Accueil

De Mi caja de notas

Révision datée du 24 juin 2022 à 13:24 par Xtof (discussion | contributions) (→‎Jean-Sébastien Bach)

« Le plus intelligent de tous, à mon avis, c’est celui qui au moins une fois par mois se traite lui-même d’imbécile. »

— Fiodor, Journal d’un écrivain, 1873


Octidi
8
Frimaire
CCXXXIII

📝 permalink


Jean-Sébastien Bach

Stunning performance of Mark Edwards (BWV 825).

via @bachverenging

It was already clear in the eighteenth century: Bach made high demands on the keyboard player.

This first partita in Bach’s series of six keyboard partitas appeared in print in 1726. The rest followed in subsequent years and the complete set of six was reprinted in 1731. As early as 1739, music connoisseur Lorenz Christoph Mizler wrote in a review of the repeatedly reprinted organ method or Wegweiser for “the art of playing the organ correctly” that “he who cannot move his fingers better than this will scarcely be able to learn to play the Partitas for the clavier by our famous Herr Bach of Leipzig”. This remark says something about the basic standard aimed at in this method in Mizler’s review, but also about Bach’s partitas.

The Partita in B-flat major immediately lives up to that reputation of above average ‘finger movements’. It becomes apparent in the Praeludium, when the theme we hear at the beginning in the upper part then appears in the left hand with trills and all. And there is something in every movement where a mediocre or careless keyboard player might mess up the fingering. Sometimes it simply concerns a stream of fast arpeggios and leaps in both hands, as in the Corrente. In the slow Sarabande, the challenge lies more in the elegant phrasing of the ornaments and flourishes that are in full view, due to the sparing accompaniment. One small mistake is immediately noticeable.

When the keyboard player then arrives at the two minuets, it appears that the worst of the danger is over, as here Bach does not demand particularly difficult struggles for the fingers. But it was not without reason that Mizler took the partitas as an example. The Gigue that closes the first partita is a tour de force of keyboard technique, which was unparalleled in Bach’s day. With the right hand continually jumping over the left hand, here it is not just the fingers in motion, but the whole hand!

2022-05 Nederlandse Bachvereniging All of Bach (Netherlands Bach Society) : Advanced Keyboard Technique


Mark Edwards
Edwards performing in 2017
Background information
Born1986
Toronto, Canada
GenresClassical
Occupation(s)Musician, assistant professor of harpsichord
Websitemark-edwards.ca

Mark Edwards (born 1986) is a Canadian harpsichordist and organist from Toronto. He is first-prize winner of the 2012 Musica Antiqua Bruges International Harpsichord Competition and is assistant professor of harpsichord at the Oberlin Conservatory of Music in Ohio.[1]

Biography

Mark Edwards studied piano and organ at the Interlochen Arts Academy in Michigan with Thomas Lymenstull and Thomas Bara. He continued his organ studies with David Higgs at the Eastman School of Music in Rochester, New York, where he also followed courses in organ improvisation and harpsichord with renowned historical keyboards specialist, William Porter. He was organist at the Episcopal Church of the Ascension in Rochester and played continuo at the Eastman School with Paul O'Dette and Christel Thielmann. He graduated as a Bachelor of Music with highest distinction.[2] He completed his further studies with William Porter (organ and improvisation) and Hank Knox (harpsichord) at the Schulich School of Music and the Department of Early Music at McGill University, where in 2011 he obtained Master in organ and harpsichord. He attended master classes with Ton Koopman, Pierre Hantaï, Skip Sempé, Kenneth Weiss, Harald Vogel and Jacques Oortmerssen. In 2012 he continued his studies with Robert Hill at the Hochschule für Musik Freiburg, Germany.

His harpsichord playing has been described in La Libre Belgique as "bringing the listener to new and unpredictable regions, using all of the resources of his instrument, of his virtuosity, and of his imagination [...]."[3]

In addition to his prize at the Bruges competition, Mark won third prize at the 2012 Jurow International Harpsichord Competition,[4] and second prize in the 2011 Concours d'Orgue de Québec.[5]

He is also a founding member of Ensemble 1729.[6] He has appeared on American Public Media's radio program Pipedreams,[7] as well as on La Société Radio-Canada's program Soirées classiques.[8]

Discography

Solo

  • Orpheus Descending (2017)

Collaborations

References

  1. ^ "Oberlin Conservatory-Historical Performance Faculty". Oberlin.edu. 2016-10-21. Retrieved 2019-05-29.
  2. ^ "Organix 09 – Biography: Mark Edwards". Organixconcerts.ca. 2011-11-27. Retrieved 2012-09-03.
  3. ^ Mergeay, M. "Révolution au concours de Bruges," La Libre Belgique, 11 August 2012: "Sweelinck démarre dans cette sorte d’errance chère à certains, faite de ruptures et de suspensions apparemment arbitraires mais bientôt justifiées : Mark Edwards entraîne l’écoute dans des régions inédites et fantasques, utilisant toutes les ressources de son instrument (lequel connut pourtant des problèmes de justesse), de sa virtuosité et de son imagination, avec la marque - dans l’ampleur du jeu - de l’organiste qu’il est aussi. Bach sera plus édifiant encore, bénéficiant d’un excellent choix d’instrument et mené avec une autorité souveraine. Ovation."
  4. ^ "Historical Keyboard Society 2012 Joint Meeting & Festival". Historicalkeyboardsociety.org. Retrieved 2012-09-03.
  5. ^ "Concours d'orgue de Québec 2010". Coq-fondationclaudelavoie.com. 2010-09-15. Retrieved 2012-09-03.
  6. ^ Ensemble 1729 Archived 2012-01-20 at the Wayback Machine.
  7. ^ Pipedreams, "Oh, Canada!", aired on 25 June 2012.
  8. ^ Consult listings for 21 June 2011.

Title page of Clavier-Übung I

The Partitas, BWV 825–830, are a set of six keyboard suites written by Johann Sebastian Bach, published individually beginning in 1726, then together as Clavier-Übung I in 1731, the first of his works to be published under his own direction. They were, however, among the last of his keyboard suites to be composed, the others being the six English Suites, BWV 806-811 and the six French Suites, BWV 812-817, as well as the Overture in the French style, BWV 831.

History

Title page of the first partita, printed in 1726 by Balthasar Schmid of Nuremberg
Autograph manuscript (1725) of Allegro for solo harpsichord from first version of Bach's sixth sonata for obbligato harpsichord and violin, BWV 1019a, later incorporated as Corrente in sixth partita, BWV 830.

The six partitas for keyboard form the last set of suites that Bach composed, and are the most technically demanding of the three. They were composed between 1725 and 1730 or 1731. As with the French and English Suites, the autograph manuscript of the Partitas is no longer extant.[1]

In keeping with a nineteenth-century naming tradition that labelled Bach's first set of Suites English and the second French, the Partitas are sometimes referred to as the German Suites.[2] This title, however, is a publishing convenience; there is nothing particularly German about the Partitas. In comparison with the two earlier sets of suites, the Partitas are by far the most free-ranging in terms of structure. Unlike the English Suites, for example, wherein each opens with a strict prelude, the Partitas feature a number of different opening styles including an ornamental Overture and a Toccata.[3]

Although each of the Partitas was published separately under the name Clavier-Übung (Keyboard Practice), they were subsequently collected into a single volume in 1731 with the same name, which Bach himself chose to label his Opus 1.[4] Unlike the earlier sets of suites, Bach originally intended to publish seven Partitas, advertising in the spring of 1730 upon the publication of the fifth Partita that the promised collected volume would contain two more such pieces. The plan was then revised to include a total of eight works: six Partitas in Part I (1731) and two larger works in Part II (1735), the Italian Concerto, BWV 971, and the Overture in the French style, BWV 831. The second of these is an eleven-movement partita, the largest such keyboard work Bach ever composed, and may in fact be the elusive "seventh partita" mentioned in 1730. The Overture in the French style was originally written in C minor, but was transposed a half step down for publication to complete the tonal scheme of Parts I and II as described below.[3]

Tonalities

The tonalities of the six Partitas (B♭ major, C minor, A minor, D major, G major, E minor) may seem to be random, but in fact they form a sequence of intervals going up and then down by increasing amounts: a second up (B♭ to C), a third down (C to A), a fourth up (A to D), a fifth down (D to G), and finally a sixth up (G to E).[5] This key sequence continues into Clavier-Übung II (1735) with the two larger works: the Italian Concerto, a seventh down (E to F), and the Overture in the French style, an augmented fourth up (F to B♮). Thus this sequence of tonalities customary for 18th-century keyboard compositions is complete, beginning with the first letter of his name (B in German is Bach's "home" key of B♭) and ending with the last letter (H in German is B♮) while including both A and C along the way.

Six partitas

  • Partita No. 1 in B♭ major, BWV 825[6]
Praeludium, Allemande, Corrente, Sarabande, Menuet I, Menuet II, Gigue
Sinfonia, Allemande, Courante, Sarabande, Rondeau, Capriccio
  • Partita No. 3 in A minor, BWV 827[8]
Fantasia, Allemande, Corrente, Sarabande, Burlesca, Scherzo, Gigue
Ouverture, Allemande, Courante, Aria, Sarabande, Menuet, Gigue
  • Partita No. 5 in G major, BWV 829[10]
Praeambulum, Allemande, Corrente, Sarabande, Tempo di Minuetto, Passepied, Gigue
Toccata, Allemande, Corrente, Air, Sarabande, Tempo di Gavotta, Gigue

Notable recordings

On clavichord

On harpsichord

Close of final Gigue from Partita No. 6, BWV 830, first edition, 1731

On piano

On guitar

See also

Notes

  1. ^ Bach 2004, p. v
  2. ^ Philipp Spitta, Johann Sebastian Bach: his work and influence on the music of Germany, 1685-1750, Volume 3 (Novello and company, limited, 1899) p. 156.
  3. ^ a b Schulenberg 2006
  4. ^ Bach 2004
  5. ^ Tomita, Yo (2002). "J.S. Bach: The Six Partitas". Yo Tomita's personal web space. Retrieved 31 October 2015.
  6. ^ Schulenberg 2006, pp. 324–326
  7. ^ Schulenberg 2006, pp. 326–330
  8. ^ Schulenberg 2006, pp. 330–333
  9. ^ Schulenberg 2006, pp. 333–337
  10. ^ Schulenberg 2006, pp. 337–340
  11. ^ Schulenberg 2006, pp. 340–345

References

  • Bach, J.S. (2004), Klaus Engler (ed.), 6 Partiten, BWV 825–830, Wiener Urtext Edition, Schott/Universal Edition (contains detailed preface by Engler)
  • Schulenberg, David (2006), The Keyboard Music of J.S. Bach (second ed.), New York and London: Routledge, pp. 321–345, ISBN 0415974003


Cet article est une débauche. Vous pouvez m’aider à l'améliorer.


[Échec de la récupération du modèle pour https://en.wikipedia.org/wiki/Accueil?action=render : HTTP 404]


<footer>source wikipedia:Accueil</footer>



Récupérée de « https://ducamp.me/index.php?title=Accueil&oldid=34800 »