amp;ie=UTF8&amp;qid=1518324783&amp;sr=1-1&amp;keywords=goebel+secular+cantatas&amp;dpID=518ZRYG%252BLdL&amp;preST=_SY300_QL70_&amp;dpSrc=srch" rel="nofollow" target="_blank">Reinhard Goebel - Musica Antiqua Köln</a></li></ul>

Bachcast Episode 49: Cantata, BWV 207

Shownotes  Chris Thile Gidon Kremer on ECM New Series Monica Huggett on Virgin Veritas Itzhak Perlman Amandine Beyer Helene Schmitt Rachel Podger on Channel Classics Viktoria Mullova Paul O'Dette  A lot of different versions of these work exist. I wanted you to get a sense of the differences among some strong contenders. I think the oldest recording is likely 1988 or 1989 by Perlman on EMI/Warner. Among my most favorite are the Kremer (modern violin) and Chris Thile (arrangement on mandolin).  Bach adopts a four-movement structure, positioning his fugue in second position. The fugue forces the performer to make some stylistic choices on how to render the accented chords that must be rolled across the strings. How do you like vibrato? I like it when it's used as an ornament. I''m not a fan of any Baroque literature that is treated with a constant, regular vibrato. That said, I do like Kremer's apporach from a modern violinist's perspective. The last movement is ripe for opportunities for accents of differnet levels, highighting the shape of the phrases. Huggett's recording for me is like a "zoomed-in" close up view with her approach; while it is not my favorite approach, I like how it makes me re-assess the music, thus helping me enjoy it even more deeply. Also mentioned:  Gunar Letzbor

<h2>Shownotes</h2> <ul> <li><a href="http://amzn.to/1UUL1SX" rel="nofollow" target="_blank">Chris Thile</a></li> <li><a href="http://amzn.to/1K617sv" rel="nofollow" target="_blank">Gidon Kremer</a> on ECM New Series</li> <li><a href="http://amzn.to/1UUL9BM" rel="nofollow" target="_blank">Monica Huggett</a> on Virgin Veritas</li> <li><a href="http://amzn.to/1UULeFF" rel="nofollow" target="_blank">Itzhak Perlman</a></li> <li><a href="http://amzn.to/1K61eEc" rel="nofollow" target="_blank">Amandine Beyer</a></li> <li><a href="http://amzn.to/1K61i71" rel="nofollow" target="_blank">Helene Schmitt</a></li> <li><a href="http://amzn.to/1UULc0v" rel="nofollow" target="_blank">Rachel Podger</a> on Channel Classics</li> <li><a href="http://amzn.to/1UULjcg" rel="nofollow" target="_blank">Viktoria Mullova</a></li> <li><a href="http://amzn.to/1UULlB0" rel="nofollow" target="_blank">Paul O'Dette</a></li> </ul> <p>A lot of different versions of these work exist. I wanted you to get a sense of the differences among some strong contenders. I think the oldest recording is likely 1988 or 1989 by Perlman on EMI/Warner. Among my <em>most</em> favorite are the Kremer (modern violin) and Chris Thile (arrangement on mandolin). </p> <p>Bach adopts a four-movement structure, positioning his fugue in second position. The fugue forces the performer to make some stylistic choices on how to render the accented chords that must be rolled across the strings.</p> <p>How do you like vibrato? I like it when it's used as an ornament. I''m not a fan of any Baroque literature that is treated with a constant, regular vibrato. That said, I do like Kremer's apporach from a modern violinist's perspective.</p> <p>The last movement is ripe for opportunities for accents of differnet levels, highighting the shape of the phrases. Huggett's recording for me is like a "zoomed-in" close up view with her approach; while it is not my favorite approach, I like how it makes me re-assess the music, thus helping me enjoy it even more deeply.</p> <p>Also mentioned:</p> <ul> <li><a href="http://amzn.to/1TLJOig" rel="nofollow" target="_blank">Gunar Letzbor</a></li></ul>

Bachcast 39: Sonata for solo violin in G minor, BWV 1001

Show Notes Bach's second Brandenburg Concerto was written for violin, recorder, trumpet, and oboe with a string ensemble in three movements: fast-slow-fast. The final movement is constructed as a fugue.  Recording Link - Concerto Italiano Notes on BWV 1047 Score - BWV 1047 Wikipedia on the Baroque Trumpet

<h2>Show Notes</h2> <p>Bach's second Brandenburg Concerto was written for violin, recorder, trumpet, and oboe with a string ensemble in three movements: fast-slow-fast. The final movement is constructed as a fugue.</p> <ul> <li><a href="http://www.amazon.com/gp/product/B000ALCFYI/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B000ALCFYI&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=ZYWOOI7GUXAY35DB" rel="nofollow" target="_blank">Recording Link - Concerto Italiano</a></li> <li><a href="http://www.bach.org/bwv1047.php" rel="nofollow" target="_blank">Notes on BWV 1047</a></li> <li><a href="http://javanese.imslp.info/files/imglnks/usimg/7/7c/IMSLP247187-PMLP82078-D_B_Am._B._78__BWV_1047_.pdf" rel="nofollow" target="_blank">Score - BWV 1047</a></li> <li><a href="http://en.wikipedia.org/wiki/Baroque_trumpet" rel="nofollow" target="_blank">Wikipedia on the Baroque Trumpet</a></li></ul>

Episode 3: Brandenburg Concerto #2 BWV 1047

Shownotes Bach's Third orchestal suite is for strings, oboes, bassoon, trumpets, and timpani. The piece likely was expanded for an outdoor performance.  Jacques Loussier Trio: Play Bach 2 English Concert - Trevor Pinnock Il Giardino Armonico Ensemble Sonnerie Musica Antiqua Köln

<h2>Shownotes</h2> <p>Bach's Third orchestal suite is for strings, oboes, bassoon, trumpets, and timpani. The piece likely was expanded for an outdoor performance.</p> <ul> <li><a href="https://www.youtube.com/watch?v=pKYCPk-JZoU" rel="nofollow" target="_blank">Jacques Loussier Trio: Play Bach 2</a></li> <li><a href="https://www.amazon.com/Bach-Brandenburg-Concertos-Orchestral-Suites/dp/B0000057D8" rel="nofollow" target="_blank">English Concert - Trevor Pinnock</a></li> <li><a href="https://www.amazon.com/Bach-Vivaldi-Albinoni-Barocca-Masterpieces/dp/B01BOAFU86/ref=sr_1_1?s=music&amp;ie=UTF8&amp;qid=1487471834&amp;sr=1-1&amp;keywords=il+giardino+armonico+musica+barocca" rel="nofollow" target="_blank">Il Giardino Armonico</a></li> <li><a href="https://www.amazon.com/Orchestral-Suites-Young-Prince-Bach/dp/B0021YMYHA/ref=sr_1_1?s=music&amp;ie=UTF8&amp;qid=1487471853&amp;sr=1-1&amp;keywords=bach+orchestral+sonnerie" rel="nofollow" target="_blank">Ensemble Sonnerie</a></li> <li><a href="https://www.amazon.com/gp/product/B000VGMCJA/ref=dm_ws_sp_ps_dp" rel="nofollow" target="_blank">Musica Antiqua Köln</a></li></ul>

Bachcast 43: Orchestral Suite in D, BWV 1068

Show Notes The concerto for keyboard is written in three movements (fast-slow-fast) and has been titled by Bach to be "after Italian taste,” likely a reference to its structure and use of ritornello-solo form. Unlike his transcriptions of orchestral concerti reduced to a keyboard, this is Bach’s composition of an original piece. He does the same thing in his second Clavierübung collection with a French overture-suite for keyboard. Interpretations vary in chosen tempo and how performers choose to deal with the “ensemble” and “solo” aspects of the work. Historically-informed performers will choose here the harpsichord as the instrument, which is well suited for this task, if a 2-keyboard version is chosen. Instruments with more than one keyboard allow for the instrument to play a different set of strings (2 sets versus 1), or a set of strings sounding an octave higher (4’ stop) or an octave lower (16’) stop.  I’ve chosen a wide variety of performances to illustrate the possibilities for the modern performer. Purchases of recordings made through the links below help support biberfan.org.  Alexandre Tharaud - piano Andreas Staier - harpsichord Trevor Pinnock - harpsichord Glenn Gould - piano Jean Rondeau - piano Richard Egarr - harpsichord Concerto Italiano (String transcription) Aapo Hakkinen - harpsichord (with 16’ stop) Score, BWV 971

<h2>Show Notes</h2> <p>The concerto for keyboard is written in three movements (fast-slow-fast) and has been titled by Bach to be "after Italian taste,” likely a reference to its structure and use of ritornello-solo form. Unlike his transcriptions of orchestral concerti reduced to a keyboard, this is Bach’s composition of an original piece. He does the same thing in his second <em>Clavierübung</em> collection with a French overture-suite for keyboard.</p> <p>Interpretations vary in chosen tempo and how performers choose to deal with the “ensemble” and “solo” aspects of the work. Historically-informed performers will choose here the harpsichord as the instrument, which is well suited for this task, if a 2-keyboard version is chosen. Instruments with more than one keyboard allow for the instrument to play a different set of strings (2 sets versus 1), or a set of strings sounding an octave higher (4’ stop) or an octave lower (16’) stop. </p> <p>I’ve chosen a wide variety of performances to illustrate the possibilities for the modern performer.</p> <p>Purchases of recordings made through the links below help support <a href="http://biberfan.org" rel="nofollow" target="_blank">biberfan.org</a>.</p> <ul> <li><a href="http://www.amazon.com/gp/product/B00070FTM2/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00070FTM2&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=EZQ23N4G3YUUHQ4S" rel="nofollow" target="_blank">Alexandre Tharaud</a> - piano</li> <li><a href="http://www.amazon.com/gp/product/B000001TY8/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B000001TY8&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=NC4PAE5WXAVHZVPW" rel="nofollow" target="_blank">Andreas Staier</a> - harpsichord</li> <li><a href="http://www.amazon.com/gp/product/B0000057CH/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B0000057CH&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=LLSL23BY5Q63JDQ7" rel="nofollow" target="_blank">Trevor Pinnock</a> - harpsichord</li> <li><a href="http://www.amazon.com/gp/product/B0086WQNZ0/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B0086WQNZ0&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=ZCKYNBGBJLBT7DDN" rel="nofollow" target="_blank">Glenn Gould</a> - piano</li> <li><a href="http://www.amazon.com/gp/product/B00ORVA8PU/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00ORVA8PU&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=VX24Q62PJH33VKNI" rel="nofollow" target="_blank">Jean Rondeau</a> - piano</li> <li><a href="http://www.amazon.com/gp/product/B00B3SPCXI/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00B3SPCXI&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=TWRNBOHSABRLJXCJ" rel="nofollow" target="_blank">Richard Egarr</a> - harpsichord</li> <li><a href="http://www.amazon.com/gp/product/B00004ZBLB/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00004ZBLB&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=XTMH2OZEPTBU7M55" rel="nofollow" target="_blank">Concerto Italiano</a> (String transcription)</li> <li><a href="http://www.amazon.com/gp/product/B00CH7Y9NS/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00CH7Y9NS&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=UCBHKZTC3UAHPYMJ" rel="nofollow" target="_blank">Aapo Hakkinen</a> - harpsichord (with 16’ stop)</li> <li><a href="“http://imslp.org/wiki/Italienisches_Konzert,_BWV_971_(Bach,_Johann_Sebastian)”" rel="nofollow" target="_blank">Score, BWV 971</a></li></ul>

Bachcast Episode 23: Italian Concerto, BWV 971

Show Notes In the third concerto, scored for string orchestra, Bach only provides two movements, separated by two chords. The ensemble Musica Antiqua of Cologne, directed by Reinhard Goebel (violin), performs one player per part, in this recording from DG Archiv Produktion, published in 1986.   Original CD release of MAK's Brandenburg Concertos Re-issue of MAK Brandenburg Concertos with Bach Chamber Music and Orchestral Suites Facsimile of Bach's Score for BWV 1048

<h2>Show Notes</h2> <p>In the third concerto, scored for string orchestra, Bach only provides two movements, separated by two chords. The ensemble Musica Antiqua of Cologne, directed by Reinhard Goebel (violin), performs one player per part, in this recording from DG Archiv Produktion, published in 1986. </p> <ul> <li><a href="http://www.amazon.com/gp/product/B0000057D4/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B0000057D4&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=UYWQ4WBS45V6ABC5" rel="nofollow" target="_blank">Original CD release of MAK's Brandenburg Concertos</a></li> <li><a href="http://www.amazon.com/gp/product/B000069KJ2/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B000069KJ2&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=YQK4OILAHTHPQW7Q" rel="nofollow" target="_blank">Re-issue of MAK Brandenburg Concertos with Bach Chamber Music and Orchestral Suites</a></li> <li><a href="http://javanese.imslp.info/files/imglnks/usimg/3/39/IMSLP247188-PMLP82079-D_B_Am._B._78__BWV_1048_.pdf" rel="nofollow" target="_blank">Facsimile of Bach's Score for BWV 1048</a></li></ul>

Episode 5: Brandenburg Concerto #3, BWV 1048

Show Notes This is our first look at one of the six sonatas and partitas for solo violin by J.S. Bach. Bach’s contemporary Telemann wrote fantasias for the violin, but they were far less ambitious works than what Bach came up with. Bach was known to be a fair violinist, but the supreme virtuosity he provides in these works has less to do with violin technique than it does from the musical ideas. And that is perhaps why this music translates so well for different instruments. In this episode, we hear the piece performed on both period and modern violin, harpsichord, guitar, and mandolin. There’s something good about every one of the performances, and they each exploit different ideas of what’s possible with tempo, dynamics, the shapes of phrases, and how to overcome the challenge of playing chords. As far as models go, Bach had in addition to Telemann examples for solo violin works by von Westhoff and the Dresden-based violinist Pisendel. The complexity brought about in the counterpoint, especially so in this fugue from BWV 1003, seem to suggest performance only by virtuosos in the day. Today, this piece, along with the other sonatas and partitas, is well-liked, often-performed, and has a place in the permanent canon of violin literature. Performances  Score Jean Rondeau, harpsichord Gidon Kremer, violin Paul Galbraith, guiar Chris Thile, mandolin Monica Huggett, violin  Beethoven Note My apologizes for mis-naming Beethoven's fifth symphony as the ninth. I obviously recorded this too late in the evening. 

<h2>Show Notes</h2> <p>This is our first look at one of the <a href="“https://en.wikipedia.org/wiki/Sonatas_and_partitas_for_solo_violin_(Bach)”" rel="nofollow" target="_blank">six <em>sonatas and partitas for solo violin</em> by J.S. Bach</a>. Bach’s contemporary Telemann wrote <em>fantasias</em> for the violin, but they were far less ambitious works than what Bach came up with. Bach was known to be a fair violinist, but the supreme virtuosity he provides in these works has less to do with violin technique than it does from the musical ideas. And that is perhaps why this music translates so well for different instruments. In this episode, we hear the piece performed on both period and modern violin, harpsichord, guitar, and mandolin. There’s something good about every one of the performances, and they each exploit different ideas of what’s possible with tempo, dynamics, the shapes of phrases, and how to overcome the challenge of playing chords.</p> <p>As far as models go, Bach had in addition to Telemann examples for solo violin works by von Westhoff and the Dresden-based violinist Pisendel. The complexity brought about in the counterpoint, especially so in this fugue from BWV 1003, seem to suggest performance only by virtuosos in the day. Today, this piece, along with the other sonatas and partitas, is well-liked, often-performed, and has a place in the permanent canon of violin literature.</p> <h3>Performances</h3> <ul> <li><a href="“http://conquest.imslp.info/files/imglnks/usimg/c/c0/IMSLP01306-BWV1003.pdf”" rel="nofollow" target="_blank">Score</a></li> <li><a href="http://www.warnerclassics.com/release/4586086,0825646220090/jean-rondeau-imagine" rel="nofollow" target="_blank">Jean Rondeau</a>, harpsichord</li> <li><a href="http://ecmreviews.com/2010/06/25/bach-sonatas-and-partitas/" rel="nofollow" target="_blank">Gidon Kremer</a>, violin</li> <li><a href="http://www.bach-cantatas.com/NonVocal/Solo-Guitar-Galbraith-Kirk.htm" rel="nofollow" target="_blank">Paul Galbraith</a>, guiar</li> <li><a href="http://www.newyorker.com/culture/culture-desk/chris-thiles-bach-recording" rel="nofollow" target="_blank">Chris Thile</a>, mandolin</li> <li><a href="http://www.amazon.com/gp/product/B00000631Y/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00000631Y&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=NIBRR5PULSFHBGOU" rel="nofollow" target="_blank">Monica Huggett</a>, violin</li> </ul> <h3>Beethoven Note</h3> <p>My apologizes for mis-naming Beethoven's <em>fifth</em> symphony as the <em>ninth.</em> I obviously recorded this too late in the evening. </p>

Bachcast Episode 22: Sonata in A minor, BWV 1003

Shownotes  Score Ton Koopman, Bach Organ Works All of Bach, BWV 805 Palladian Ensemble, BWV 805 Clavierübung III (Wikipedia)  This short piece is a two-voice piece for organ and was published after he had moved to Leipzig, in 1739, as part of a treatise of organ pieces. Scholars believe it was likely inserted as Bach’s take on theoretical squabbles on the subject of 2 part counterpoint. Bach was in a position with these pieces to show off his industry with choosing complex themes and constructing those that would go beyond the complexity he had introduced earlier in his 2-part inventions and 3-part sinfonias for keyboard.

<h2>Shownotes</h2> <ul> <li><a href="http://petrucci.mus.auth.gr/imglnks/usimg/a/ac/IMSLP305819-PMLP03269-Bach_-_Dritter_Theil_der_Clavier___bung__bestehend_in_verschiedenen_Vorspielen_-...-_vor_die_Orgel.pdf" rel="nofollow" target="_blank">Score</a></li> <li><a href="http://www.amazon.com/gp/product/B001R3YJS8/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B001R3YJS8&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=73STY32CSBBJDYVY" rel="nofollow" target="_blank">Ton Koopman, Bach Organ Works</a></li> <li><a href="http://allofbach.com/en/bwv/bwv-805/" rel="nofollow" target="_blank">All of Bach, BWV 805</a></li> <li><a href="http://www.linnrecords.com/recording-bach-trio-sonatas-cd.aspx" rel="nofollow" target="_blank">Palladian Ensemble, BWV 805</a></li> <li><a href="https://en.wikipedia.org/wiki/Clavier-Übung_III" rel="nofollow" target="_blank">Clavierübung III</a> (Wikipedia)</li> </ul> <p>This short piece is a two-voice piece for organ and was published after he had moved to Leipzig, in 1739, as part of a treatise of organ pieces. Scholars believe it was likely inserted as Bach’s take on theoretical squabbles on the subject of 2 part counterpoint. Bach was in a position with these pieces to show off his industry with choosing complex themes and constructing those that would go beyond the complexity he had introduced earlier in his 2-part inventions and 3-part sinfonias for keyboard.</p>

Bachcast Episode 20: Duet, BWV 805

Shownotes Bach's sixth partita joins my top three favorites from his collection he called Clavier-Übung I (keyboard collection). This was a collection Bach took seriously as a publication. Bach opens with an unusual suite movement, a toccata, and "warms us up" with both a French-overture like start then a contrapuntal chase. The suite contains a number of dances, and ends with what may sound like a typical "gigue," which in sound is full of intervalic leaps, forcing us to extend our concept of melody. Featured Performances:  David Fray, piano Andreas Staier, harpsichord Benjamin Alard, harpsichord Ton Koopman, harpsichord Johannes Maria Bogner, clavichord

<h2>Shownotes</h2> <p>Bach's sixth partita joins my top three favorites from his collection he called Clavier-Übung I (keyboard collection). This was a collection Bach took seriously as a publication.</p> <p>Bach opens with an unusual suite movement, a <em>toccata</em>, and "warms us up" with both a French-overture like start then a contrapuntal chase. The suite contains a number of dances, and ends with what may sound like a typical "gigue," which in sound is full of intervalic leaps, forcing us to extend our concept of melody.</p> <h2>Featured Performances:</h2> <ul> <li>David Fray, piano</li> <li>Andreas Staier, harpsichord</li> <li>Benjamin Alard, harpsichord</li> <li>Ton Koopman, harpsichord</li> <li>Johannes Maria Bogner, clavichord</li></ul>

Bachcast 51: Partita no. 6 for Keyboard

Shownotes BWV 22, Jesus nahm sich die Zwölfe is a five-movement cantata for SATB written as Bach’s audition piece for the job as cantor and music director in Leipzig.  The first and second movements feature a solo oboe. The first movement features a choral fugue in the role of an “audience” who has an omniscient perspective. The third movement is a recitative which allows Bach to change key centers away from the “flat heavy” keys of G minor, C minor, and E-flat major to B major. The last movement features a chorale above a moving, rhythmically repetitive foundation, in the style of Kuhnau, Bach’s predecessor at St. Thomas’s.   BWV 22 Score BWV 22 Page at Bach Cantatas Website Bach Collegium Japan Bach Pilgrimage Project, J.E. Gardiner

<h2>Shownotes</h2> <p>BWV 22, <em>Jesus nahm sich die Zwölfe</em> is a five-movement cantata for SATB written as Bach’s audition piece for the job as cantor and music director in Leipzig. </p> <p>The first and second movements feature a solo oboe. The first movement features a choral fugue in the role of an “audience” who has an omniscient perspective.</p> <p>The third movement is a recitative which allows Bach to change key centers away from the “flat heavy” keys of G minor, C minor, and E-flat major to B major.</p> <p>The last movement features a chorale above a moving, rhythmically repetitive foundation, in the style of Kuhnau, Bach’s predecessor at St. Thomas’s. </p> <ul> <li><a href="http://imslp.nl/imglnks/usimg/9/9b/IMSLP366353-PMLP149219-D-B_Mus._ms._Bach_P_119__BWV_22_.pdf" rel="nofollow" target="_blank">BWV 22 Score</a></li> <li><a href="http://www.bach-cantatas.com/Texts/BWV22-Eng3.htm" rel="nofollow" target="_blank">BWV 22 Page at Bach Cantatas Website</a></li> <li><a href="http://bachcollegiumjapan.org/en/" rel="nofollow" target="_blank">Bach Collegium Japan</a></li> <li><a href="http://www.monteverdi.co.uk/shop/albums/cantatas" rel="nofollow" target="_blank">Bach Pilgrimage Project</a>, J.E. Gardiner</li></ul>

Bachcast Episode 24: Cantata, BWV 22

Show Notes  Bach's Motets, recorded by Bach Collegium Japan Translation, BWV 226 in English Musical Score, BWV 226 Review of Bach Collegium Japan's recording

<h2>Show Notes</h2> <ul> <li><a href="http://www.amazon.com/gp/product/B002Z8I2NM/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B002Z8I2NM&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=KQH5UTBRYPIZB6SP" rel="nofollow" target="_blank">Bach's Motets, recorded by Bach Collegium Japan</a></li> <li><a href="http://www.emmanuelmusic.org/notes_translations/translations_cantata/t_bwv226.htm" rel="nofollow" target="_blank">Translation, BWV 226 in English</a></li> <li><a href="http://petrucci.mus.auth.gr/imglnks/usimg/e/e4/IMSLP89840-PMLP152209-BWV_226.pdf" rel="nofollow" target="_blank">Musical Score, BWV 226</a></li> <li><a href="http://biberfan.org/reviews/2011/01/13/bach-motets-2" rel="nofollow" target="_blank">Review of Bach Collegium Japan's recording</a></li></ul>

Episode 4: Motet, BWV 226

Shownotes The composer Johannes Brahms, on Bach’s fifth movement of his second partita for solo violin:  On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings. If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind. If one doesn’t have the greatest violinist around, then it is well the most beautiful pleasure to simply listen to its sound in one’s mind.  I have been almost obsessively listening to this piece for the past six weeks. That doesn’t sound like a lot, but I should back up and provide context. I’ve been listening to this piece for over half my life and am quite familiar with it. I know it, of course, as the version for solo violin. I’ve also enjoyed arrangements. It is difficult to state with certainty, but it is clearly at the top of any list enumerating Bach’s best-loved or most-celebrated pieces. I thought it deserved its own Bachcast episode, but in the tradition I’d already established, I also wanted to give insight into the four movements that precede it. Today’s Samples:  Enrico Onofri Morimur - Poppen and Hilliard Ensemble Viktoria Mullova, Philips Viktoria Mullova, Onyx John Holloway Biber’s Mystery Sonatas, The Guardian Angel, Reinhard Goebel Moreno, Kirkby, and Mena Rachel Podger Jean Rondeau  What is this piece, the Ciaccona? What is there to say that hasn’t been said? The Ciaccona is the fifth movement of Bach’s d-minor partita for solo violin, preceded by an “Allemanda,” “Corrente,” “Sarabanda,” and a “Giga.” All these titles Bach writes in a flavor, no doubt, referencing the place where violin performance was most revered: Italy. What’s unique about this movement is that it is extra-long in comparison to the other movements. In the recording by Isabelle Faust (Harmonia Mundi, 2010), the movements are timed as such:  5:36 2:30 4:22 3:34 12:26  Twelve and a half minutes is on the faster side, actually. Some performances go beyond fourteen minutes, and Paul Galbraith, who performs the piece on guitar, takes nearly twenty minutes to perform the piece.  The Chaconne, using the French spelling, is a dance form in 3. Bach’s version is not quite in the same flavor that we know many chaconnes, calling some to consider it more a passacaglia. No matter the label we use, it is noteworthy for a repeating bass line, also called an ostinato. In one of my favorite arrangements, Ensemble Caprice performs the work with two recorders and bass. In effect they make it a piece for trio. Yet Bach wrote it for a single violin. It’s one of the reasons why the piece is so celebrated: with just one instrument Bach writes in a highly-complex structure.  I often consider Biber’s last Rosenkranz sonata, the so-called “Guardian Angel” sonatas, as an predecessor to Bach’s Ciaccona. It too uses a similar descending four note theme as a bass. And it goes through a number of twists and turns, conveying a number of significant emotions to the listener. Biber’s is listed as a “Passacaglia.” Von Westhoff, too, wrote solo violin works before Bach. But it’s the Biber that, for me at least, matches the style of Bach’s Ciaccona. Some believe that Bach’s Ciaccona is programmatic, in the sense that it is related to the death of his first wife, Maria Barbara. We do know the death of Mrs. Bach took place “around” the time of composition of these pieces. Some have gone so far as to call it a “tombeau,” a piece of remembrance of his dead wife. Imagine the surprise when a violinist/professor writes that she’s found the pieces Bach used as “material” for the Ciaccona, based upon several hymn tunes. When we look at Bach’s music and his life, it’s difficult to separate him from his religion.  In fact, it was because of recordings of this new discovery, church tunes sung over Bach’s Ciaccona that I became especially interested in the piece, listening to it over and over, one performance after another.  The thing is, whether or not Bach used material to construct the piece, he never left us any instruction or clue that we should hear the two together, a sung line, chorale, or hymn, over an instrumental piece. In Moreno’s De Occulta Philosophia, I found the juxtaposition of an arrangement for lute and two vocalists disarming, something, frankly, I didn’t want to hear again. In the Hilliard Ensemble’s reading with violinist Chrisoph Poppen, the musical result was improved, but the whole idea, again, was flawed. It would be, as if, we heard the Biber piece (in G min) and the Bach piece (in D min) at the same time, as if we were walking outside the practice rooms at a music conservatory. They really don’t belong together, but, it might be argued, one influenced the other. What are we to gain in hearing Bach’s inspiration over top his finished masterpiece? It’s a curiosity, I get it. But… I didn’t hear the point. Until, that is, later. The Hilliards precede the Ciaccona with a quote from Christ lag in Todesbanden, BWV 278. Fragments of the piece were discovered to be relevant throughout the Ciaconna. The theme? Death. Christ’s death. We don’t have to be detectives to connect the dots. Was Bach’s monumental piece some kind of mourning song for the loss of his wife? The Hilliard Ensemble released an earlier album on the same label with jazz saxophonist Jan Gabarek. It took early Renaissance polyphony and turned it into new age. “Imagine if a jazz saxophonist joined a renaissance vocal ensemble, what could happen?” I liked the CD despite its issues in historicism. But with Bach? My god! Don’t try to turn Bach on the baroque violin to new age!  I wasn’t minding the store. The piece was on, and I was thinking. About some pretty tough stuff. How my dad is dying. How I am over 700 miles away, and he’s in pain. On pain drugs. The piece is playing. I’m… unhappy. And then it hits. It all comes together and I erupt into a fountain of tears. Those Hilliards and their one-of-kind countertenor. Oh! David James! They got me. No matter who is playing or arranging this piece it is hard not to sense its emotional depth and power. I hope in listening I exposed you to some first-rate recordings and illustrated some of the details that set them, and this music, apart.

<h2>Shownotes</h2> <p><a href="http://www.onbeing.org/blog/the-story-behind-bachs-monumental-chaconne/" rel="nofollow" target="_blank">The composer Johannes Brahms</a>, on Bach’s fifth movement of his second partita for solo violin:</p> <blockquote> <p>On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings. If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind. If one doesn’t have the greatest violinist around, then it is well the most beautiful pleasure to simply listen to its sound in one’s mind.</p> </blockquote> <p>I have been almost obsessively listening to this piece for the past six weeks. That doesn’t sound like a lot, but I should back up and provide context. I’ve been listening to this piece for over half my life and am quite familiar with it. I know it, of course, as the version for solo violin. I’ve also enjoyed arrangements. It is difficult to state with certainty, but it is clearly at the top of any list enumerating Bach’s best-loved or most-celebrated pieces. I thought it deserved its own <em>Bachcast</em> episode, but in the tradition I’d already established, I also wanted to give insight into the four movements that precede it.</p> <p>Today’s Samples:</p> <ul> <li><a href="https://www.amazon.com/J-S-Bach-Sonatas-Partitas-Bach/dp/B01KLIIWYG" rel="nofollow" target="_blank">Enrico Onofri</a></li> <li><a href="https://www.amazon.com/Bach-Morimur-Johann-Sebastian/dp/B00005ND3J/ref=sr_1_1?s=music&amp;ie=UTF8&amp;qid=1486440570&amp;sr=1-1&amp;keywords=morimur+poppen" rel="nofollow" target="_blank">Morimur - Poppen and Hilliard Ensemble</a></li> <li><a href="https://www.amazon.com/Partitas-Violin-Mullova-Sebastian-1994-03-15/dp/B01K8RLV7K/ref=sr_1_3?s=music&amp;ie=UTF8&amp;qid=1486440581&amp;sr=1-3&amp;keywords=mullova+bach+philips" rel="nofollow" target="_blank">Viktoria Mullova, Philips</a></li> <li><a href="https://www.amazon.com/Johann-Sebastian-Bach-Sonatas-Partitas/dp/B001SB1KHW/ref=sr_1_3?s=music&amp;ie=UTF8&amp;qid=1486440594&amp;sr=1-3&amp;keywords=mullova+bach+onyx" rel="nofollow" target="_blank">Viktoria Mullova, Onyx</a></li> <li><a href="https://www.amazon.com/Bach-Sonatas-Partitas-Violin-Holloway/dp/B000HWXS1O/ref=sr_1_1?s=music&amp;ie=UTF8&amp;qid=1486440613&amp;sr=1-1&amp;keywords=john+holloway+bach+sonatas+partitas" rel="nofollow" target="_blank">John Holloway</a></li> <li><a href="https://www.amazon.com/Biber-Mystery-Sonatas-Rosenkranz-Sonaten-Rosary/dp/B0000057DS/ref=sr_1_3?s=music&amp;ie=UTF8&amp;qid=1486440626&amp;sr=1-3&amp;keywords=biber+reinhard+goebel" rel="nofollow" target="_blank">Biber’s Mystery Sonatas, The Guardian Angel, Reinhard Goebel</a></li> <li><a href="https://www.amazon.com/BACH-J-Occulta-Philosophia-Other/dp/B017M3I0G8/ref=sr_1_fkmr0_1?s=music&amp;ie=UTF8&amp;qid=1486440643&amp;sr=1-1-fkmr0&amp;keywords=bach+occulta+moreno" rel="nofollow" target="_blank">Moreno, Kirkby, and Mena</a></li> <li><a href="https://www.amazon.com/Violin-Sonatas-Partitas-J-S-Bach/dp/B00000J7YS/ref=pd_sim_15_1?_encoding=UTF8&amp;psc=1&amp;refRID=HV2GCV5AAAKJZPWA1CSG" rel="nofollow" target="_blank">Rachel Podger</a></li> <li><a href="https://www.amazon.com/Bach-Imagine-Jean-Rondeau/dp/B00ORVA8PU/ref=sr_1_1?s=music&amp;ie=UTF8&amp;qid=1486440682&amp;sr=1-1&amp;keywords=imagine+rondeau+bach" rel="nofollow" target="_blank">Jean Rondeau</a></li> </ul> <h3>What is this piece, the Ciaccona? What is there to say that hasn’t been said?</h3> <p>The <em>Ciaccona</em> is the fifth movement of Bach’s d-minor partita for solo violin, preceded by an “Allemanda,” “Corrente,” “Sarabanda,” and a “Giga.” All these titles Bach writes in a flavor, no doubt, referencing the place where violin performance was most revered: Italy. What’s unique about this movement is that it is extra-long in comparison to the other movements. In the recording by Isabelle Faust (Harmonia Mundi, 2010), the movements are timed as such:</p> <ul> <li>5:36</li> <li>2:30</li> <li>4:22</li> <li>3:34</li> <li>12:26</li> </ul> <p>Twelve and a half minutes is on the faster side, actually. Some performances go beyond fourteen minutes, and Paul Galbraith, who performs the piece on guitar, takes nearly twenty minutes to perform the piece. </p> <p>The <em>Chaconne</em>, using the French spelling, is a dance form in 3. Bach’s version is not quite in the same flavor that we know many chaconnes, calling some to consider it more a passacaglia. No matter the label we use, it is noteworthy for a repeating bass line, also called an <em>ostinato</em>. In one of my favorite arrangements, Ensemble Caprice performs the work with two recorders and bass. In effect they make it a piece for trio. Yet Bach wrote it for a single violin. It’s one of the reasons why the piece is so celebrated: with just one instrument Bach writes in a highly-complex structure. </p> <p>I often consider Biber’s last <em>Rosenkranz</em> sonata, the so-called “Guardian Angel” sonatas, as an predecessor to Bach’s <em>Ciaccona.</em> It too uses a similar descending four note theme as a bass. And it goes through a number of twists and turns, conveying a number of significant emotions to the listener. Biber’s is listed as a “Passacaglia.” Von Westhoff, too, wrote solo violin works before Bach. But it’s the Biber that, for me at least, matches the style of Bach’s <em>Ciaccona.</em></p> <p>Some believe that Bach’s <em>Ciaccona</em> is programmatic, in the sense that it is related to the death of his first wife, Maria Barbara. We do know the death of Mrs. Bach took place “around” the time of composition of these pieces. Some have gone so far as to call it a “tombeau,” a piece of remembrance of his dead wife. Imagine the surprise when a violinist/professor writes that she’s found the pieces Bach used as “material” for the <em>Ciaccona</em>, based upon several hymn tunes. When we look at Bach’s music and his life, it’s difficult to separate him from his religion. </p> <p>In fact, it was because of recordings of this new discovery, church tunes sung over Bach’s <em>Ciaccona</em> that I became especially interested in the piece, listening to it over and over, one performance after another. </p> <p>The thing is, whether or not Bach used material to construct the piece, he never left us any instruction or clue that we should hear the two together, a sung line, chorale, or hymn, over an instrumental piece. In Moreno’s <em>De Occulta Philosophia</em>, I found the juxtaposition of an arrangement for lute and two vocalists disarming, something, frankly, I didn’t want to hear again.</p> <p>In the Hilliard Ensemble’s reading with violinist Chrisoph Poppen, the musical result was improved, but the whole idea, again, was flawed. It would be, as if, we heard the Biber piece (in G min) and the Bach piece (in D min) at the same time, as if we were walking outside the practice rooms at a music conservatory. They really don’t belong together, but, it might be argued, one influenced the other. What are we to gain in hearing Bach’s inspiration over top his finished masterpiece?</p> <p>It’s a curiosity, I get it. But… I didn’t hear the point.</p> <p>Until, that is, later.</p> <p>The Hilliards precede the Ciaccona with a quote from <em>Christ lag in Todesbanden</em>, BWV 278. Fragments of the piece were discovered to be relevant throughout the Ciaconna. The theme? Death. Christ’s death. We don’t have to be detectives to connect the dots. Was Bach’s monumental piece some kind of mourning song for the loss of his wife?</p> <p>The Hilliard Ensemble released an earlier album on the same label with jazz saxophonist Jan Gabarek. It took early Renaissance polyphony and turned it into new age. “Imagine if a jazz saxophonist joined a renaissance vocal ensemble, what could happen?”</p> <p>I liked the CD despite its issues in historicism. But with Bach? My god! Don’t try to turn Bach on the baroque violin to new age! </p> <p>I wasn’t minding the store. The piece was on, and I was thinking. About some pretty tough stuff. How my dad is dying. How I am over 700 miles away, and he’s in pain. On pain drugs. The piece is playing. I’m… unhappy. And then it hits. It all comes together and I erupt into a fountain of tears. Those Hilliards and their one-of-kind countertenor. Oh! David James! They got me.</p> <p>No matter who is playing or arranging this piece it is hard not to sense its emotional depth and power. I hope in listening I exposed you to some first-rate recordings and illustrated some of the details that set them, and this music, apart.</p>

Bachcast 42: Partita for Violin, BWV 1004

Show Notes  Score, BWV 997, written Score, BWV 997, typeset Information about Bach’s Lute Works What is a lute? The Lautenwerk  This suite is organized into four movements:  Prelude, Fugue, Sarabande, Gigue with Double  The writing, especially in the Prelude and in the Gigue, suggest an instrument different from the harpsichord. Yet, in the three recordings I highlight in this episode, it’s the keyboard (as an instrument, as the player’s tool) that wins out for me as the most affective performance.  Recordings  Konrad Junghänel, lute Robert Barto, Weiss lute sonata no. 7 Rolf Lislevand, lute Jean Rondeau, harpsichord

<h2>Show Notes</h2> <ul> <li><a href="http://imslp.nl/imglnks/usimg/6/60/IMSLP358887-PMLP181063-997Agricola.pdf" rel="nofollow" target="_blank">Score, BWV 997, written</a></li> <li><a href="http://javanese.imslp.info/files/imglnks/usimg/6/64/IMSLP07596-BWV0997.pdf" rel="nofollow" target="_blank">Score, BWV 997, typeset</a></li> <li><a href="http://www.bach-cantatas.com/Ref/BWV995-1000-Ref.htm" rel="nofollow" target="_blank">Information about Bach’s Lute Works</a></li> <li><a href="http://en.wikipedia.org/wiki/Lute" rel="nofollow" target="_blank">What is a lute?</a></li> <li><a href="http://en.wikipedia.org/wiki/Lautenwerck" rel="nofollow" target="_blank">The Lautenwerk</a></li> </ul> <p>This suite is organized into four movements:</p> <ul> <li>Prelude,</li> <li>Fugue,</li> <li>Sarabande,</li> <li>Gigue with Double</li> </ul> <p>The writing, especially in the Prelude and in the Gigue, suggest an instrument different from the harpsichord. Yet, in the three recordings I highlight in this episode, it’s the keyboard (as an instrument, as the player’s tool) that wins out for me as the most affective performance. </p> <h2>Recordings</h2> <ul> <li><a href="http://www.amazon.com/BACH-LUTE-SUITES-KONRAD-JUNGHANEL/dp/B0009I8UI2" rel="nofollow" target="_blank">Konrad Junghänel, lute</a></li> <li><a href="http://www.amazon.com/gp/product/B0007ORDTK/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B0007ORDTK&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=Z42ZSSFOUWR6AU5V”" rel="nofollow" target="_blank">Robert Barto, Weiss lute sonata no. 7</a></li> <li><a href="http://www.amazon.com/gp/product/B000051W4K/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B000051W4K&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=4XSHEYA3HGZAJSNO" rel="nofollow" target="_blank">Rolf Lislevand, lute</a></li> <li><a href="http://www.amazon.com/gp/product/B00ORVA8PU/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00ORVA8PU&amp;linkCode=as2&amp;tag=johhendotnet-20&amp;linkId=WEBPIHTU6GWP55V6" rel="nofollow" target="_blank">Jean Rondeau, harpsichord</a></li></ul>

Bachcast Episode 18: Lute Suite, BWV 997

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