Jean-Sébastien Bach Ouverture dans un style français en si mineur Vidéos
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2024-05-02
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Bach Jean Baptiste Lully Collegium Musicum 1733 1735 1749 2022
DMA Piano Recital (Part 1) Recorded on April 24, 2022 at New England Conservatory's Williams Hall Overture Courante Gavotte I & II Passepied I & II Sarabande Bourrée I & II Gigue Echo Program Notes: The original title of this work is Ouvertüre nach Französischer Art. It is also known as the French Overture and was published as the second half of Clavier-Übung II in 1735 (paired with the Italian Concerto). It was written by J.S. Bach during his late period in Leipzig when he was the cantor of the St. Thomas Church and director of the Leipzig collegium musicum. Numerous keyboard works and sacred church music were composed during the Leipzig years. In 1733, J.S. Bach also wrote a Kyrie-Gloria Mass in B Minor (BWV 232I/232a) which he later incorporated into the well-known B Minor Mass (BWV 232), eventually completing it in 1749, one year before his death. Also in B Minor, the French Overture is a suite, written for two-manual harpsichord. An earlier version of this work exists, in the key of C Minor (BWV 831a); the work was transposed into B Minor to complete the cycle of tonalities in Parts One and Two of the Clavier-Übung. In the 1650s, Jean-Baptiste Lully’s ballet overtures emerged and the “overture” quickly became the usual introduction for an opera, ballet, or suite. In the mid-18th century, it gradually became more flexible and dramatic in an approach, particularly with the Italian sinfonia. J.S. Bach manifested a serious and sustained interest in the suite throughout his career. This suite has eleven movements, starting with an overture movement – a slow, grand introduction with dotted rhythms, followed by a lively fugal section and closing with a more ornate version of the opening section. In most cases, an allemande would appear here in Bach’s other keyboard suites, but not in this one. Afterwards, an energetic courante proceed the remaining dance movements: a pair of gavottes with the stylistic feature of notes inégales; a pair of passepieds in triple meter, both sets moving from minor to major and back; a gracious sarabande with melancholy emotions; two rapid bourrées; and a lively gigue, characterized by a hurried dotted figure in 6/8 time. Most listeners might expect the suite to end here. Nevertheless, Bach held back one more trick: an “echo,” featuring loud and soft dynamics. These echo effects could be achieved on a harpsichord with two manuals. Other movements also have dynamic indications, which are not often found in keyboard suites of the Baroque period. This is the longest keyboard suite composed by J.S. Bach.
Johann Sebastian Bach Yulianna Avdeeva Johnston Niedermeyer 2017
Bach Overture in the French Style in B minor BWV.831 - I. Ouverture Johann Sebastian Bach - Yulianna Avdeeva (24-96 Mirare 2017) Yulianna Avdeeva, piano A&R, Editor [Editorial Supervision] – Christian Meyrignac, Francisco Martin (4), René Martin Composed By – Johann Sebastian Bach Cover, Photography By – Sammy Hart Design – Jean-Michel Bouchet Edited By, Engineer, Producer [Recording] – Andreas Neubronner Liner Notes – Gilles Cantagrel Liner Notes [Translation] – Charles Johnston Piano – Yulianna Avdeeva Technician [Piano Tuner] – Christian Niedermeyer
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