Bach’s set of 30 variations on an original theme were first published in 1742 and composed (so the legend has it) for Johann Gottlieb Goldberg (1727–56), harpsichordist to the Russian ambassador to the court of Saxony Count Keyserlingk. Since that time they have attracted countless arrangements for and by musicians, sometimes in order to lend further colour or tease out the complex counterpoint of the variations, but more often for the privilege and the pleasure of playing this music for themselves, on instruments and in combinations that the composer could never have envisaged: string trio; saxophone quartet, even full chamber orchestra.
The fine young recorder quintet Seldom Sene now makes its own contribution to this rich history of Goldberg interpretation with a version created by one of their number, Maria Martinez Ayerza. As she observes in the booklet note for this new recording, it may seem surprising that an ensemble of five musicians chooses to arrange and perform a work which is mostly written in two or three parts, four at most. Indeed, on this disc they play all together for just a couple of minutes, in the Quodlibet, which quotes two rustic folk tunes. However, due to the relatively small range of the recorder, five players are needed to play the complete Goldberg Variations comfortably without making any modifications, which, for us, is an essential condition. The toccata-style variations in particular require a wide range and agile playing in very high and low registers and provide plenty of work for all five players, while some of the canons, arias, fugues and dances work well in smaller settings from duo to quartet.
‘The homogeneous sound of a consort of instruments of the same family suits keyboard music very well,’ says Ayera. ‘Ideally a consort is one instrument in the hands of five players. This is exactly the challenge we have enjoyed the most while preparing the Goldberg Variations: how to think, feel, articulate, time, breath, tune and phrase as one player. On the other hand, the singularity of each musician always remains and is in fact a great advantage, colouring each passage and contributing to shape our common interpretation.’
A previous pair of Brilliant Classics recordings by Seldom Sene was widely reviewed and welcomed in the critical press. Of ‘El aire el Serena’ (music from the courts and cathedrals of 16th-century Spain, BC95304), the MusicWeb reviewer observed that ‘This disc is a model of creative and thoughtful programming… The playing is of the highest order: immaculate intonation and perfect ensemble.’ Their debut album was Taracea (‘A Mosaic of Ingenious Music Spanning Five Centuries’, BC94871), praised by Gramophone: ‘The range of styles in this enterprising recital is only the most striking of several distinctive features. The programme is carefully chosen, the passage between styles cleverly judged on the whole, the contemporary works included here being especially well integrated.’
Bach’s Goldberg Variations have gained iconic status. Ever since the legendary recording of Glenn Gould in 1955 it took the world by storm, and its popularity reaches well beyond the boundaries of traditional classical music audiences. Originally written for “Clavecimbel mit zwei Manuale” the perfect counterpoint and instrumental brilliance of the 30 variations invite for performances on other instruments, finding new facets and hidden treasures in this immensely rich music.
This new recording presents a new arrangement for recorder consort, written by the ensemble Seldom Sene.
Recorder Consort Seldom Sene has already recorded two highly praised albums for Brilliant Classics: Taracea (BC94871) and “El aire se serena” (BC 95204).
Belder, Pieter-jan - Goldberg-variationen, Aria Mi
Aria
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8
Variation 9
Variation 10
Variation 11
Variation 12
Variation 13
Variation 14
Variation 15
Variation 16
Variation 17
Variation 18
Variation 19
Variation 20
Variation 21
Variation 22
Variation 23
Variation 24
Variation 25
Variation 26
Variation 27
Variation 28
Variation 29
Variation 30
Aria Da Capo
? Bach’s Goldberg Variations are the touching stone of a musician’s stature,
and no wonder that award-winning Dutch harpsichordist Pieter-Jan
Belder considers it a necessary and rewarding task to record it again
(having recorded it already 15 years ago), his immense experience and
increased knowledge finding new hidden secrets and treasures in this
iconic work.
? The personal booklet notes by Pieter-Jan Belder show his great insight,
knowledge and love for this work, which has been on his music stand for
over 30 years.
? Belder is one of the world’s foremost keyboard players, with an
astonishing number of CD’s to his name: the complete Scarlatti Sonatas,
Bach keyboard works, Rameau, Soler, Duphly, Marais, CPE Bach, Corelli,
Purcell, Telemann, the complete Fitzwilliam Virginal Book..to be
continued…
Płyta 1.
Teopini, Francesco - Sonate Fuer Violine Solo Nr.
1. Adagio
2. Fuga (Allegro)
3. Siciliana
4. Presto
Teopini, Francesco - Partita Fuer Violine Solo Nr.
1. Allemanda - Double
2. Corrente - Double (Presto)
3. Sarabande - Double
4. Tempo Di Borea - Double
Teopini, Francesco - Sonate Fuer Violine Solo Nr.
1. Grave
2. Fuga
3. Andante
4. Allegro
Płyta 2.
Teopini, Francesco - Partita Fuer Violine Solo Nr.
1. Allemanda
2. Corrente
3. Sarabanda
4. Giga
5. Ciaccona
Teopini, Francesco - Sonate Fuer Violine Solo Nr.
1. Adagio
2. Fuga
3. Largo
4. Allegro Assai
Teopini, Francesco - Partita Fuer Violine Solo Nr.
1. Preludio
2. Loure
3. Gavotte En Rondeau
4. Menuet 1 - Menuet 2
5. Bourree
6. Gigue
Montero, Patxi - Sonate Fuer Viola Da Gamba Und Ce
1. Adagio
2. Allegro Ma Non Tanto
3. Andante
4. Allegro Moderato
Montero, Patxi - Sonate Fuer Viola Da Gamba Und Ce
1. Adagio
2. Allegro
3. Andante
4. Allegro
Montero, Patxi - Sonate Fuer Viola Da Gamba Und Ce
1. Vivace
2. Adagio
3. Allegro
? In this new recording of the magnificent (and still undervalued) sonatas for
viola da gamba by Bach the keyboard is an organ, a german school
Rückpositiv. The use of the organ instead of the harpsichord has changed
the interpretation of the musician to a large extent: the sustained sound
of the organ tones (contrary to the quickly decaying sound of the
harpsichord) heightens the tension of the harmonics, especially the
dissonances. The length of the notes is therefore often shortened, taking
into account the reverberant acoustics of the church, which also affected
the tempo choices. In short, this interpretation is completely different
from the harpsichord version, shedding a new light on these masterpieces
by Bach, who himself was never averse to using different instruments for
his works.
? Patxi Montero is one of the foremost viola da gamba players of this
moment, he frequently collaborates with Early Music groups such as
Concerto Italiano, Il Giardino Armonico, Zefiro, Europa Galante and
conductors Rinaldo Alessandrini, Diego Fasolis and Fabio Biondi. Daniele
Boccaccio already made a highly acclaimed recording for Brilliant Classics
of his own organ arrangements of Bach’s violin concertos (BC94829).
? Excellent liner notes written by the musicians.
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