Telemann: Fantasias for Viola da Gamba
Resonus RES10195. 79’15
Telemann is the gift that keeps on giving. His latest offering was the discovery in 2015 of the previously lost set of Gamba Fantasies. In accordance with his very successful business approach, they were published two at a time over six fortnights in 1735. Aimed at the upper performing end of the amateur market, they also present many challenges for the professional musician. As Robert Smith writes in his own programme notes, a performer can approach these pieces with no preconceived ideas of how they might be performed. Unlike, for example, the Bach Cello Suites with many decades of recording and teaching, these Telemann Fantasias have a clean performing slate. Continue reading
JS Bach: Complete Organ Works
Volume 3 – Fantasias & Fugues
Ed. Pieter Dirksen
Breitkopf & Härtel 2016.
Edition Breitkopf EB8803. ISMN: 979-0-004-18374-8
159pp + CD-ROM
The new 10 volume Breitkopf & Härtel critical edition of Bach’s organ music is arriving in dribs and drabs. I reviewed volume 8 here last July, and have now been sent Volume 3. It contains all the pieces entitled ‘Fantasia’ together with isolated Fugues. In that context, it is worth stressing that there are no surviving authorized and complete Fantasia and Fugue pairs, not even the well-known Fantasia & Fugue in G minor (BWV 542). Indeed, many of the popular Preludes and Fugues were also put together by later editors, rather than by Bach.
Peter Dirksen’s detailed introductory notes (in German and English), include a discussion of discussion the historic background to the Continue reading
Jan Pieterszoon Sweelinck
Complete Keyboard Works
Volume 1 – Toccatas (Ed. Harald Vogel, Peter Dirksen)
128 pages • 23 x 30,5 cm • 460 g • ISMN: 979-0-004-18206-2
Edition Breitkopf EB 8741
Volume 2 – Fantasias (Ed. Peter Dirksen, Harald Vogel)
224 pages • 23 x 30,5 cm • 825 g • ISMN: 979-0-004-18272-7
Edition Breitkopf EB 8742
Jan Pieterszoon Sweelinck (dubbed the ‘Orpheus of Amsterdam) was one of the most important keyboard composers at that musically fascinating period at the end of the Renaissance period and the start of the Baroque. Born in 1562, he was employed by the city of Amsterdam as organist of the Oude Kerk for 44 years until his death in 1621. Organ music in the Calvanist church was limited to occasional playing of pieces to familiarise the congregation with the choral melodies, before or after the service, but not during. So Sweelinck’s duties as city organist were generally to give concerts for the public and visitors. This have him time to build up an extensive teaching practice, attracting a generation of North German organists who returned to develop the influential Hamburg organ school that dominated the 17th century, culminating in the music Buxtehude in nearby Lübeck. His music was known throughout northern Europe, with two of his pieces includrf within the Fitzwilliam Virginal Book.
Breitkopf have published his complete keyboard works in four volumes, Continue reading