Alfred Wotquenne Video
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Michael Gotthard Fischer Fischer Bach Alfred Wotquenne Stark Osiander 1773 1829 1837 1906 1947
Buchholz-Orgel der Schwarzen Kirche Kronstadt (Braşov, Rumänien; 1837)(via Hauptwerk) English below! Werke des zeitweilig berühmten Erfurter Organisten M.G. Fischer finden sich in beträchtlicher Zahl und an vielen Orten / gedruckt (teilweise noch zu Lebzeiten des Komponisten) und auch in digitalisierten Handschriften im Netz. Was soweit ich sehe fehlt, ist eine kritische Gesamtausgabe dieses doch bedeutenden Musikers (zu seiner Biographie s. meine Einspielung seiner Bearbeitung von Jesus meine Zuversicht: (http•••) ). Die hier eingespielten Stücke illustrieren das Problem. Die ersten beiden in F-Dur und f-moll stammen (wie das zuletzt hochgeladene "Adagio e mesto" von C.P.E. Bach) aus der zuerst 1947 von Otto Gauß herausgebrachten Sammlung "Kleine Orgelstücke aus drei Jahrhunderten". Gauß geht mit Notentext wie Bezeichnung der Werke frei um: da finden sich Kürzungen und geänderte Titel, ohne daß Gauß dies kenntlich machen würde. (So nennt Gauß die letztgenannte Komposition von C.P.E. Bach nur "Adagio", druckt sie auf drei Systemen, obwohl Bach selbst wohl keinen Pedalpart vorgesehen hat, beides ohne Kommentar; es fehlt der Hinweis, daß es sich um den Mittelsatz einer Sonate handelt, ebenso wie deren Wq-Nummer, also die Nummer im Werkverzeichnis von Alfred Wotquenne von 1906.) Feststellen kann ich derlei jeweils nur da, wo es mir gelingt, verläßliche Editionen der Stücke dingfest zu machen. Auf die beiden Stücke von Fischer in F-Dur und f-moll trifft das nicht zu / ich habe sie bisher nirgends sonst finden können. Gauß nennt sie "Moderato" und "Largo", doch können diese Bezeichnungen von ihm stammen. Das letzte der drei Stücke, in C-Dur, findet sich auch in zwei Versionen bei imslp.org . Eine ist ein Druck des 19. Jhs.: eine Sammlung 12 eher kurzer Stücke mit der Bezeichnung "op. 10", laut Titelblatt Teil einer vom Körner-Verlag bereits in 10. Auflage vertriebenen "Neue(n), schöne(n), correcte(n) und einzige(n) Gesammt-Ausgabe". (Leider ist von dieser Fischer-"Gesammt-Ausgabe" vorerst nur weniges mehr auf imslp zu finden.) In der Sammlung "op.10" handelt es sich um die Nr. 3: einen Titel trägt sie nicht, außer der Tempobezeichnung "In mäßiger Bewegung" (weiter folgt die Angabe "Ein wenig stark"). Diese Nr. 3 gibt es bei imslp auch in einer von Patrick Roose neu gesetzten Ausgabe: anstelle der zitierten Spielanweisungen steht hier nur "Moderato" ; die Verzierungen fehlen und der Notentext weicht leicht ab. Die Einspielung folgt der Körner-Ausgabe. a_osiander(at)gmx.net . (http•••) Works by the once-famous Erfurt organist M.G. Fischer are found in quantity in many places / printed (in the composer's lifetime, and later) as well as in digitised manuscripts available on the internet. (For a biography of Fischer see my recording of his chorale prelude on Jesus meine Zuversicht: (http•••) .) Unfortunately, to my knowledge there is no critical complete edition. The pieces heard in this recording illustrate the problem. Like the "Adagio e mesto" by C.P.E. Bach uploaded previously, the first two in F major and F minor come from a collection by Otto Gauss first published in 1947 ("Kleine Orgelstücke aus drei Jahrhunderten"). Gauss saw nothing wrong with sometimes altering the scores as well as the titles of the pieces without indicating the changes. (Thus in the case of the work by C.P.E. Bach just mentioned Gauss calls it simply "Adagio" and prints it on three staves even though it was intended by Bach to be played on manuals only. There is no editorial note of any kind; thus we are not told either that the work is the middle movement of a sonata, let alone its Wq number, that is its number in the catalogue by Alfred Wotquenne of 1906.) The only way to find such things out is by identifying some other, reliable edition of the pieces. This I have so far failed to do in the case of the two pieces in F major and F minor by Fischer. Gauss calls them "Moderato" and "Largo", but those titles may well not be original. The last of the three pieces, in C major, is found in two versions on imslp.org . One is of 19th-c. date: a collection of twelve fairly short pieces labelled "op. 10", and part, according to the title page, of a "Fine, New, Correct, and Unique Complete Edition" published by Körner of Erfurt and Leipzig / then already in its 10th printing. (Unfortunately little more of this Complete Edition of Fischer is currently found on imslp.) Within this op.10 we are dealing with no. 3: this bears the indication "In mäßiger Bewegung" ("In moderate motion"), followed by "Ein wenig stark" ("Somewhat loud"). The same work is also found on imslp in a new edition by Patrick Roose, where it is merely labelled "Moderato", without further remarks; the ornaments are omitted and the music itself differs slightly. This recording follows the edition by Körner.
Bach Carl Philipp Emanuel Bach Wotquenne Helm Andreas Staier Robert Hill Reinhard Goebel
Carl Philipp Emanuel Bach: Concerto for two harpsichords in F Major (Wotquenne 46, Helm 48) Andreas Staier, harpsichord Robert Hill, harpsichord Musica Antiqua Köln Reinhard Goebel, director Allegro Largo e con sordino Allegro assai
Bach Carl Philipp Emanuel Bach Wolfgang Amadeus Mozart Joseph Haydn Beethoven Lassus Monteverdi Gesualdo Georg Anton Benda Benda Ernst Wilhelm Wolf Johann Gottfried Müthel Friedrich Wilhelm Rust Wilhelm Rust Felix Mendelssohn Weber Robert Schumann Johannes Brahms Alfred Wotquenne Helm Friedemann Bach Il Giardino Armonico 1906 1941 1989 2000
Through the later half of the 18th century, the reputation of Carl Philipp Emanuel Bach stood very high. Wolfgang Amadeus Mozart said of him, "He is the father, we are the children." The best part of Joseph Haydn's training was derived from a study of his work. Beethoven expressed for his genius the most cordial admiration and regard.[citation needed] His keyboard sonatas, for example, mark an important epoch in the history of musical form. Lucid in style, delicate and tender in expression, they are even more notable for the freedom and variety of their structural design; they break away altogether from both the Italian and the Viennese schools, moving instead toward the cyclical and improvisatory forms that would become common several generations later. The content of his work is full of invention and, most importantly, extreme unpredictability, and wide emotional range even within a single work, a style that may be categorized as empfindsamer Stil. It is no less sincere in thought than polished and felicitous in phrase. He was probably the first composer of eminence who made free use of harmonic colour for its own sake since the time of Lassus, Monteverdi, and Gesualdo.[citation needed] In this way, he compares well with the most important representatives of the First Viennese School. In fact he exerted enormous influence on the North German School of composers, in particular Georg Anton Benda, Bernhard Joachim Hagen, Ernst Wilhelm Wolf, Johann Gottfried Müthel, Friedrich Wilhelm Rust and many others. His influence was not limited to his contemporaries, and extended to Felix Mendelssohn and Carl Maria von Weber. His name fell into neglect during the 19th century, with Robert Schumann notoriously opining that "as a creative musician he remained very far behind his father";[8] in contrast, Johannes Brahms held him in high regard and edited some of his music. The revival of C. P. E. Bach's works has been underway since Helmuth Koch's rediscovery and recording of his symphonies in the 1960s, and Hugo Ruf's recordings of his keyboard sonatas. There is an ongoing project to record his complete works, led by Miklós Spányi (de) on the Swedish record label BIS. The works of C. P. E. Bach are known by "Wq" numbers, from Alfred Wotquenne's catalogue (1906) and by "H" numbers from a catalogue by Eugene Helm (1989). He was portrayed by Wolfgang Liebeneiner in the 1941 biopic of his brother Friedemann Bach. (Wikipedia)
Carl Philipp Emanuel Bach Johann Sebastian Bach Joseph Schillinger Beethoven Brahms Joseph Haydn Mozart Georg Philipp Telemann Alfred Wotquenne 1714 1738 1740 1742 1744 1768 1788 1886 1895 1930 1943 1976
It is very well-known that Johann Sebastian Bach was the summit and the end of a period of music composing. According to Joseph Schillinger +••.••(...)), the greatest composers (the "3 B's": Bach - Beethoven - Brahms, but one may add to this Wagner too) emerged at the end of one musical "cycle" (period or era) and they are not actually innovators. In Schillinger's own terms, the preceding music history has reached its apex and "crystallized" with those composers. The abounding harmonic and instrumental innovations in the music of Johann Sebastian Bach are actually the results of the current polyphonic Baroque style reaching its climax and, simultaneously its end. The same goes true for Beethoven and the classical style as well as Brahms and the romantic. The composer sons of J. S. Bach, on the contrary, are renovators and innovators. They did not follow on their father's tracks, but instead, they have been the precursors of the "new style": the classical style. Joseph Haydn always referred and studied the sonatas of Carl Philipp Emanuel Bach. One may be therefore sure that the tutoring of Johann Sebastian Bach did not resulted in making more or less talented clones of himself, but genuinely creative and innovative musicians who wholeheartedly adopted the new instruments (the "piano-forte") and the new musical style which they developed to a point where Haydn and Mozart will naturally grow upon. Carl Philipp Emanuel Bach was born on the 8th of March 1788 in Weimar and died in Hamburg on December 14th of 1788. Fifth son of Johann Sebastian and Maria Barbara Bach he had G. P. Telemann as his godfather. Together with serious law and general studies he had his father as his unique music teacher. Highly gifted, he would become a famous virtuoso at the keyboards. He settled down in Berlin at 1738 where he would stay for 30 years. On 1740 he started to work for Frederic II of Prussia then at the beginning of his reign. Carl Philipp was the accompanist of the king who played the flute, and his musical adviser. He kept this position until 1768. He resigned in 1768 and replaced Georg Philipp Telemann, who died few months earlier, as Music Director at Hamburg. He gave there many concerts, directed the "premieres" of many of the composers of his day and stayed until his death. Sometimes called "the Bach of Berlin" or "the Bach of Hamburg" he was, among his brothers, probably the most refined and creative composer. He endorsed the "new" style of music composing and developed this into the "classical style" as we know today. A highly educated and intellectual person, he was aware of the new ideas of his epoch and left a very large work, cataloged by the musicologist Alfred Wotquenne ("Wq"). / Six Harpsichord Sonatas (Wq.49) (Württemberg Sonatas) Editor: Rudolf Steglich +••.••(...)) Publisher Info.: Nagels Musik-Archiv, Nos. 21, 22 Leipzig: Nagels Musik Verlag, n.d.(ca.1930), later Bärenreiter Reprint - Miami: Belwin-Mills, Ed. K3089 Year/Date of Composition 1742--44 First Publication 1744
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- cronologia: Compositori (Europa).
- Indici (per ordine alfabetico): W...