Timothy Roberts (harpsichord) A Bach Notebook, lesser-known harpsichord music by Bach
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- Опубликовано: 6 авг 2024
- A Bach Notebook, lesser known harpsichord music by Johann Sebastian Bach.
Timothy Roberts harpsichord after Johann Heinrich Gräbner, Dresden, 1739, by Ferguson Hoey, Oxford, 1983. Pitch: A = 415Hz
Released 1985 by Hyperion Records Limited, London A66154
Recorded in St Clement's Church, King Square, London. on 21, 22 November 1983
Recording Engineer John Bower
Recording Producer James Burnett
Sleeve Design Terry Shannon
Sleeve Photograph John Cuerden
SIDE 1 (26'46)
Concerto in F major, BWV 978 after Antonio Vivaldi 7'41
00:00 Allegro
02:37 Largo
5:03 Allegro
Prelude and fugue in b minor BWV 923/951 on a theme of Tomaso Albinoni 10'42
07:43 Prelude
10:17 Fugue
Prelude and fugue in G major, BWV 902.1 8'12
18:30 Prelude
25:31 Fugue
SIDE 2 (23'56)
26:36 Fantasia in g minor, BWV 917 1'50
28:36 Fantasia in c minor, BWV 919 1'31
30:10 Fantasia in c minor 'on a rondo', BWV 918 4'26
Prelude and fugue in F major, BWV 901 2'31
34:40 Prelude
35:53 Fugue
Suite in a minor, BWV818a 13'18
37:17 Prelude
39:10 AlIemande
42:42 Courante
44:08 Sarabande
46:54 Menuet
48:06 Giga
THE INSTRUMENT
Scholars and performers have long wondered what sort of
harpsichord Bach knew in Thuringia and Saxony. The question is
nearer an answer thanks to the identification of a very rare Saxon
instrument at Schloss Pilnitz, near Dresden, in East Germany.
This harpsichord was built in Dresden in 1739 by Johann Heinrich
Grabner, probably the elder of the two makers (father and son) of
that name. A similar, though heavily altered, instrument by
Griibner, now in the Villa Bertramka in Prague, is dated 1722,
suggesting that this was a 'production' instrument built in
Dresden at precisely the time that Bach was composing some of
his greatest music nearby in Leipzig. The Griibners were probably
connected with the Silbermann family (no Silbermann
harpsichord survives) and they were makers to the Dresden
electoral court to which Bach was composer from 1736. Bach
visited Dresden often and can hardly have failed to know the
Griibners and their instruments.
In early 1983 Ferguson Hoey was able, thanks to exceptional
diplomatic pressures, to inspect the 1739 harpsichord and
measure it thoroughly using modern fibre-optic techniques. He
was surprised to discover that it appeared to be virtually
unaltered, and also that its construction was quite different from
the north German instruments of the Hamburg school. Many
features were reminiscent of Italian design, others of the north
European school, while a unique system of soundboard barring
contributed to an exceptionally sweet and bell-like treble. Despite
its unusual length (about 9') and range (five octaves, DD-d3) the
instrument is not especially powerful. (The well-known
harpsichord by Carl Heinrich Grabner of 1782, now in
Nuremberg, is quite different from this instrument, and shows
strong French influence).
This recording is the first on the close copy that Ferguson Hoey
built on his return from the DDR. The evidence connecting this .
instrument with Bach is circumstantial and in the end the
harpsichord must plead its own case. However, compared with
the rather dark quality of north German harpsichords, the brilliant
but singing tone of the Grabner copy is persuasive in connection
with Bach's contrapuntal textures.
TIMOTHY ROBERTS, London, 1984
#FergusonHoey #TimothyRoberts 
Видеоклипы
*_The rest of the documentation 1/1_*
THE MUSIC
From about 1720 Bach was remarkably systematic about
gathering together his harpsichord works into collections, at first
in manuscript (the Inventions and Sinfonias, 'English' and
'French' Suites, and 'Well-tempered Clavier') and later for
publication in the various parts ofthe Clavier Ubung (the Partitas,
Italian Concerto, French Overture and 'Goldberg' Variations).
However, Bach also wrote many keyboard pieces that for one
reason or another were omitted from these great collections. The
autograph manuscripts' of these have almost all disappeared,
largely' thanks to Bach's eldest son Wilhelm Friedemann who,
.having inherited most of them, seems to have sold.mahy to repay
pressing debts. We owe it to the industry of Johann Sebastian's
pupils, and of other copyists outside his immediate circle, that a
large body of miscellaneous pieces survives to broaden our
picture of Bach the keyboard player. Some of them, like the early
toccatas and the famous Chromatic Fantasia and Fugue, have
regained a place in the repertoire, but many others remain largely
unknown. Most, presumably, date from Bach's youth, and due to
our ignorance of his early style it is sometimes hard to be certain
of a work's authenticity. Nevertheless, many of these works
deserve to be better known to players and audiences alike.
A particularly interesting group of pieces gives insight into Bach's
. absorption of contemporary musical styles by transcription,
elaboration or imitation. Prominent among his various keyboard
transcriptions is a group of concertos by Vivaldi, Alessandro
Marcello, and by German composers writing in Italian style.
Sixteen such transcriptions for solo harpsichord survive, in
addition to a number for organ, and were presumably made while
Bach was Court Organist at Weimar (1708-1717). The
arrangements enrich and ornament the originals, and while Bach
doubtless wished to learn from his models he was also continuing
a venerable tradition in 'intabulating' ensemble music for the
keyboard. The F major Concerto is based on Vivaldi's Violin
Concerto op.3 no.3 (RV310), and though there are no indications
. of forte and piano the two keyboards are doubtless intended to be
used to suggest the solo and tutti of the original.
In addition to the transcriptions, Bach took melodies from Italian
masters such as Albinoni, Legrenzi and Corelli and developed
them into fugues, the greatest of which is that in B minor on a
theme of Albinoni. The beautiful subject is from a trio-sonata of
the Venetian composer, and in Bach's hands gives rise to a great
contrapuntal meditation of 112 bars; the sad chromatic descent of
Albinoni's theme is harmonized ever more intensely, though its
brighter inversion has the last word. The fugue probably dates
from the early Weimar years. The brief, fantasia-like prelude is of
dubious authenticity and is coupled with the fugue only in
manuscripts of the later 18th century; whoever first linked them,
however, they seem to form an ideally contrasted pair of
movements.
The modest G major fugue of BWV902.1 is unique in Bach's
output in having had three different preludes. The first was very
short; the second - that recorded here - unusually long and a
delightful flow of ideas in pastoral vein. Its binary structure
foreshadows Classical 'sonata form', suggesting that it was
~ritten around the period of Book 2 of the 'Well-tempered Clavier'
(1744). It was presumably the lack of proportion between prelude
and fugue that led Bach to write a third prelude, of moderate
length, when he revised the fugue to become no.15 of that
collection.
The title 'fantasia' was used in Bach's day to refer to works in the
style of a free improvisation, and also in its older sense of a
contrapuntal piece without a cantus firm us. The three fantasias
recorded here are of the latter type and, if by Bach at all, are
probably early works. The first, in G minor, is a miniature toccata
and fugue in which the toccata lasts a mere two bars; the oldfashioned
fugue develops several traditional motifs including the
chromatically-descending fourth that was part of the stock-intrade
of 17th- and 18th- century composers. The second fantasia,
in C minor, resembles the two-part inventions in style, though it
lacks their thematic economy; the third is perhaps the most likely
of the three to be authentic, recalling parts of the Second Partita in
its rhythmic and harmonic audacity. Its title, Fantasia on a Rondo,
denotes that fragments of the opening binary theme reappear,
rondo-fashion, throughout the work; the theme returns in its
entirety at the end.
The little F major Prelude and Fugue is connected, like the G
major on side one, with the genesis of Book 2 of the 'Welltempered
Clavier' in that the fugue was transposed up a minor
third and miraculously extended to become no.17 of that
collection. The unassuming prelude, which would not seem out of
place in Book 1 of the '48', was replaced and so has languished in
obscurity ever since.
In addition to the nineteen keyboard suites collected together by
Bach, a handful of miscellaneous examples survive, of which that
in A minor, BWV818a, is outstanding. It probably dates from the
Cothen period (1717-1723) and resembles the intimate 'French'
suites in both scale and musical quality. It was originally like them
also in having no prelude but, possibly because of the rather
lightweight Allemande, the fine opening inovement (marked fort
gai) was added later; with its rushing scales and sighing motifs it
suggests a movement from a cantata. The ensuing dances are
serious in mood, the bold Sarabande being especially noteworthy;
notice, also, the way that the apparently inconsequential ending of
the Menuet is taken up to become the theme of the Giga.
THE ARTIST
Timothy Roberts was born in London and was a Music Scholar at
Gonville and Caius College, Cambridge. He studied harpsichord
under Christopher Kite at the Guildhall School of Music and .
Drama in London, and has also had periods of tuition from Gustav
Leonhardt and Jill Severs. He has given numerous solo recitals -
including an acclaimed Purcell Room programme of Baroque and
20th-century works in 1984 - and is also well-known as a
continuo player, having performed and recorded with such
groups as The London Vivaldi Orchestra, The.Consort of
Musicke, The New London Consort and his own ensemble,
Cantate. Mr Roberts has also appeared at many festivals in Britain
and Europe and has recorded for Dutch and Austrian radio
services in addition to the BBC. He has taught at the Early Music
Centre and Morley College in London, and produced many
editions of 17th- and 18th-century music.
This is his first solo recording.
LOVE THIS!! Thank you so much for sharing this! Classical music enthusiast who can't express in words how much the sound of the harpsichord rejoices my whole being! Simple admiration for this musical gem! God bless whoever is responsible for this upload. 💕💕💕🎶🎶🎶
Amazing 😮❤
the sound of the original one JH Grabner the younger 1739 is very powerful and impressive, it's the copy of Hoey without sound and color
I liked this so much I bought the vinyl! Extremely good performance on a wonderful harpsichord and perfectly miked!
I hope the vinyl was in a good condition. Mine was in a deplorable condition.
Awesome! Thanks for sharing! I am a rocking Gen-Xer--who is blown away by classical music. The Harpsichord, under Bach's hand, is just SO incredible! I love this! (Another reason my parents think I'm even more "issued" than I am. But, I still love this tunage! THANK YOU!
I'm glad you like it. there are some turbo pieces in it ;-)
What a Delightful, Delicious, Divine Limited Rare London's Edition, Votre Grace Folies Espagne! Breathtaking Upload for Maniacs-colllectors!
There are so many great recordings who unfortunately never made it to the compact disc because the demand is limited to a few specialistic listeners :-(
Sweet...🧡
Great find and Happy New Year, Folies. Espagne! J S Bach has another connection to the Graebners, Christian Heinrich Gräbner, studied organ with J. S. Bach as a student in Leipzig. For five generations from the 17th well into the 19th centuries the Gräbner family built and repaired organs, harpsichords, clavichordsand ultimately pianos. Several family members were tuners and instrument makers for the Saxon court as well as prominent professional musicians.
Happy 2018 to you too and thanks for the extra information.
Really fantastic album!
Terrible distorion from 35' to end. A pity as the playing is excellent and the works interesting
Now I hear it back, I think you are right. The distortion is not only detectable in Vienna. It is OK at 42' 44 once more. I guess I have to do side two one more time in the future.