85. George Friedric Handel - Giulio Cesare (1724)

Recording

Title: Giulio Cesare
Performer: Magdalena Kozena, Marijana Mijanovic, Anne Sofie Von Otter
Director: Marc Minkowski
Year: 2003
Length: 3 hours 30 minutes

Review

We haven't had an opera in quite a while, but the wait was definitely worth it. Giulio Cesare is a pretty great opera seria by Handel. This music is just stupendous, and even if it lacks spectacular choruses, having only three very short ones throughout the thing the arias are so beautiful that they make up for it.

There are problems in this opera, but they are dictated by the medium of opera seria, more than by Handel's ability. For example, when watching this opera the practice of making arias da capo can at times be slightly boring. The fact that each area, even if it lasts for 9 minutes consists of about 4 lines of text endlessly repeated can become tiring. This problem is less obvious when listening to a recording, however. Still, when listening to the recording the recitatives are quite superfluous unless you understand Italian. While they do move the story along when you watch the opera, they do little in musical terms.

If you want to see this you can do no better than get the William Christie version recorded from the Glyndebourne Festival. The recorded version recommended is equally good, however.

Handel's areas are fiery and the instrumental music is just as important as the singer's part, truly beautiful and affecting music. The emotional aspect of this Opera is also much more developed and engaging than any opera we have had here before, this is essential, and it is hard to think that Handel's operas were forgotten for 200 years.

Final Grade

10/10

Trivia

From Wikipedia:

The roles of Cesare and Cleopatra, sung by the castrato Senesino and famous soprano Francesca Cuzzoni respectively, and which encompass eight arias and two recitatives accompagnati each, totally dispose of the vocal capabilities of the singers. Cornelia and Sesto are more static because they are completely taken by their primary emotions, she with pain because of her husband's death and constantly constrained to defend herself from Achilla and Tolomeo, and he consumed by vengeance for his father's death.

Cleopatra is a multifaceted character: she uses at first her womanly wiles to seduce Cesare and gain the throne of Egypt, and then becomes totally engaged in the love affair with Cesare. She has great arias of immense dramatic intensity Se pietà di me non senti (II, 8) and Piangerò la sorte mia (III, 3). Sensual character is described magnificently in the aria V'adoro, pupille, in which Cleopatra, in the guise of Lidia, appears to Cesare circondated by the Muses of Parnassus (II, 2). This number calls for two orchestras: one is an ensemble scene with strings with sordino, oboe, tiorba, harp, bassoons and viola da gamba concerante.

Va tacito, from the William Christie production, amazing:

84. Johann Sebastian Bach - St. John Passion (1724)

Recording

Title: Christmas Oratorio- St. Matthew Passion - St. John Passion - Mass in B Minor
Performer: Anthony Rolfe Johnson, Andreas Schmidt, English Baroque Soloists, Monteverdi Choir
Director: John Eliot Gardiner
Year: 1986
Length: 2 hours

Review

You put this on, and for the opening 10 minutes alone you know you are going to have to give it a 9 or a 10 depending on what comes after. And so it is, this is probably the most spectacular opening of any work on the list until now. It is simply amazing instrumental work with a chorus that really gives you a sense that God is speaking to you right now, and he is slightly miffed.

Then you go on through the album, and each time a chorus appears that frisson of excitement comes back, not as strongly, but strongly enough. Unfortunately this will not be a 10, because recitatives do drag on and there is only so much I can hear of people talking in German without getting a bit bored.

Fortunately, just as you are about to get bored of the whole thing, a beautiful Aria comes on, or another bombastic choir and you rethink the whole thing. Bach makes some of the most original and beautiful uses of choirs here, to the point where he has an aria with a choir singing quietly at the back, much behind the soloist, and I had not heard anything similar on this list before. Amazing work, pity about the recitatives... but he needed to have them.

Final Grade

9/10

Trivia

From Wikipedia:

The text for the body of the work is taken from the Gospel of John chapters 18 and 19. Bach used Martin Luther's translation of the Bible with only slight modifications. The text for the opening prayer Herr, unser Herrscher, dessen Ruhm as well as the arias, chorales and the penultimate chorus Ruht wohl, ihr heiligen Gebeine each come from various other sources. It is interesting to note also that two recitative passages, dealing with Peter crying after his betrayal and the temple veil ripped during the crucification are not contained within the Gosple of John, but of Matthew. These interpolated passasges were later eliminated.

Opening:

83. Johann Sebastian Bach - Great Cantatas (1723-29)

Recording

Title: Weinen, Klagen...
Performer: Collegium Vocale Gent
Director: Philippe Herreweghe
Year: 2003
Length: 1 hour

Review

Again Bach shows his flair for deeply emotional music, in a way that would be further developed in his two great Passions. The stand-out here is clearly to Weinen, Klagen... a beautiful cantata with a very long and affecting chorus.

That said, this isn't as striking a collection of Bach's works as some of the recent ones we have had here, it is much more loosely connected than the Magnificat, because it is actually composed of three works and with the two Passions coming up we know that he did it in much more spectacular scale.

In a sense these are important works as little miniatures of the Passions, and are very beautiful in themselves. A recommended recording for Bach lovers.

Final Grade

8/10

Trivia

From Wikipedia:

The term "cantata" was not used widely by Bach; it seems to have chiefly been applied to his secular cantatas. Bach's manuscript scores typically have only the liturgical date as a heading; if the piece does have a designation, "concerto" seems to be the most common. The term "cantata" to refer to these pieces came into wider use after the publication of the Bach Gesselschaft edition of his works.

The Symphony and Chorus or Weinen, Klagen, Sorgen, Zagen:

82. Johann Sebastian Bach - Magnificat (1723)

Recording

Title: Leipziger Weihnachskantaten
Performers: Collegium Vocale Gent
Director: Philippe Herreweghe
Year: 2002
Length: 30 minutes

Review

This isn't the most common version of the Magnificat in D, but the one in E flat. and if the D version is considered the most spectacular, this version doesn't lag much behind, actually it wins something in terms of intimacy, with all the fire and fury when it is needed.

Actually this is at times a pretty violent piece. The text of the magnificat does indeed require some anger, and some revolutionary anger at that. When the Virgin Mary relates how God takes up the dispossessed and makes the rich dispossessed there is a very almost communistic anger to the whole thing. In such as way that in Guatemala during the 80's it was a forbidden text because of it's revolutionary contents.

Bach again shows what a genius he is here, there are few choruses inter-spread with soloist pieces, the soloist pieces are beautiful and the choruses are like an army of avenging angels, with the occasional tender moments. Bach captures more emotional nuances in the Magnificat than just about anyone did before him. A truly impressive choral piece that would wake up anyone at church. Essential.

Final Grade

10/10

Trivia

From Wikipedia:

Bach composed an initial version in E flat major in 1723 for the Christmas Vespers in Leipzig which contained several Christmas texts. During the years he removed the Christmas-specific texts to make it suitable for year-round performance, as well as transposing it to D major, providing better sonority for the trumpets in particular. The new version, which is the one usually performed, had its premiere at the Thomaskirche on July 2, 1733, the fourth Sunday after Trinity Sunday, which was the Feast of the Visitation at the time. The Feast was later moved to the end of May.

Fecit Potentiam... probably in D:

81. Johann Sebastian Bach - The Brandenburg Concertos (1721)

Recording

Title: The Brandenburg Concertos
Performer: Hanover Band
Director: Anthony Halstead
Year: 1991-92
Length: 2 hours

Review

The Brandenburg concertos are some of the most famous pieces of Baroque concertos, probably only second place to Vivaldi's Four Seasons in popularity. Unlike many cases of very popular pieces, there are very good reasons why these concertos deserve that popularity.

These are endlessly inventive pieces, which actually include what is the first ever Keyboard concerto in No.4 with its impressive harpsichord solo in the first movement. The collection also includes truly impressive parts for all kinds of solo instruments.

But even with all this virtuosity required from the players, Bach never sacrifices beauty on the alter of technical skill, these are supremely beautiful, lively and actually "catchy" songs, and that is the reason which explain their popular appeal, and it is fully deserved. Concerto No.2 was sent to space on Voyager and if there are little green men out there will be the first thing they hear, what a rosy picture of humanity they'll get.

Final Grade

10/10

Trivia

From Wikipedia:

Because King Frederick William I of Prussia was not a significant patron of the arts, Christian Ludwig seems to have lacked the musicians in his Berlin ensemble to perform the concertos. The full score was left unused in the Margrave's library until his death in 1734, when it was sold for 24 groschen (as of 2008, about US$22.00 of silver). The concertos were discovered in the archives of Brandenburg in the 19th century.

In the modern era these works have been performed by orchestras with the string parts each played by a number of players, under the batons of, for example, Karl Richter and Herbert von Karajan. They have also been performed as chamber music, with one instrument per part, especially by (but not limited to) groups using baroque instruments and historically-informed techniques and practice.

The short but cheerful Allegro Assai from the 2nd Concerto:

80. George Frideric Handel - Keyboard Suites (1720, 1733)

Recording

Title: Harpsichord Works (Volumes 1,2 and 3)
Performer: Sophie Yates
Year: 1998
Length: 3 hours 30 minutes

Review

This is a really good three CD collection of Handel's Harpsichord works. These aren't particularly famous pieces, but they are still some really good stuff, you can clearly see the influence from the great French composers for the instrument, particularly the livelier Rameau.

In fact the similarities to Rameau's harpsichord works are striking and that brings the value of these works down a notch, because even though they mimic some of Rameau's work they are not as good.

Still, this is a superbly played collection of what is a pretty exciting work for the harpsichord, Handel doesn't let the virtuosity down at any time through these recordings, and even if at times they might sound like "show off" pieces they are quite uniformly good.

Final Grade

8/10

Trivia

From Wikipedia:

Handel displayed considerable musical talent at an early age; by the age of seven he was a skillful performer on the harpsichord and pipe organ, and at nine he began to compose music. However, his father, an eminent barber-surgeon who served as valet and barber to the Courts of Saxony and Brandenburg, and a distinguished citizen of Halle, was opposed to his son's wish to pursue a musical career, preferring him to study law; by contrast, Handel's mother, Dorothea, encouraged his musical aspirations.

Harmonious Blacksmith from Suite No.5 In E Major:

79. Johann Sebastian Bach - Sonatas & Partitas for Solo Violin (1720)

Recording

Title: Complete Sonatas & Partitas for Violin Solo
Performer: Rachel Podger
Year: 1998-99
Length: 2 hours

Review

The book tell you to get the two separate CDs, but that is now unnecessary because there is a boxed set with the two CDs, that you can see the picture of up there. And it costs the same as each of the other ones. So yay!

And this is something you will want to buy actually, much like the Cello Suites are essential solo cello works, this is essential solo violin stuff. I still prefer the cello suites, but that is because the sound of the Cello appeals more to me, but these are equally brilliant. Just listen to the Ciacconna of the second partita and you will know what I mean, some of the most impressive 13 minutes on a violin you will ever hear.

There is however, the slight feel that these pieces are more oriented to being show off pieces, rather than for the seer enjoyment of the sound. Still Bach manages to ally what really demands virtuosity in the playing with the fact that it ends up being pretty impressive sonically. Highly Recommended.

Final Grade

10/10

Trivia

From Wikipedia:

Bach composed the works in 1720, while employed at Köthen. The manuscript was nearly destroyed but someone saved it from being used as butcher paper. There, Bach composed more chamber music than sacred or choral music; the Brandenburg Concertos, concerto for two violins, and cello suites were all composed about this time.

The original performer of Bach's six sonatas and partitas is unknown. J.G. Pisendel and J.B. Volumier have been suggested, both being talented violinists at the Dresden court, as has Joseph Spiess, leader of the orchestra at Cöthen, where Bach composed the works. However, some contend that it may have been Bach himself who gave the first performance, pointing to his skills as a violinist. His father, Johann Ambrosius Bach, was a violinist, and according to his son Carl Philipp Emanuel Bach, "in his youth, and until the approach of old age, he played the violin cleanly and powerfully".

The ciacconna:

Part 1:



Part 2:

78. Johann Sebastian Bach - Six Suites For Solo Cello (c.1720)

Recording

Title: Six Suites For Solo Cello
Performer: Torleif Thedéen
Year: 1995-96
Length: about 2 hours

Review

This is probably one of the most famous works for solo cello, if not the most famous, and there are very good reasons for that. This collection of six suites is a truly impressive achievement by Bach, each suite has a very different feel, from the light 1st to the very dark 5th, they each work very independently while being absolutely part of the same vision.

The solo cello suites by Bach are some of my favourite works for any instrument, I was, like many I am sure, woken up to it as a young boy due to Yo-Yo Ma's Inspired by Bach series. With the years I have come not to find Mr. Ma's performance as the best one, or most faithful. Inspired by Bach is right.

Torlief Thedéen gives us what is a substantially darker approach to the work, which works better and makes the whole thing juicier, more layered and with further depths. If you want to buy this through amazon.co.uk don't be discouraged by the sole 1 sentence 1 star review, that person is talking shit. Get it.

Final Grade

10/10

Trivia

From Wikipedia:

An exact chronology of the suites (regarding both the order in which the suites were composed and whether they were composed before or after the solo violin sonatas) cannot be completely established. However, scholars generally believe that—based on a comparative analysis of the styles of the sets of works—the cello suites arose first, effectively dating the suites pre-1720, the year on the title page of Bach's autograph of the violin sonatas.

The suites were not widely known before the 1900s, and for a long time it was generally thought that the pieces were intended to be études. However, after discovering Grützmacher's edition in a thrift shop, Pablo Casals began studying and performing the works, although it was 35 years before he agreed to record the pieces, becoming the first to create a complete record of all 6 suites. Their popularity soared soon after, and Casals's original recording is still widely available today.

Attempts to compose piano accompaniments to the suites include a notable effort by Robert Schumann. In 1923, Leopold Godowsky realised suites 2, 3 and 5 in full counterpoint for solo piano.

Unlike Bach's violin sonatas, no autograph manuscript survives, thus ruling out the use of an urtext performing edition. However, analysis of secondary sources—including a hand-written copy by Bach's second wife, Anna Magdalena—have produced passably authentic editions, although critically deficient in the placement of slurs and other articulation. As a result, many interpretations of the suites exist, with no singularly accepted version.

Recent speculation by Professor Martin Jarvis of Charles Darwin University School of Music, in Darwin, Australia holds that Anna Magdalena may have been the composer of several musical pieces attributed to her husband. Jarvis proposes that Magdalena wrote the six Cello Suites, and was involved with the composition of the aria from the Goldberg Variations (BWV 988). Musicologists and performers, however, point to thin evidence of this proposition, remaining skeptical of the claim.

Allemande from the 1st suite, by Rostropovich:

77. Johann Sebastian Bach - Orchestral Suites (c.1717-1742)

Recording

Title: 4 Orchestral Suites
Performers: Ton Koopman, Amsterdam Baroque Orchestra
Director: Ton Koopman
Year: 1988
Length: 1 hour 17 minutes

Review

You will notice that the previous album cover is different from the one in the book, well the one in the book is an old cover of a 2 CD version of the same recording. Now they got a new cover and managed to stick it all on one CD. Good for them.

So, what can we say about Bach's Orchestral Suites? Firstly, they are not as impressive as his violin concertos, you feel a lack of a strong solo instrument over the orchestral. Secondly they are quite well known, with the Air from the third suite and the last movement of the second being particularly famous.

This fame doesn't do the work many favours, however, you really don't need to listen to the Air again, as it was the basis for Air on a G String, probably in the top 10 most over-used classical tracks of all time. The Badinerie of the second suite is probably also up there in overly and misused tracks, being a famous ring tone... yes.

That said these are both amazing pieces, as are the rest of the Orchestral suites, it is not their inherent fault that they have been raped. Still, in the context of Bach it is far from being his best work, in my opinion, so let's move on to more Bach and the next one is a doozy!

Final Grade

8/10

Trivia

From Wikipedia:

The badinerie has become a show-piece for solo flautists, due to its quick pace and difficulty, and it is also often heard as a mobile phone ringtone. It was sampled by rapper Busdriver for his 2002 song Imaginary Places.

Thank you Busdriver.

The Overture of the first suite:

76. Johann Sebastian Bach - Concerto for Two Violins (1717-23)

Recording

Title: Bach - Concertos
Performers: Hilary Hahn, Margaret Batjer
Director: Jeffrey Kahane
Year: 2002
Length: 15 minutes

Review

This is probably the best violin concerto by Bach, it shows a maturity even greater than those for solo violin. The interplay between the two soloist parts is quite something here.

The first two movements of this fast-slow-fast concerto are particularly striking and also quite famous, the third movement is more chaotic, but this performance does the whole concerto justice by managing to keep the sounds extremely clear in the ear of the listener, without sacrificing sentiment.

This is a beautiful work by Bach, who again proves himself to be one of the best composers for stringed instruments in the Baroque period. Really outstanding music, and a recording which, although it takes the opposite position of the last recording on the list, not being as intimate, but being more vivacious, is quite spectacular.

Final Grade

10/10

Trivia

From Wikipedia:

The Concerto for Two Violins in D minor (BWV 1043) is perhaps one of the most famous works by J. S. Bach and considered among the best examples of the work of the late Baroque period. Bach wrote it in Leipzig sometime between 1730 and 1731, most likely for the Leipzig Collegium Musicum, of which he was the director. It also exists in an arrangement for two harpsichords, transposed into C minor (BWV 1062). In addition to the two soloists, the concerto is scored for strings and basso continuo.

A little video on this recording:

75. Johann Sebastian Bach - Violin Concertos (1717-1723)

Recording

Title: Violin Concertos
Performers: Simon Standage (Violin), Collegium Musicum 90
Year: 1996
Length: 30 minutes

Review

I should note that by violin concertos it is only meant BWV 1041 and 1042, so concertos for solo violin, the also famous concerto for two violins will be coming up next on the list.

Bach, particularly when he is not attached to the Organ is capable of the most attractive music you can think of. And although he wasn't as prolific a composer for strings as for other instruments, it is definitely where I feel that Bach shines brightest.

These concerts are evidence of that, Bach creates two little masterpieces, which are very influenced by Vivaldi but with their own identity and an emotional maturity that is not as apparent in the happy go lucky Vivaldi.

This performance is not as vivacious as the ones I am more used to, for the violin concertos, but it is definitely more intimate, so you have to choose pomp or intimacy. If you go for intimacy go for this recording, definitely.

The concerts here have the format that they will have for a long time in the future, fast-slow-fast, and even though the violin still does not have a proper dialogue with the orchestra which is there to support it, the sound of the concertos is more modern than even Vivaldi who was the great inspiration for Bach. Great.


Final Grade

9/10

Trivia

From Wikipedia:

J.S. Bach’s works are indexed with BWV numbers, an initialism for Bach Werke Verzeichnis (Bach Works Catalogue). The catalogue, published in 1950, was compiled by Wolfgang Schmieder. The catalogue is organised thematically, rather than chronologically: BWV 1–224 are cantatas, BWV 225–249 the large-scale choral works, BWV 250–524 chorales and sacred songs, BWV 525–748 organ works, BWV 772–994 other keyboard works, BWV 995–1000 lute music, BWV 1001–40 chamber music, BWV 1041–71 orchestral music, and BWV 1072–1126 canons and fugues. In compiling the catalogue, Schmieder largely followed the Bach Gesellschaft Ausgabe, a comprehensive edition of the composer's works that was produced between 1850 and 1905.

74. Marin Marais - Pièces de Viole, quatrième livre ( 1717)

Recording

Title: Suitte d'un Gout Etranger
Performers: Christophe Coin, Christophe Rousset
Year: 1996
Length: 75 minutes

Review

I got introduced to the wonderful world of the viol by the great Jordi Savall and his recordings of Marin Marais, Couperin, Monsieur De Sainte-Colombe etc. Actually the first date I had with my wife when we started going out was a concert by Jordi Savall in Lisbon. So as you can imagine this has been going on for a while.

This recording is not by Savall, even if he is probably the most prolific recorder of French viol music. Still, it is equally good stuff, and Marais is an amazing composer.

The sound of the viol is possibly one of the most beautiful sounds that you can take form a stringed instrument, and in the hands of a skilled performer it sounds like nothing else. Highly Recommended.

Final Grade

10/10

Trivia

From Wikipedia:

Titon du Tillet included Marais in Le Parnasse françois, making the following comments on two of his pieces:

A piece from his fourth book entitled The Labyrinth, which passes through various keys, strikes various dissonances and notes the uncertainty of a man caught in a labyrinth through serious and then quick passages; he comes out of it happily and finishes with a gracious and natural chaconne. But he surprised musical connoisseurs even more successfully with his pieces called La Gamme [The Scale], which is a piece de symphonie that imperceptibly ascends the steps of the octave; one then descends, thereby going through harmonious songs and melodious tones, the various sounds of music.

L'Arabesque in an excerpt from the great film on the life of Marin Marais, Tous Le Matins Du Monde :

73. George Friedric Handel - Water Music (1717)

Recording

Title: Water Music Suites; Music for the Royal Fireworks
Performers: English Baroque Soloists
Director: John Eliot Gardiner
Year: 1991
Length: 53 minutes

Review

This is probably one of the most famous collections of music to have show up on the list until now, that does not, however, make it one of the better. Populism does not always mean rightism. That is not to say as well that it is bad, in fact it is quite good, but it is impaired by the conditions for which it was composed.

Most of the music, possibly not all of it, was composed to be played in the open air during a trip in the Thames in a boat accompanying George I's boat. This means that the harpsichord had to be left out because of space requirements and the music had to be quite loud and brassy.

Handel clearly took a lot of inspiration from Lully who was the master of loud and brassy music. He never achieves the same levels of sheer joy of Lully however, and you can feel that he was restrained. Still the music he does write is quite inventive and supremely catchy, but you can tell that this was probably not the ideal conditions for great original composing to arise. It is flashy, but when you scrape under the surface, not that impressive.

Final Grade

8/10

Trivia

From Wikipedia:

It premiered in the summer of 1717 (July 17, 1717) when King George I requested a concert on the River Thames. The concert was performed by 50 musicians that joined King George I on his barge. King George I was said to have loved it so much that he ordered the exhausted musicians to play the suites three times on the trip.

Handel how it was never meant to be played:

72. Antonio Vivaldi - Juditha Triumphans (1716)

Recording

Title: Juditha Triumphans
Performers: Ann Murray, Maria Cristina Kiehr, Choir of the King's Consort, King's Consort
Director: Robert King
Year: 1992
Length: 2 hours 20 minutes

Review

This is Vivaldi's only surviving Oratorio, and what a remarkable piece it is. As usual Vivaldi dazzles as much by the instrumentation as by the use of voices, particularly striking here are the uses of sometimes quite sparse but very effective instrumentations for arias.

This is a work that is at the same time fierce, contemplative, meditative, furious and triumphant. Vivaldi shows himself to be a master at invoking all these feelings throughout the oratorio.

Of course the recitatives hinder the pace somewhat, but they are always short enough not to make you skip the track, and after all they are integral to the work. It is a pity that no other oratorio by Vivaldi survived as this is an amazing and very forward looking work, parts here foreshadow the classical period, not all sounds baroque here, the accompaniment of arias with a simple woodwind instrument(a precursor of the clarinet whose name escapes me) tune or violla d'amore with a fully developed part for the instruments as important as the singer's is also reflective of something different in Vivaldi's music. Highly Recommended.

Final Grade

9/10

Trivia

From Wikipedia:

Juditha triumphans was composed and performed in November of 1716 in Venice by the orchestra and choir of the Ospedale della Pietà and is described as his first great oratorio. The work was commissioned to celebrate the victory of the Republic of Venice over the Turks during the siege of Corfu. In July 1716, the Turks had landed on Corfu and set siege to the island. The population resisted the occupation and in August, Venice signed an alliance with the Emperor. On 18 August, under the leadership of count Johann Matthias von der Schulenburg, the decisive battle was won and the Turks abandoned the island.

Juditha Triumphans was represented at the Pietà in November and was a great success. The story of Judith and her victory on the invading Holofernes was an allegory of Venice defeating the invading Turks in Corfu. The victorious General von der Schulenburg was among the audience.

Armatea face et anguibus:

71. Johann Sebastian Bach - Orgelbuchlein (1715-40)

Recording

Title: Organ Works Vol.3 and Vol.4
Performer: Gerhard Weinberger
Year: 1999
Length: 1 hour 20 minutes

Review

Finally! The last unaccompanied organ recording in the foreseeable future! And I think ever... hopefully. As you can see my dislike of the unaccompanied organ lives on with a vengeance.

What can I say about these pieces, firstly they are dull. Then they are dull, and then you can see some of the interesting aspects of them, firstly they consist of pretty short pieces, about 40 of them, and they are generally quite melodic pieces.

Bach was a great organ composer, but I just hate the damned contraption. I would rather listen to the 27 Couperin Ordres on the harpsichord again, frankly.

Final Grade

7/10

Trivia

From Wikipedia:

The chorale preludes of the Orgelbüchlein share several common stylistic features, which are the distinguishing traits of what is known as the "Orgelbüchlein-style chorale:"

* The chorale melody, embellished to varying degrees or unembellished altogether, is in one voice (excepting BWV 615, In dir ist Freude, in which the melody is broken up into motives and bounces between several voices).

* The melody is in the soprano voice (except for BWV 611, Christum, wir sollen loben schon, in which it is in the alto voice, and the canonical preludes BWV 600, 608, 618, 619, 620, 624, 629 and 633/634).

* The pieces are written in four-voice counterpoint, except for BWV 599, Nun komm, der Heiden Heiland, which is written in five voices, and BWV 639, Ich ruf' zu dir, Herr Jesu Christ, which is written in three.

* The pieces span exactly the length of the chorale melody; there are no introductions or codas.

O Mensch, bewein dein Sünde groß BWV 622:

70. François Couperin - Twenty-Seven Ordres (1713-30)

Recording

Title: L'Integrale de clavecin au château d'Assas
Performer: Scott Ross
Year: 1980s
Length: 12 CDs!

Review

Sorry for the delay in posting this new instalment of the blog, but the list has just demanded that I listen to 12 CDs of (mostly) unaccompanied harpsichord music, and as you can imagine that takes a while.

I must confess I didn't listen to this recording the usual three times that I usually do to familiarise myself with a work. But I did listen all the way through the 12 CDs, and am at the moment slightly sick of harpsichord music.

This is not to say, however that the music wasn't good, because it was, and I have always liked Couperin, although I would probably choose some of his other works like the Concerts Royaux to represent him, instead of this Marathon.

It is interesting music, but actually more in concept than execution. Most of the pieces in this have titles which are very evocative, such as a sequence that examines different emotions while using what is essentially the same tune, or having little portraits of people in harpsichord form. All this gives a very poetic quality to the music, which seeks to represent more than just sounds, but defined emotions and images. And it is often successful at that. Unfortunately, however it is never as innovative or exciting as Rameau for example, and you would be better served with Rameau, particularly because his harpsichord work takes up 2 CDs.

Final Grade

8/10

Trivia

From Wikipedia:

Couperin's four volumes of harpsichord music, published in Paris in 1713, 1717, 1722, and 1730, contain over 230 individual pieces, which can be played on solo harpsichord or performed as small chamber works. These pieces were not grouped into suites, as was the common practice, but ordres, which were Couperin's own version of suites containing traditional dances as well as descriptive pieces. The first and last pieces in an ordre were of the same tonality, but the middle pieces could be of other closely-related tonalities. These volumes were loved by J.S. Bach and, much later, Richard Strauss, as well as Maurice Ravel who memorialized their composer with Le Tombeau de Couperin (A Memorial to Couperin).

Les Barricades Misterieuses:

69. Antonio Vivaldi - Stabat Mater (1712)

Recording

Title: Vivaldi Sacred Music (volume 5)
Performer: Robin Blaze, The King's Consort
Director: Robert King
Year: 1998
Length: 19 minutes

Review

Ok so we will stop with the Vivaldi after this, for a while at least. In the meantime we have another great vocal work by him. Unlike the Gloria, which was mainly a choral work, the Stabat Mater is for a soloist. And a male soloist at that, even if it is for a falsetto or castrato, and there for not a very manly man.

Vivaldi knows how to make music mimic emotions, and for this most painful of texts about Mary's suffering, he knows to leave out his regular giddiness and stick to the slow and sad areas of music.

Vivaldi does this extremely well, by using the instruments to mimic emotions, whether using staccato to mimic gasps of suffering or allying the voice to the violin in the more peaceful moments. A short vocal work, but great.

Final Grade

9/10 (there's been a spate of them!)

Trivia

From Wikipedia:

The fate of the Italian composer's legacy is unique. After the Napoleonic wars, it was thought that a large part of Vivaldi's work had been irrevocably lost. However, in the autumn of 1926, after a detective-like search by researchers, 14 folios of Vivaldi's previously unknown religious and secular works were found in the library of a monastery in Piedmont. Some even and odd-numbered volumes were missing and so, the search continued. Finally, in October 1930, the missing volumes were found to be with the descendants of the Grand Duke Durazzo, who had acquired the property as early as the eighteenth century.

To its amazement, the world of music was presented with 300 concerts for various instruments, 18 operas, not counting a number of arias and more than 100 vocal-instrumental pieces. Such an impressive list of newly unearthed opuses warranted a re-evaluation of Vivaldi's creativity.

Thank you internet! Thank you... this is a pearl... :