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Christoph Genz Genz Michael Hofstetter Hofstetter Anton Schweitzer 2008
Provided to YouTube by Kontor New Media GmbH Alceste, Act V, Scene 2: "Ihr sollt' ich untreu werden können" · Christoph Genz · Concerto Köln · Michael Hofstetter Schweitzer: Alceste ℗ Berlin Classics/Edel Germany GmbH Released on: 2008-01-30 Soloist: Christoph Genz Orchestra: Concerto Köln Conductor: Michael Hofstetter Composer: Anton Schweitzer Lyricist: Christoph Martin Wieland Music Publisher: Copyright Control Auto-generated by YouTube.
Michael Hofstetter Hofstetter Anton Schweitzer 2008
Provided to YouTube by Kontor New Media GmbH Alceste: Overture · Concerto Köln · Michael Hofstetter Schweitzer: Alceste ℗ Berlin Classics/Edel Germany GmbH Released on: 2008-01-30 Orchestra: Concerto Köln Conductor: Michael Hofstetter Composer: Anton Schweitzer Music Publisher: Copyright Control Auto-generated by YouTube.
Edith Picht Axenfeld Bach Parry Henry Purcell Charles Dieupart Schweitzer Reeves Fairchild Dam 1951
Edith Picht-Axenfeld (harpsichord) The English Suites No. 1 in A Major (BWV 806) and No. 2 in a minor (BWV 807) J.S. Bach Released 1951 on the Mercury Classics label MG10091, mono recording BACH'S SIX English Suites constitute his largest keyboard works in suite form. "They certainly represent his highest pitch of mastery," writes Parry. "The immense scope of all the preludes ... and the wide range of resource which they display, the weight, variety, and unvarying high level of material of the allemandes and courantes, the supreme dignity, pathos, and warmth of color and expression of the sarabandes, the sparkling vivacity of the bourrees and the gavottes, and the superb texture of the gigues combine to make this series of suites stand entirely alone as representing the very highest examples of the type in existence. The two last French suites have a special charm and lightness, and admirable consistency of style; but the whole series does not give the impression of uniform high quality, certainty of resource, and nobility of expression which is given by the so-called 'English Suites.' " Where they acquired the name of "English Suites" is not known. Parry conjectures that Bach may have been familiar with the suites of Henry Purcell, which were fine examples of the form. He may also have been conscious of the fact that the English were the first to develop the suite. But the English Suites were never published during Bach's lifetime, and the title was, in all probability, derived from the words, "fait pour les Anglais," written above the Prelude to the Suite No.1 in A Major in the mamiscript copy in the possession of Bach's youngest son, Johann Christian. This inscription led to the belief that the suites were written for an English nobleman, but there is no evidence to support this claim. It so happens, however, that the aforementioned Prelude is based on a gigue in a suite by Charles Dieupart, a contemporary of Bach and a prominent teacher and composer in England. It is most likely, therefore, that the words, "fait pour les Anglais," applied only to this one movement and not to the suites in general. The origin of the title of the French Suites, it might be noted, is equally obscure, the only reason advanced being that they are of a compact and dainty character akin to examples of French art. The English Suites were probably composed, together with most of Bach's other instrumental works, in Cothen, though they may have been completed during his Leipzig period. At any rate, they came after the slighter French Suites, and perhaps some of them even saw the light of day after the six Partitas. Schweitzer declares that in the English Suites, Bach "raises the suite· form to the plane of the highest art, while at the same time he preserves its primitive character as a collection of dance-pieces." It is true that he ad· heres rather closely to the basic structure of the suite, but there are a few exceptions which are worth noting. The Prelude in the Suite No.1 in A Major was founded on a gigue by Dieupart, and is considerably shorter than any of the five other opening movements. In place of the customary single Courante, there are two in this suite, and .the second is augmented by two doubles-the double, as its name implies, being a simple form of variation on the original dance, with embel· lishments usually in double time. Another form of variation is found in the Sarabande in the Suite No.2 in A Minor. Here the Sarabande proper is followed by a more elaborate variation, marked Les Agrements de la meme Sarabande. Agrements are simple musical ornaments. It is the custom to substitute the corresponding section of agrements for a repeat in each section of the Sarabande, thus lend· ing more variety to the music. The Gigue in this suite is of the Italian wiriet'y .. being less contrapuntal in treatment. In addition, after the customary reo peats of each section, the entire Gigue is played through from beginning to end without repetition. NOTES BY PAUL AFFELDER This MERCURY LONG PLAYING recording was made possible through the use of the REEVES·FAIRCHILD MARGIN CONTROL process-a technique whereby it has become possible for Mercury to produce for the record-buying public a disc of truly superior quality, especially with respect to brilliance, clarity, dynamic range and reliable stylus tracking. This record can be played on any 331/3 r.p.m. turntable equipped with micro· groove pick-up, as long as pick.lIp playing stylus is not WORN or DAM· AGED. It is recommended that sapphire or metal styli be checked for reo placement at least every SIX MONTHS. #EdithPichtAxenfeld
Henri Brod Gustave Vogt Vogt Fétis Boehm Quinault Habeneck Schweitzer 1781 1789 1799 1801 1812 1818 1825 1826 1828 1837 1839
Henri Brod (Paris, 13 June 1799 - Paris, 6 April 1839) French oboist, wind instrument maker and composer. He studied at the Paris Conservatoire from 1812 under Gustave Vogt, who shared Brod’s Protestant Alsatian background. Having received the premier prix in 1818, the following year Brod was appointed second oboist in the Opéra orchestra alongside his teacher. During Vogt’s absences in 1826 and 1828 Brod filled Vogt’s place as first oboist. The abilities of the two players were often compared; Fétis found Brod’s tone sweeter than that of his teacher. A statuette by Dantan jeune (Paris, Musée Carnavalet) caricatures Brod playing a musette. He died just 3 months before he would have been eligible for a pension to support his wife and young son. His widow petitioned repeatedly for support from the administration of both the Conservatoire and Opéra. Oboes by Brod, some made in collaboration with his brother Jean-Godefroy (b ?1801) were held in high regard. Brod had acquired tools and plans from Christophe Delusse (fl.1781-1789), and his earliest oboes were modelled on those of Delusse. Brod quickly gained a reputation for innovation and did much to influence the oboe’s development. He was probably the first oboe maker in France to add octave keys, to extend the range to b (and on some instruments to a) and to design a pierced plate to half close the first hole. Brod promoted a straight english horn (cor anglais moderne), conceived an hautbois baritone, pitched an octave below the treble oboe, and made a petit hautbois, pitched above the treble oboe. It was reported that he was developing an oboe with Boehm keywork. Other inventions include a gouging machine used in oboe and bassoon reed making. His two-part Méthode pour le hautbois (Paris, 1825–35), includes important technical information and explains the rationale for these innovations. In addition to pièces de salon, romances and operatic fantasies for oboe, including Variations on Lucia di Lammermoor and Siège de Corinthe, Brod composed an opera on Quinault’s libretto Thesée which was rejected by the audition panel of the Opéra in 1826. The only known performance of excerpts of this score (now lost) took place in 1837 under the direction of F.-A. Habeneck. A definitive list of Brod’s compositions has yet to be established. Albert Schweitzer Quintet. Camille Corot - Flesselles, a Street with a Peasant and Her Cow.
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