*_Meinhard Winkler wrote for this release in the English language 1/2_* J. S. BACH LES VARIATIONS GOLDBERG The concensus of opinion on the work of J.S. Bach as the crowning of music at the time 01 the Baroque is without precedent in the history 01 music. The « Clavierubungen )) in themselves are justification enough for this opinion. In the Partitas (
I can imagine. She has a special place in my heart too. We will do our best to publish more of Isolde Ahlgrimm as long as the repertoire is not digitalized yet.
@@Mattostar-z2d Recording conditions and instrument were not ideal is often said. However, 'In der Beschränkung zeigt sich erst der Meister' as the Germans would like to say. Most excellent no nonsense playing by Frau Ahlgrimm.
@@HarpsichordVinylGallery I was surprised she was playing a Wittmayer instead of her Ammer pedal harpsichord. I love that instrument. But this recording is definitely no nonsense. A pleasure to hear.
*_Meinhard Winkler wrote for this release in the English language 2/2_* The bass of this theme (fig . 2) remains unchanged in practically all the variations . At times, as required at a particular occasion, isolated notes are played either an octave higher or an octave lower, or else chromatic alterations may be encountered here and there. The bass notes within the variations need not necessarily occur Precisely in the first quarter of the corresponding bar, according to the musical logic of the particular passage . The first variation, for two parts (fig . 3), is closely related to the usual figured variation on account of its technique . Here as in all variations of this type, the figured quality does not apply to the theme but to the group of harmonies imposed by the bass. The second variation, for two parts (fig. 4), follows the imitation principle. Note, in the eleventh bar, the strong unexpected dissonance which sounds like a wrong note. The third variation, for three parts (fig. 5). is in form of a canon at the unison ; the second voice enters at the second bar. The fourth variation, for four parts (fig. 6) , again makes use of the imitation combined with the inversion principle. The fifth variation, for two parts (fig. 7), corresponds to the scheme of the figured variation. The sixth variation, for three parts (fig. 8) is a canon at the second, beginning in the second bar.' The seve~th variation, for two parts (fig . 9) , is modeled after the Jig whose pointed rhythm is applied to the slclliana. The eighth variation.n, for two parts (fig. 10), also belongs to the genre of the figured variation on a toccata basis The ninth variation, for two parts (fig. 11), represents a canon m the third. The second part enters at the second bar. The tenth variation, for four parts (fig. 12), includes afgetta whose theme is formed on the bass for all the variations. The eleventh variation, for two parts (fig . 13), is again on the pattern of the figured variation with frequent use of Imitation. The twelfth variation, for three parts (fig. 14), is a canon in the fourth whose movement is inverted The thirteenth variation, for three parts (fig. 15), corresponds to the slow movements of the violin sonata, The fourteenth variation, for two parts (fig. 16), is a highly virtuoso-like composition in the style of the figured variation. The fifteenth variation, in minor, for three parts (fig. 17), is a canon in the fifth beginning, like the canon in the second (fig. 8), with the diminution of the bass theme. As for the canon, its movement is inverted The sixteenth variation, for three parts (fig. 18), represents a complete overture in the style of the period. The seventeenth variation, for two parts (fig. 19), is composed according to the toccata style. The eighteenth variation, for three parts (fig. 20), in the form of a canon in the sixth, presents the bass figures in the upper parts. The second part follows the first right from the opening bar. The nineteenth variation, for three parts (fig. 21), shows a certain similarity with the fantasia of the third partita in A minor. The twentieth variation, for two parts (fig. 22), is also considered as a variation in the toccata style. The twenty-first variation, for two parts (fig. 23), includes a canon in the seventh, the second part of which appears in the very first bar. It is the second variation to be in a minor key. The twenty-second variation, for four parts (fig. 24), is again composed according to the rules of imitation. The different parts (tenor, alto, soprano) each come in with a two-bar interval. The twenty-third variation (fig. 25) is to be considered as a purely instrumental piece in the toccata style, The twenty-fourth variation, for three parts (fig. 26), is a canon performed at an octave. The twenty-fifth variation (fig. 27), the third to be in a minor key, corresponds to a drawn-out adagio of the violin sonata type. The twenty-sixth variation (fig. 28), also highly virtuosolike, is considered as being for two parts. It presents a saraband and appears now in the lower voice, now in the upper. The twenty-seventh variation, for two parts (fig. 29), is the last of the group of canons (canon in the ninth). The canon enters at the second bar. The twenty-eighth variation (fig. 30) is the last one of the group of figured variations. toccata manner and marks the culminating point of the entire work. The thirtieth and last variation, for four parts (fig. 32), is a most elaborate quod libet for which Bach utilizes the theme of two folk-songs (fig. 34 and 35). These quodlibets could be written in two different ways: either with the melodies following each other, or superposed as Bach does it here. The text of these songs has been preserved by Kittel, Bach 's pupil. This kind of musical joke was not infrequent at the time, but none of them displays such elegance and ease combined with such contrapuntal complexity. The Variations end with a repeat of the « Aria ». Bach composed the Goldberg Variations in 1741, commissioned by Count Hermann Carl von Keyserling, former Russian envoy at the Court of Dresden. This lover of music wanted his harpsichordist and protegee Gottlieb Goldberg, a pupil of Bach 's, hailing from Konigsberg, to play for and entertain him during his sleepless nights. According to a contemporary account, the nobleman never grew tired hearing them. In order to express his gratitude to Bach, he offered him a golden vase filled with Louis d'or, which gift probably outdid all the fees Bach ever received for his compositions. Meinhard Winkler
*_Hellmuth Herrmann wrote for this release in the English language 1/1_* THE LIFE OF J. S. BACH, part 3. J.S. BACH IN LUNEBURG The father of a chorister at the Ohrdrul school had once found out when at Luneburg that in Lower Saxony the musical talent of the boys of Thuringia was held in high esteem . This farrier from the outs kirts of Gotha had succeeded in linding employment for his son Elias Herda in the choir of the church 01 the former monastery 01 St Michael in Luneburg . The young Herda obtained a scholarship and stayed there for six ye ars . When later he became cantor and Bach 's teacher at Ohrdrul he soon discovered his pupil's beautiful soprano voice as well as his great musical talent and recommended him to the monastery school. There happened to be two places therefore young boy singers in the choir so that Bach did not have to travel alone the 200 miles or so to Luneburg. A school friend of his age, Georg Erdmann , equally gifted for music, went along with him and entered the same monastery. The two boys thus set out on foot at Easter time in 1700 and soon thereafter joined the choir 01 the St Michael 's school. Both turned out to be outstanding and the school authorities assigned them to the choir for the evensong, the backbone of the entire chorale. Yet there Bach did not devote himself to singing alone but was also active both as violinist and harpsichordist. The St Michael's choir was most enterprizing and spared no pains nor expense to celebrate the services with as much dignity and pomp as possible, and, to be sure, the music was all-important in this respect. Amongst the cantors and organists then performing in Luneburg, Johann Böhm proved to be for Bach the most significant artistic personality. Johann Böhm, born in 1661 at Goldbach near Gotha in Thuringia, and since 1698 organist at the St John's church, had mastered the brilliant organ music 01 Northern Germany, mostly represented by works of Johann Adam Reinken (1623-1722), Vincent Lubeck (1654-1740), and Dietrich Buxtehude (1637-1707) . Its chief merit was its virtuosity, the ever-changing brilliance of its coloring, and its wealth of ornaments. Thus Bach got acquainted with a musical language whose characteristics were to recur constantly in his own work, Yet he always succeeded in blending the complex make-up of the Northern Germans with his own power of expression. No doubt this early encounter with the styles 01 Reinken and Lübeck had contributed to the magnificent baroque flowering of his contrapuntal style, Hamburg being a short distance away from Luneburg, naturally attracted the young Bach who during some time 011 went there in order to hear the famous Reinken. Another inducement for this trip was that his cousin, Johann Ernst Bach, happened to be in that Hanseatic city. It may be assumed that Bach heard Reinken several times there and probably for the last time in 1703. That year also Haendel came and stayed in Hamburg until 1706. Thus for the first time the paths of the two greatest German masters at the time of the Baroque met. At Hamburg Bach also came across Vincent Lubeck, a remarkable virtuoso, then organist at the St Nicolas church. Bach did not limit himself to the organ music popular in Northern Germany. From 1650 onward, at the ducal. court of Celle, near Luneburg, dance music was flourishing and much effort was devoted t o having the members of the orchestra master the style imported from France. In addition, the celebrated French school of harpsichord playing was in great favor. One of the French musicians at the court of Celle Thomas de la Selle, a pupil of Lully, taught Bach and his fellow disciples how to dance. Bach's ever-growing talent did not l ail to attract the latter 's attention and he introduced him to French music. Bach's desire to broaden his musical background by any means possible accounts for the early introduction in his work of one of the major features of his artistry: that of its universality. Through de La Selle Bach came in direct contact with the court of Celle and had the opportunity once to player and accompany his dancing master at the residence of Duke Georg Wilhelm, whose wife was French. The court was full of Frenchmen and like many a German lord, the duke dreamed of turning his home into a miniature Versailles. He gave wonderful celebrations with music and theatrical performances for which he spent lavishly using State funds. French people filled the court, and this stay felt lasting traces on Bach's work, as he had the opportunity to know and copy the compositions of French masters, particularly those of Francois Couperin called «the Great». Meanwhile, his Lüineburg years were drawing to a close. They were for Bach an important stage not only for technical perfection but also for stylistic development. At the St Michael school Bach had studied Latin, Greek, French, Catechism, Logic and Arithmetic, and at the end of his secondary studies could have entered university. But he had long found his own way and nothing could have made him stick to the educational principles of his uncle Johann Christian which would have had him go to the university. Besides, he did not have the necessary money and, when all was said and done, desired only to be a musician. In order to earn a living he tried to find some employment that would leave him free to complete his musical education. For him who so far had written nothing but compositions of no particular value, technical mastery was the sole objective of his artistic aspiration. Hellmuth Herrmann Continued on No ELY 06107 /108. First part (The Forbears of J. S. Bach) on ELY 06102/104. Second part (The Childhood of J. S. Bach) on No ELY 06105. Fortsetzung der Biographie Album ELY 06107 /108.
Hello, I have a small collection of the Isolde Ahlgrimm pedal harpsichord Bach works on Philips Minigroove. Did yo still want scans of the jackets? Very sorry for the delay.
No sorry for the delay please. That there are no deadlines or hurry needed in the gallery, that is one of the advantages of these posts. Yes, I would love the scans of the jackets and the labels as far as I have not published them yet. Her recordings and the way Philips documented the projects are very dear to me. So far I have scanned these recordings: - Die Kunst der Fuge - Das wohltemperierte Klavier 1. Band - Toccata, 3 Fuges, Passacaglia - Musikalisches Opfer - Fantasien, Präludien und Fugen, Volume XIII If you have any other covers please send them to me. You can scan everything by scanning one page in four parts, and I will knit the 4 scans together to one page again without problem. That would be lovely!
@@hdibart I don't know if an iPhone will work (I actually have no working iPhone). Let us try one LP to see if it will be possible. My e-mail address is folia@chello.nl but because the size of the files will be big, better send it for free with wetransferDOTcom to my e-mail address. Looking forward to the documents.
*_Meinhard Winkler wrote for this release in the English language 1/2_*
J. S. BACH LES VARIATIONS GOLDBERG
The concensus of opinion on the work of J.S. Bach
as the crowning of music at the time 01 the Baroque is
without precedent in the history 01 music. The « Clavierubungen
)) in themselves are justification enough
for this opinion. In the Partitas (
One of my favourite interpreters. More of her please.
I can imagine. She has a special place in my heart too. We will do our best to publish more of Isolde Ahlgrimm as long as the repertoire is not digitalized yet.
Thank you! It is absolutely new foundation!
Enjoy it.
Thank you! 🏵
We hope you will enjoy it.
@@HarpsichordVinylGallery Joyful music! 🤩
A wonderful upload. I love Isolde Ahlgrimm, playing J.S. Bach how perfect! 🥰 Thank you Harpsichord Vinyl Gallery for this fantastic video.
I hope you will enjoy this recording, which is often overlooked. Published with lots of help from the other side of the word.
@@HarpsichordVinylGallery I did. Thank you, it's a shame if it's overlooked.
@@Mattostar-z2d Recording conditions and instrument were not ideal is often said. However, 'In der Beschränkung zeigt sich erst der Meister' as the Germans would like to say. Most excellent no nonsense playing by Frau Ahlgrimm.
@@HarpsichordVinylGallery I was surprised she was playing a Wittmayer instead of her Ammer pedal harpsichord. I love that instrument. But this recording is definitely no nonsense. A pleasure to hear.
*_Meinhard Winkler wrote for this release in the English language 2/2_*
The bass of this theme (fig . 2) remains unchanged in
practically all the variations . At times, as required at a
particular occasion, isolated notes are played either an
octave higher or an octave lower, or else chromatic alterations
may be encountered here and there. The bass
notes within the variations need not necessarily occur
Precisely in the first quarter of the corresponding bar,
according to the musical logic of the particular passage .
The first variation, for two parts (fig . 3), is closely related
to the usual figured variation on account of its technique .
Here as in all variations of this type, the figured quality
does not apply to the theme but to the group of harmonies
imposed by the bass.
The second variation, for two parts (fig. 4), follows
the imitation principle. Note, in the eleventh bar, the
strong unexpected dissonance which sounds like a wrong
note.
The third variation, for three parts (fig. 5). is in form of
a canon at the unison ; the second voice enters at the
second bar.
The fourth variation, for four parts (fig. 6) , again makes
use of the imitation combined with the inversion principle.
The fifth variation, for two parts (fig. 7), corresponds
to the scheme of the figured variation.
The sixth variation, for three parts (fig. 8) is a canon
at the second, beginning in the second bar.'
The seve~th variation, for two parts (fig . 9) , is modeled
after the Jig whose pointed rhythm is applied to the
slclliana.
The eighth variation.n, for two parts (fig. 10), also belongs
to the genre of the figured variation on a toccata basis
The ninth variation, for two parts (fig. 11), represents
a canon m the third. The second part enters at the
second bar.
The tenth variation, for four parts (fig. 12), includes
afgetta whose theme is formed on the bass for all the
variations.
The eleventh variation, for two parts (fig . 13), is again
on the pattern of the figured variation with frequent use
of Imitation.
The twelfth variation, for three parts (fig. 14), is a canon
in the fourth whose movement is inverted
The thirteenth variation, for three parts (fig. 15), corresponds
to the slow movements of the violin sonata,
The fourteenth variation, for two parts (fig. 16), is a
highly virtuoso-like composition in the style of the figured
variation.
The fifteenth variation, in minor, for three parts (fig. 17),
is a canon in the fifth beginning, like the canon in the
second (fig. 8), with the diminution of the bass theme.
As for the canon, its movement is inverted
The sixteenth variation, for three parts (fig. 18), represents
a complete overture in the style of the period.
The seventeenth variation, for two parts (fig. 19), is
composed according to the toccata style.
The eighteenth variation, for three parts (fig. 20), in
the form of a canon in the sixth, presents the bass figures
in the upper parts. The second part follows the first
right from the opening bar.
The nineteenth variation, for three parts (fig. 21), shows
a certain similarity with the fantasia of the third partita
in A minor.
The twentieth variation, for two parts (fig. 22), is also
considered as a variation in the toccata style.
The twenty-first variation, for two parts (fig. 23), includes
a canon in the seventh, the second part of which appears
in the very first bar. It is the second variation to be in a
minor key.
The twenty-second variation, for four parts (fig. 24),
is again composed according to the rules of imitation.
The different parts (tenor, alto, soprano) each come
in with a two-bar interval.
The twenty-third variation (fig. 25) is to be considered
as a purely instrumental piece in the toccata style,
The twenty-fourth variation, for three parts (fig. 26),
is a canon performed at an octave.
The twenty-fifth variation (fig. 27), the third to be in a
minor key, corresponds to a drawn-out adagio of the
violin sonata type.
The twenty-sixth variation (fig. 28), also highly virtuosolike,
is considered as being for two parts. It presents
a saraband and appears now in the lower voice, now in
the upper.
The twenty-seventh variation, for two parts (fig. 29),
is the last of the group of canons (canon in the ninth).
The canon enters at the second bar.
The twenty-eighth variation (fig. 30) is the last one of
the group of figured variations.
toccata manner and marks the culminating point of the
entire work.
The thirtieth and last variation, for four parts (fig. 32),
is a most elaborate quod libet for which Bach utilizes
the theme of two folk-songs (fig. 34 and 35). These
quodlibets could be written in two different ways: either
with the melodies following each other, or superposed as
Bach does it here. The text of these songs has been
preserved by Kittel, Bach 's pupil. This kind of musical
joke was not infrequent at the time, but none of them
displays such elegance and ease combined with such
contrapuntal complexity. The Variations end with a
repeat of the « Aria ».
Bach composed the Goldberg Variations in 1741, commissioned
by Count Hermann Carl von Keyserling, former
Russian envoy at the Court of Dresden. This lover of
music wanted his harpsichordist and protegee Gottlieb
Goldberg, a pupil of Bach 's, hailing from Konigsberg,
to play for and entertain him during his sleepless nights.
According to a contemporary account, the nobleman
never grew tired hearing them. In order to express his
gratitude to Bach, he offered him a golden vase filled
with Louis d'or, which gift probably outdid all the fees
Bach ever received for his compositions.
Meinhard Winkler
*_Hellmuth Herrmann wrote for this release in the English language 1/1_*
THE LIFE OF J. S. BACH, part 3. J.S. BACH IN LUNEBURG
The father of a chorister at the Ohrdrul school had once
found out when at Luneburg that in Lower Saxony the
musical talent of the boys of Thuringia was held in high
esteem . This farrier from the outs kirts of Gotha had
succeeded in linding employment for his son Elias Herda
in the choir of the church 01 the former monastery 01
St Michael in Luneburg . The young Herda obtained
a scholarship and stayed there for six ye ars . When later
he became cantor and Bach 's teacher at Ohrdrul he soon
discovered his pupil's beautiful soprano voice as well
as his great musical talent and recommended him to the
monastery school. There happened to be two places
therefore young boy singers in the choir so that Bach
did not have to travel alone the 200 miles or so to Luneburg.
A school friend of his age, Georg Erdmann , equally
gifted for music, went along with him and entered the
same monastery.
The two boys thus set out on foot at Easter time in 1700
and soon thereafter joined the choir 01 the St Michael 's
school. Both turned out to be outstanding and the
school authorities assigned them to the choir for the
evensong, the backbone of the entire chorale. Yet there
Bach did not devote himself to singing alone but was also
active both as violinist and harpsichordist. The
St Michael's choir was most enterprizing and spared
no pains nor expense to celebrate the services with as
much dignity and pomp as possible, and, to be sure, the
music was all-important in this respect. Amongst the
cantors and organists then performing in Luneburg,
Johann Böhm proved to be for Bach the most significant
artistic personality.
Johann Böhm, born in 1661 at Goldbach near Gotha
in Thuringia, and since 1698 organist at the St John's
church, had mastered the brilliant organ music 01 Northern
Germany, mostly represented by works of Johann
Adam Reinken (1623-1722), Vincent Lubeck (1654-1740),
and Dietrich Buxtehude (1637-1707) . Its chief merit was
its virtuosity, the ever-changing brilliance of its coloring,
and its wealth of ornaments. Thus Bach got acquainted
with a musical language whose characteristics were to
recur constantly in his own work, Yet he always
succeeded in blending the complex make-up of the
Northern Germans with his own power of expression.
No doubt this early encounter with the styles 01 Reinken
and Lübeck had contributed to the magnificent baroque
flowering of his contrapuntal style,
Hamburg being a short distance away from Luneburg,
naturally attracted the young Bach who during some
time 011 went there in order to hear the famous Reinken.
Another inducement for this trip was that his cousin,
Johann Ernst Bach, happened to be in that Hanseatic
city. It may be assumed that Bach heard Reinken several
times there and probably for the last time in 1703. That
year also Haendel came and stayed in Hamburg until
1706. Thus for the first time the paths of the two greatest
German masters at the time of the Baroque met. At
Hamburg Bach also came across Vincent Lubeck,
a remarkable virtuoso, then organist at the St Nicolas
church. Bach did not limit himself to the organ music
popular in Northern Germany. From 1650 onward, at
the ducal. court of Celle, near Luneburg, dance music
was flourishing and much effort was devoted t o having
the members of the orchestra master the style imported
from France. In addition, the celebrated French school
of harpsichord playing was in great favor. One of the
French musicians at the court of Celle Thomas de la
Selle, a pupil of Lully, taught Bach and his fellow disciples
how to dance. Bach's ever-growing talent did not l ail
to attract the latter 's attention and he introduced him
to French music. Bach's desire to broaden his musical
background by any means possible accounts for the early
introduction in his work of one of the major features of
his artistry: that of its universality. Through de La Selle
Bach came in direct contact with the court of Celle and
had the opportunity once to player and accompany his
dancing master at the residence of Duke Georg Wilhelm,
whose wife was French. The court was full of Frenchmen
and like many a German lord, the duke dreamed of
turning his home into a miniature Versailles. He gave
wonderful celebrations with music and theatrical performances
for which he spent lavishly using State funds.
French people filled the court, and this stay felt lasting
traces on Bach's work, as he had the opportunity to
know and copy the compositions of French masters,
particularly those of Francois Couperin called «the
Great».
Meanwhile, his Lüineburg years were drawing to a close.
They were for Bach an important stage not only for
technical perfection but also for stylistic development.
At the St Michael school Bach had studied Latin, Greek,
French, Catechism, Logic and Arithmetic, and at the end
of his secondary studies could have entered university.
But he had long found his own way and nothing could
have made him stick to the educational principles of his
uncle Johann Christian which would have had him go
to the university. Besides, he did not have the necessary
money and, when all was said and done, desired only to
be a musician. In order to earn a living he tried to find
some employment that would leave him free to complete
his musical education. For him who so far had written
nothing but compositions of no particular value, technical
mastery was the sole objective of his artistic aspiration.
Hellmuth Herrmann
Continued on No ELY 06107 /108.
First part (The Forbears of J. S. Bach) on ELY 06102/104.
Second part (The Childhood of J. S. Bach) on No ELY 06105.
Fortsetzung der Biographie Album ELY 06107 /108.
Hello, I have a small collection of the Isolde Ahlgrimm pedal harpsichord Bach works on Philips Minigroove. Did yo still want scans of the jackets? Very sorry for the delay.
No sorry for the delay please. That there are no deadlines or hurry needed in the gallery, that is one of the advantages of these posts.
Yes, I would love the scans of the jackets and the labels as far as I have not published them yet. Her recordings and the way Philips documented the projects are very dear to me.
So far I have scanned these recordings:
- Die Kunst der Fuge
- Das wohltemperierte Klavier 1. Band
- Toccata, 3 Fuges, Passacaglia
- Musikalisches Opfer
- Fantasien, Präludien und Fugen, Volume XIII
If you have any other covers please send them to me. You can scan everything by scanning one page in four parts, and I will knit the 4 scans together to one page again without problem.
That would be lovely!
@@HarpsichordVinylGallery Not sure where to send them ; email? Would photos or scans taken with an iphone work for you ; scanning is difficult for me?
@@hdibart I don't know if an iPhone will work (I actually have no working iPhone). Let us try one LP to see if it will be possible.
My e-mail address is folia@chello.nl but because the size of the files will be big, better send it for free with wetransferDOTcom to my e-mail address.
Looking forward to the documents.