Lionel Rogg (pedal harpsichord) Buxtehude, preludes and fugues скачать в хорошем качестве

Lionel Rogg (pedal harpsichord) Buxtehude, preludes and fugues

Recorded in Lionel Rogg's home, Geneva, by Oryx Sound Studios, May 1967. Recording Engineer: Harry Mudd. Producer: Michael Meacock. Photograph on front of cover: Lionel Rogg playing his Wittmayer Pedal-harpsichord (used in this recording) in his Geneva home. Pressing: Orlake. Cover printed by Senol Ltd. Printing Company. Cover design: Lawrence Perry. ORYX RECORDINGS 1732, Walton on Thames Side A 00:00 I Prelude & Fugue in a minor BuxWV 153 05:54 2 Passacaglia in d minor (Dorian) BuxWV 161 11:30 3 Prelude, Fugue & Chaconne in C Major BuxWV 137 Side B 16:20 1 Prelude & Fugue in g minor BuxWV 149 23:07 2 Ciacona in e minor BuxWV 160 28:10 3 Prelude & Fugue in F sharp minor BuxWV 146 DIDERIK BUXTEHUDE (1637-1707) Of all the various musical influences that affected Bach, perhaps the most important as well as the most direct is that of Diderik Buxtehude, to hear whom Bach as a youth walked from Arnstadt to Liibeck, a distance of two hundred miles. Buxtehude's father, although a Danish subject, was of German origin; his mother was Danish. And although the younger Buxtehude was a Dane by birth (whether born at Helsinor-Shakespeare's Elsinore-or Helsingborg, across the water, in Sweden), he was a North German by adoption. He ~robably studied witlt his father, who was organist at the Olai Church in Elsinore for thirty-two years. One of the conditions of Buxtehude's appointment to the Marienkirche at Liibeck was that he should marry the daughter of his predecessor, Franz Tunder. This he did on 3rd August, 1668, less than four months after taking up his duties at the age of thirty. More than thirty years later, when Buxtehude himself thought of retiring, marriage with his own unmarried daughter was a condition imposed on his wou,d-be successor. The 1 8-year old Handel was not attracted to the idea in 170 3-(that the fate of music in England f~r the next two centuries was decided by the looks of the daughter of a Liibeck organist is a chastening thought)-nor was the 20-year old Bach in 170~ . If Johann Sebastian successfully withstood the blandishments of the lady, he no less successfully learnt from her father, for in many of Bach's organ works stylistic features derived from Buxtehude are apparent. Buxtehude was a famous man in his day, but his delayed posthumous fame was long based on his position as the greatest of Bach's immediate precursors. Today, his music is valued for its intrinsic worth and not only for its historical importance. Scholars like Spitta, Pirro, Seiffert and, in more recent years, Josef Hedar, have helped it take its rightful place. Buxtehude's work, combining as it does the austere and the flamboyant, the monumental and passionate, the static and the urgent, is the musical counterpart of Gothic architecture. In his organ music, Buxtehude often succeeds in imposing a unity on the various sections of a piece by subtle variations of the thematic material in its various sections. This is a feature of the Prelude and Fugue in a minor, the first of three in that key in the Hedar Edition (Spitta, Vol I, No. 9). The Prelude develops in canonic imitations from the jagged, to-and-fro semiquaver pattern in common-time heard at the outset, winding over a sixbar dominant pedal-point to a tonic major chol'd. Out of this there springs the first fugue-subject with its even pattern of descending repeated notes. Buxtehude inverts this in the course of the Fugue, which ends in the major after a short cadential flourish . Out of this tonic major chord there now springs the subject of the second fugue, a chromatic variant of the first fugue-subject and in six-four instead of common-time. A toccatalike coda, back in common-time and ending with a long tonic pedal-point concludes the work. Buxtehude's Passacaglia probably owes its survival to Bach, for its only known source is the so-called Andreas Bach-Buch, a manuscript in the hand of Bernhard Bach, the brother of Andreas and also a nephew of Johann Sebastian from whom he received his musical education. The origin of the passacaalia was a dance in triple-time, but by Bach's time the term had come to be applied to an elaborate series of variations on a theme (in triple-time) which was repeated in each variation-usually, but not always, in the bass part, and in the same key. This definition applies to Bach's own Passacaglia, perhaps his organ masterpiece, but not to Buxtehude's where the ostinto theme is invariably in the bass and changes key. The structure of Buxtehude's Passacaglia is solid and symmetrical. Its four-bar theme gives rise to a movement in four sections of equal length. In each of these the theme is heard seven times. The first and last sections, in d minor, enclose a middle pair in F major and a minor. The sections are linked by brief modulations. Felix Aprahamian