3 LP's - Telefunken 6.35521 EK (p) 1980
1 LP - Toccata FSM 53 623 (p) 1976
1 LP - Toccata FSM 53 619 (p) 1975

ORIGINALINSTRUMENTE - Tasteninstrumente Vol. 2






Long Playing 1



Dietrich Buxtehude (1637-1707) Präludium und Fuge g-moll, BuxWV 163
8' 30" A1
Friedrich Wilhelm Zachow (1663-1712) Suite h-moll
9' 10" A2

- Allemande · Courante · Sarabande · Fuga Finalis


Georg Friedrich Händel (1685-1759) Suite d-moll - aus "Suites de Pièces pour le clavecin", 2. Collection
9' 19" A3

- Allemande · Courante · Sarabande · Gigue


Johann Caspar Ferdinand Fischer (um 1665-1746) Suite VI D-dur - aus "Musicalisches Blumen-Büschlein"
12' 40" B1

- Präludium · Allemande · Courante · Sarabande · Gigue · Bourée · Menuet


Johann Christoph Bach (1642-1703) Aria mit 15 Variationen a-moll
15' 50" B2

Long Playing 2


Johann Sebastian Bach (um 1685-1750) Präludium und Fuge C-dur, BWV 846
4' 43" C1

Präludium und Fuge B-dur, BWV 866
4' 52" C2

Capriccio über die Abreise seines geliebten Bruders, BWV 992
13' 40" C3

Französische Suite G-dur, BWV 816
22' 32" D1

- Allemande · Courante · Sarabande · Gavotte · Bourée · Loure · Gigue



Long Playing 3


Johann Sebastian Bach (um 1685-1750) Toccata d-moll, BWV 913 *
13' 42" E1

- (Allegro moderato) · (Presto) · Adagio · Allegro



Toccata G-dur, BWV 916 *
8' 04" E2

- (Presto) · Adagio · Allegro



Triosonate Es-dur, BWV 525 **
13' 53" F1

- Allegro 2' 53"


- Adagio 7' 02"


- Allegro 3' 58"


Triosonate c-moll, BWV 526 **
10' 49" F2

- Vivace 3' 53"


- Largo 3' 03"


- Allegro 3' 53"






 


Bradford TRACEY *
Bradford TRACEY
 Rolf JUNGHANNS
 Rolf JUNGHANNS & Bradford TRACEY **
Buxtehude / Zachow / Händel / Fischer / J. C. Bach (Long Playing 1)
 J. S. Bach (Long Playing 2)
 J. S. Bach (Long Playing 3)
- Cembalo nach Ruckers, Antwerpen um 1620, von William Dowd - an zwei Clavicord-Originalinstrumenten aus der Sammlung Fritz Neumeyer, Bad Krozingen - Cembali nach Blanchet, Paris um 1730, von William Dowd, Paris
 





Luogo e data di registrazione
Schlos Bad Krozingen (Germania) - 1976 (Buxtehude, Zachow, Handel, Fischer, J.C. Bach)
Gobelinsaal, Markgrafenschloss, Ansbach (Germania) - luglio 1975 (J.S. Bach, long playing 2)

Registrazione: live / studio
studio

Recording Supervision
Paul Dery

Edizione LP
TELEFUNKEN - 6.35521 EK - (3 LP's - durata 55' 29", 45' 47" & 46' 28") - (p) 1975/76/80

Originale LP
TOCCATA - FSM 53 623 - (1 LP - durata 55' 29") - (p) 1976 - Analogico (Buxtehude, Zachow, Handel, Fischer, J.C. Bach)
TOCCATA - FSM 53 619 - (1 LP - durata 45' 47") - (p) 1975 - Analogico (J.S. Bach, long playing 2)
TELEFUNKEN - 6.35521 EK - (3° LP - durata 46' 58") - (p) 1980 - Analogico (J.S. Bach, long playing 3)

Prima Edizione CD
FSM Adagio - FCD 91 619 - (1 CD - durata 45' 47") - (c) 1991 - AAD (J.S. Bach, long playing 2)

Note
Production by Toccata.










German Keyboard Music ca. 1700
While the 17th century saw the development of distinct national keyboard styles in both France and Italy, a 17th century German keyboard style defies definition. We are immediately presented with a long and varied list of composers - each with his own personal and distinctive approach to the keyboard. There were those more travelled composers, such as Froberger, Kerll and Muffat who ventured to learn the new styles first-hand from such masters as Chambonnières and Lully in France and Frescobaldi in Italy. But there were those, who, bound by duties at court and church, remained at home and absorbed what innovations came their way - incorporating both the old and new into their own personal style. Perhaps one of the best examples of such a 17th century composer is Dietrich Buxtehude. While his keyboard suites are in predominantly French style, his organ works are a mixture of all existing styles of the day. The Prelude and Fugue in G minor, with its contrasting rhapsodie and strict sections, reminds us of a Froberger or Rossi toccatas, while the playful rhythmic juxtapositions echo Sweelinck, John Bull and the variation techniques of Elizabethan England. Like the Frescobaldi and Froberger toccatas, it lends itself well to performance on both the organ and the harpsichord.
Friedrich Wilhelm Zachow, who has been practically forgotten as a composer, is remembered today chiefly as Handel's teacher. Although most of his keyboard works have been lost, his suite in B minor, the only existing suite, is one of the masterpieces in the 17th century keyboard literature. That Handel quoted the theme from the Fuga Finalis in one of his Concerti Grossi shows the impact it had on his young pupil. Handel’s Suite in D minor - though published in 1733 - can well be one of the suites he wrote while under Zachow’s tuition during those early years in Halle.
Johann Caspar Ferdinand Fischer, composer to the Markgraf of Baden, was a devote francophile. His Pièces de Clavecin, or Musicalisches Blumen-Büschlein, published 1696, contain a few suites ordered after Froberger, but mostly Lullian "ballet" suites with an assortment of gavottes, bourrées, menuets, passepieds and rondeaus. According to Forkel, Fischer was one of the composers Johann Sebastian Bach studied during his stay in Ohrdruf. Indeed, Fischer’s influence on Bach is not to be underestimated. His Ariadne Musica of 1717 served as a model for Bach’s Well Tempered Clavier, while the close link between the prelude from the D major suite and Bach's B flat prelude from the WTC I is evident.
The recent recovery of Johann Christoph Bach’s long lost Aria with 15 Variations presents us with another major composition which directly influenced Johann Sebastian Bach. Christoph Bach, a cousin of Johann Sebastian Bach’s father Ambrosius, is the most significant member of the Bach family before Johann Sebastian. Born in Arnstadt, he worked later as organist in Eisenach and harpsichordist and chamber musician to the ducal chapel. The close parallels between this profound work and Johann Sebastian Bach's Aria variata alla maniera italiana proves Sebastian's knew and studied the work well.
Johann Sebastian Bach: Music for Clavichord and Harpsichord
While the harpsichord plays a significant role in the modern interpretation of Johann Sebastian Bach's keyboard works, the clavichord remains almost forgotten, although it was as widespread in the 17th and 18th centuries as the harpsichord. It possesses a number of advantages: it is small, light, easy to transport, has a reliable and simple mechanism as well as a pleasant tone capable of the finest of nuances. It’s major disadvantage is its extremely gentle tone which makes an ensemble performance, as well as one before a larger audience, almost impossible. We can probably account this as the main reason for its slow "rediscovery".
The most-quoted verification for the use of the clavichord originates from the first Bach biography by Johann Nikolaus Forkel, 1802:

"He (Johann Sebastian Bach) liked to play on the clavichord best of all ... He thought the clavichord to be the best instrument to study by as well as for private musical entertainment. He found it most appropriate for the interpretation of his finest musical ideas, and didn't believe it possible to produce such a manifold variety of shading at the harpsichord or pianoforte as at this quiet but pliant instrument."

Forkel supports himself with reports from Johann Sebastian Bach’s sons, Carl Philipp Emanuel and Wilhelm Friedemann, both of whom were famous clavichord players at a time when the clavichord was, without a doubt, the most popular keyboard instrument. For this reason is Johann Sebastian Bach's preference for the clavichord not clearly proven, but we can nevertheless be sure that Bach played the clavichord and valued it highly.
Johann Sebastian Bach probably composed the seven toccatas for harpsichord in Weimar between 1708 and 1717. During this period Bach had renewed his interest in Italian music and wrote his transcriptions of string concertos by Vivaldi and other composers. Thus, in the G major toccata certain powerfully descending triads in the first movement resemble "performance modes which more frequently occur in the piano transcriptions of Vivaldi" (Spitta). Furthermore, the first bars of the tutti concept recall the second allegro movement in Vivaldi’s B minor concerto. Altogether the G major toccata features the three movement structure of the typical concerto grosso, and even in the opening allegro the characteristic alternation between solo and tutti.
The trio sonata with two upper parts and thoroughbass (bass part as well as fill-in chords) was the most assiduously cultivated genre of chamber music in the 18th century. The upper parts were played on two violins, two flutes, two oboes or also in mixed combinations, with the bass instrument cello, viola da gamba or bassoon, and harpsichord, lute or choir organ providing harmonious support. In this way four performers were involved in the rendering of a trio sonata.
In addition, it was also customary for two performers to play trios, with only one melody instrument and obbligato harpsichord. The latter was responsible for the second melody part as well as the bass part. That these different manners of performance existed side by side with each other is shown by the example of the trio sonata in G major by Johann Sebastian Bach which is available in two versions: in one case for two transverse flutes with thoroughbass, and the other for viola da gamba with obbligato harpsichord. If the trio sonata were then entrusted completely to the keyboard instrument, other possibilities of performing it again resulted. The three-part element could be represented either by only one of the players on one instrument with two manuals and pedal (organ, pedal harpsichord or also pedal clavichord), or the music was played on two harpsichords, spinets or clavichords in the manner as described by Francois Couperin in the foreword to his grand trio "L'Apothéose de Lulli" (1725):

"This trio, just like the 'Apothéose de Corelli', and the whole collection of trios which I intend to publish next july, can just as well be played on two clavecins as on all other instruments. In my family, and with my pupils, I perform it with a great deal of success with the upper part of the bass being played on the one clavecin (harpsichord) and the second on the other, with the same bass in harmony. Now the situation here is that two copies are needed for this instead of one, as well as two clavecins. For the rest, however, I find that it is often easier to bring these two instruments together than four people who make music ... The performance will result in a not less pleasant impression, especially since the clavecin in its way has a brilliance and clarity which one can scarcely find with other instruments."

Two of the six so-called organ trio sonatas by Johann Sebastian Bach are played here in accordance with Couperin’s directions. From the intermediate position between organ and chamber style, Philipp Spitta concluded that these unique masterpieces, which Bach wrote as practice pieces for the organist training of his eldest son Wilhelm Friedemann, were intended for the pedal harpsichord or pedal clavichord.