*_The rest of the documentation in the German language 1/1_* Händels Cembalosuiten sprengen die Tradition durch eine Fülle von Satzformen und -folgen, die aus unerschöpflicher Spielphantasie wie im Augenbld geboren zu sein scheinen, Ihr voll griffiger Satz ist . selbst in fugierten Sötzen weniger auf strenge Stimmigl~eit als auf hormonisch reizvolle Klangfülle abgestellt; die Prögnanz und die Gesanglich1~eit ihrer thematischen Erfindung zeigen Händel auch auf diesem Feld als unvergleichlich begnadeten Melodiher, dessen Werl~ stets mehr aus der ..Invention" als aus der "Arbeit" lebt Die f-moll-Suite, 1720 veröffentlicht, beginnt mit einem streng vierstimmigen , "Prelude", dessen melancholisches Pathos merl~würdig an [löhm erinnert; eine mächtige Fuge und drei thematisch miteinander verwandte Suitensätze, Allemande, Courante und Gigue, folgen, Während die hleinen Stüd~e Rameaus das Erbe Couperins in der Geschlossenheit und spielerischen Eleganz der Formen wahren, führen sie der an allzuviel höfischer Verfeinerung sterbenden Gattung in schlagl~räftiger Rhythmil~, I~ühner Hormonil~, vollgriffigem, nur noch scheinpolyphonem Satz und gesteigerter [lildhaftigl~eit neues [llut zu, Mit oder ohne "Programm"-Titel zöhlen die hier gespielten WerI~ e zu den charal~teristischsten und lebendigsten Stüd~en der bei den Drud~e von 1724 und 1727/ 31- Scorlatti löst den hergebrachten Suitensatz von traditionellen Satzfolgen und -charal~teren und wandelt ihn durch fortschreitende Differenzierung von Form und Ausdrud~ zum frühl~lassischen Sonatensatz, Seine mehr als 500 meist nach 1720 geschriebenen einsätzigen Sonaten folgen der symmetrischen Zweiteiligl~eit barod~er Suitentönze, aber sie gestalten dieses hergebrachte Schema auf eng, stem p-aum mit einer unendlichen Fülle subtiler Formwandlungen aus, Die vier vorliegenden SonGten - das zweistimmige a-moll-Werl~ mit seiner I~ühnen Chromatil~, die überaus I~onzentrierte d-moll-Sonate, das E-dur-Andante mit seinen verblüffenden Modernismen und das. virtuos-glänzende E-dur-Allegro - sind vollendete [leispiele dieser verfeinerten und zugleich vitalen Kunst, ausgefeilte Miniaturen von höchster Ausdrud~sfülle und -genauigl~eit und von einer Schlüssigl~ eit der Form, in der improvisatorische Spielfreudigl~eit und strenge Gesetzlichl~eit vollendet verschmolzen sind,
Ok, personally I find the way of recording a bit disappointing although some consideration with a 1962 recording should be addressed. It sounds a bit hollow, but frankly I could not resist that great painting on the cover. Sorry.
I've always found that German instruments (such as the Gräbner copy used here) somewhat 'hard'' and tiring; however, it's good to be reunited with an long-lost recording! Mine was the original 1962 issue, in a plain grey cover, and with a black and gold Telefunken label.
Yes I can imagine as you find an old friend again. And the same might be true for the first recording or performance of a particular work. It always makes a big impression and it should be very good to substitute that first recording.
There are only a few Handel works that I very much enjoy. The concerto Opus 6, No. 11 has a rolicking last movement. And Dixit Dominus is spectacular. Handel wrote it when he was 22 yo and it shows the more radical path he could have taken.
Somehow the media of the UK (like the BBC) are able to promote the composers which worked in the UK and exaggerate the importance of their works. Composers like Elgar and Britten which are hardly heard outside of GB are an every day meal for British media. I guess the importance of Haendel is part of that lobby too. In keyboard works there is plenty of competition I guess.
*_The documentation in the English language 1/1_* The harpsichord music of Georg Böhm is still dominated by the traditional suite farm, but within this form Italian and French elements are welded into a new unity. Strangely enough, the harpsichord would appear to be the most personal means of expression of the organist of Luneburg's St John's Church; at any rate his eleven Suites form a climax not only of German but also of European suite composition. They have borrowed from the Italian-South German tradition its restricted selection of types of movement, usually limited to the "classical" sequence Allemande-Courante-Sarabande-Gigue; from the French harpsichordist tradition they have acquired their embellished character, the clear symmetry of their movements and, above all, the tendency to sublimate and subjectivize traditional dance characters into characteristic pieces. Out instead of the descriptive "programme music" of the French harpsichordists, 06hm introduces exclusively-thus creating a new style-a characteristic piece anchored in the emotions, a subtle, expressive kind of music that is constantly overshadowed by a tender melancholy. The two suites on this record are among the most important of these works. The Suite in E flat major has its climaxes in the solemn, melancholy Allemande and the robust Gigue; the Suite in F minor, in which the Gigue is missing, culminates in a turbulent, chromatic Courante and ends with a dignified Sarabende that combines Oachian subtlety and Handelian majesty. Handel's harpsichord suites burst the bonds of tradition with a wealth of forms and orders of movements which would seem to have arisen from the inspiration of the moment and out of an inexhaustible imagination regarding the instrument's possibilities. Their full-chorded harmony does not aim so much at strict part-writting-not even in fugato movements-but rather at a harmonically attractive fullness of tone; the terseness and melodiousness of their thematic invention show Handel to be an incomparably gifted melodist in this field again, w hose works live more from "invention" than from "working out". The Suite in F minor, published in 1720, begins with a "Prelude" strictly written in four parts, whose melancholy dignity is strangely reminiscent of 06hm. It is followed by a mighty Fugue and three suite movements that are thematically related to each other: an Allemande, a Courante and a Gigue. While preserving the heritage of Couperin in the conciseness and playful elegance of their forms, the little pieces by Rameau bring new blood into this type of composition, which was dying of t90 much courtly refinement, in the form of striking rhythms, bold harmonies, full-chorded, only seemingly polyphonic writing and an increased power of pictorial representation. Whether with or without "programme" titles, the works played here are among the most characteristic and lively pieces in the two printed collections of 1724 and 1727-.31. Scarlatti frees the suite movement that has come down to him from traditional order and character of the movements and, by means of ever greater differentiation of form and expression, transforms it into the early classical sonata movement His one-movement sonatas, more than 500 in number and mostly written after 1720, adhere to the symmetrical binary form of the baroque suite movement, but they elaborate this traditional pattern in the smallest possible space with an infinite abundance of formal transformations. The four sonatas on this record: the two-part worl~ in A minor w ith its bold chromaticism, the extremely concentrated Sonata in D minor, the Andante works in E major, are perfect specimens of this refined yet vital art, carefully finished miniatures with the greatest possible wealth and exactitude of expression and a conciseness of form in which improvisatory enjoyment and strict adherence to the laws of composition are perfectly blended.
*_The rest of the documentation in the German language 1/1_*
Händels Cembalosuiten sprengen die Tradition durch eine Fülle von Satzformen und -folgen, die aus
unerschöpflicher Spielphantasie wie im Augenbld geboren zu sein scheinen, Ihr voll griffiger Satz ist
. selbst in fugierten Sötzen weniger auf strenge Stimmigl~eit als auf hormonisch reizvolle Klangfülle abgestellt;
die Prögnanz und die Gesanglich1~eit ihrer thematischen Erfindung zeigen Händel auch auf
diesem Feld als unvergleichlich begnadeten Melodiher, dessen Werl~ stets mehr aus der ..Invention"
als aus der "Arbeit" lebt Die f-moll-Suite, 1720 veröffentlicht, beginnt mit einem streng vierstimmigen
, "Prelude", dessen melancholisches Pathos merl~würdig an [löhm erinnert; eine mächtige Fuge und
drei thematisch miteinander verwandte Suitensätze, Allemande, Courante und Gigue, folgen,
Während die hleinen Stüd~e Rameaus das Erbe Couperins in der Geschlossenheit und spielerischen
Eleganz der Formen wahren, führen sie der an allzuviel höfischer Verfeinerung sterbenden Gattung in
schlagl~räftiger Rhythmil~, I~ühner Hormonil~, vollgriffigem, nur noch scheinpolyphonem Satz und gesteigerter
[lildhaftigl~eit neues [llut zu, Mit oder ohne "Programm"-Titel zöhlen die hier gespielten WerI~
e zu den charal~teristischsten und lebendigsten Stüd~en der bei den Drud~e von 1724 und 1727/ 31-
Scorlatti löst den hergebrachten Suitensatz von traditionellen Satzfolgen und -charal~teren und wandelt
ihn durch fortschreitende Differenzierung von Form und Ausdrud~ zum frühl~lassischen Sonatensatz,
Seine mehr als 500 meist nach 1720 geschriebenen einsätzigen Sonaten folgen der symmetrischen
Zweiteiligl~eit barod~er Suitentönze, aber sie gestalten dieses hergebrachte Schema auf eng,
stem p-aum mit einer unendlichen Fülle subtiler Formwandlungen aus,
Die vier vorliegenden SonGten - das zweistimmige a-moll-Werl~ mit seiner I~ühnen Chromatil~, die
überaus I~onzentrierte d-moll-Sonate, das E-dur-Andante mit seinen verblüffenden Modernismen und
das. virtuos-glänzende E-dur-Allegro - sind vollendete [leispiele dieser verfeinerten und zugleich vitalen
Kunst, ausgefeilte Miniaturen von höchster Ausdrud~sfülle und -genauigl~eit und von einer Schlüssigl~
eit der Form, in der improvisatorische Spielfreudigl~eit und strenge Gesetzlichl~eit vollendet verschmolzen
sind,
kostbarer Schatz,herrliche
Cembalomusik,DANKE...
💖
Another of 'my' collection turned up thanks to you!!! Many thanks once again for the upload!
Ok, personally I find the way of recording a bit disappointing although some consideration with a 1962 recording should be addressed. It sounds a bit hollow, but frankly I could not resist that great painting on the cover. Sorry.
I've always found that German instruments (such as the Gräbner copy used here) somewhat 'hard'' and tiring; however, it's good to be reunited with an long-lost recording! Mine was the original 1962 issue, in a plain grey cover, and with a black and gold Telefunken label.
Yes I can imagine as you find an old friend again. And the same might be true for the first recording or performance of a particular work. It always makes a big impression and it should be very good to substitute that first recording.
Thank you!
This is the first recording of Leonhardt playing Handel that I've encountered. Leonhardt reportedly considered him an inferior composer.
I am not very fond of Haendel either so it seems I am in good company ;-)
There are only a few Handel works that I very much enjoy. The concerto Opus 6, No. 11 has a rolicking last movement. And Dixit Dominus is spectacular. Handel wrote it when he was 22 yo and it shows the more radical path he could have taken.
Somehow the media of the UK (like the BBC) are able to promote the composers which worked in the UK and exaggerate the importance of their works. Composers like Elgar and Britten which are hardly heard outside of GB are an every day meal for British media. I guess the importance of Haendel is part of that lobby too. In keyboard works there is plenty of competition I guess.
TOTALLY agree about Haendel. Leonhard Is a great poet and musician
*_The documentation in the English language 1/1_*
The harpsichord music of Georg Böhm is still dominated by the traditional suite farm, but within this
form Italian and French elements are welded into a new unity. Strangely enough, the harpsichord
would appear to be the most personal means of expression of the organist of Luneburg's St John's
Church; at any rate his eleven Suites form a climax not only of German but also of European suite
composition. They have borrowed from the Italian-South German tradition its restricted selection of
types of movement, usually limited to the "classical" sequence Allemande-Courante-Sarabande-Gigue;
from the French harpsichordist tradition they have acquired their embellished character, the
clear symmetry of their movements and, above all, the tendency to sublimate and subjectivize traditional
dance characters into characteristic pieces. Out instead of the descriptive "programme music" of
the French harpsichordists, 06hm introduces exclusively-thus creating a new style-a characteristic
piece anchored in the emotions, a subtle, expressive kind of music that is constantly overshadowed
by a tender melancholy. The two suites on this record are among the most important of these works.
The Suite in E flat major has its climaxes in the solemn, melancholy Allemande and the robust Gigue;
the Suite in F minor, in which the Gigue is missing, culminates in a turbulent, chromatic Courante and
ends with a dignified Sarabende that combines Oachian subtlety and Handelian majesty.
Handel's harpsichord suites burst the bonds of tradition with a wealth of forms and orders of
movements which would seem to have arisen from the inspiration of the moment and out of an inexhaustible
imagination regarding the instrument's possibilities. Their full-chorded harmony does not aim
so much at strict part-writting-not even in fugato movements-but rather at a harmonically attractive
fullness of tone; the terseness and melodiousness of their thematic invention show Handel to be an
incomparably gifted melodist in this field again, w hose works live more from "invention" than from
"working out". The Suite in F minor, published in 1720, begins with a "Prelude" strictly written in four
parts, whose melancholy dignity is strangely reminiscent of 06hm. It is followed by a mighty Fugue
and three suite movements that are thematically related to each other: an Allemande, a Courante
and a Gigue.
While preserving the heritage of Couperin in the conciseness and playful elegance of their forms, the
little pieces by Rameau bring new blood into this type of composition, which was dying of t90 much
courtly refinement, in the form of striking rhythms, bold harmonies, full-chorded, only seemingly polyphonic
writing and an increased power of pictorial representation. Whether with or without
"programme" titles, the works played here are among the most characteristic and lively pieces in the
two printed collections of 1724 and 1727-.31.
Scarlatti frees the suite movement that has come down to him from traditional order and character of
the movements and, by means of ever greater differentiation of form and expression, transforms it
into the early classical sonata movement His one-movement sonatas, more than 500 in number and
mostly written after 1720, adhere to the symmetrical binary form of the baroque suite movement, but
they elaborate this traditional pattern in the smallest possible space with an infinite abundance of
formal transformations. The four sonatas on this record: the two-part worl~ in A minor w ith its bold chromaticism,
the extremely concentrated Sonata in D minor, the Andante works in E major, are perfect
specimens of this refined yet vital art, carefully finished miniatures with the greatest possible wealth
and exactitude of expression and a conciseness of form in which improvisatory enjoyment and strict
adherence to the laws of composition are perfectly blended.