SOKA PERFORMING ARTS CENTER€¦ · BACH Partita No. 2 in C Minor, BWV 826 ... BACH 1. [without tempo designation] 2. Andante 3. Presto Program No. 9 in F Minor, BWV 795 No. 10 in

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The Well-Tempered Clavier: Book II: Prelude and Fugue No. 1 in C Major, BWV 870 .................... JOHANN SEBASTIAN BACH (1685-1750)

French Suite No. 5 in G Major, BWV 816 .......................................BACH1. Allemande 2. Courante3. Sarabande4. Gavotte5. Bourrée6. Loure7. Gigue

15 Sinfonias, BWV 787-801 ............................................................BACHNo. 1 in C Major, BWV 787No. 2 in C Minor, BWV 788No. 3 in D Major, BWV 789No. 4 in D Minor, BWV 790No. 5 in E-Flat Major, BWV 791No. 6 in E Major, BWV 792No. 7 in E Minor, BWV 793No. 8 in F Major, BWV 794

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The Well-Tempered Clavier: Book II: Prelude and Fugue No. 11 in F Major, BWV 880 .............................................................................................. BACH

Partita No. 2 in C Minor, BWV 826 .................................................BACH1. Sinfonia. Grave, Adagio-Andante2. Allemande 3. Courante4. Sarabande5. Rondeau6. Capriccio

Italian Concerto in F Major, BWV 971 ............................................BACH1. [without tempo designation]2. Andante3. Presto

Program

No. 9 in F Minor, BWV 795No. 10 in G Major, BWV 796No. 11 in G Minor, BWV 797No. 12 in A Major, BWV 798No. 13 in A Minor, BWV 799No. 14 in B-Flat Major, BWV 800No. 15 in B Minor, BWV 801


The Well-Tempered Clavier: Book II: Prelude and Fugue No. 1 in C Major, BWV 870JOHANN SEBASTIAN BACH(Born March 21, 1685 in Eisenach; died July 28, 1750 in Leipzig)

Johann Sebastian Bach was the greatest master of the fugue. He composed dozens of fugues for organ, usually pairing them with a prelude of some kind that ranged in style from that of the free, almost improvisatory toccata to the strict, even rigid, pattern of the passacaglia. Bach’s Das wohltemperierte Clavier or The Well-Tempered Clavier is a collection of 48 paired preludes and fugues, written over a long period of time. Each pair is in a different key, and they are arranged in a sequence that starts in C, first major, then minor, and rises a half-tone at a time. Twenty-four pairs, one in each key, were gathered together in 1722 in Part I.

In Bach’s time, the word “clavier” (now the ordinary German name of the instrument we call the piano and usually spelled “klavier”) generally signified “keyboard.” It could also be used as the umbrella-term covering the highly mechanized keyboard controlled string instruments, whether their sounds were produced by plucking the strings, as in the playing of the harpsichord, or by striking them as in the playing of the clavichord and piano.

As the 18th century began, a number of musicians had become interested in “tempering” the tuning of the strings in various ways, making tiny departures from the theoretical, absolutely correct mathematical relationships among the individual pitches that they produced. The differences are barely audible, but, with these adjustments, an instrument can freely roam from one key to another of the European tonal system and continue to sound “in tune.” The idea of using this kind of “temperament” was not solidly established until several generations of musicians after Bach, but in the meantime, its exploration and exploitation in The Well-Tempered Clavier provided the strongest argument for it.

The Well-Tempered Clavier also proved to be one of Bach’s most influential works musically, as well as theoretically. Long before the Bach revival that Mendelssohn initiated in 1829, the work was widely circulated in manuscript. The first three printed editions all appeared in 1801 from publishers in three different cities. Musicians studied it for its theoretical importance and its artistic worth. Mozart knew the work in manuscript and arranged several pieces from it for strings. The first article ever published about Beethoven, when he was a 13-year-old boy said, “He plays chiefly The Well-Tempered Clavier. Anyone who knows this collection, the nec plus ultra of our art, knows what that means.” The much maligned, heavily edited version of The Well-

Program Notes


Tempered Clavier published in 1837 by Beethoven’s pupil Carl Czerny is supposed to represent (among other things) the editor’s “vivid recollection of the manner in which many of the fugues were played by the great Beethoven” in his mature years. Robert Schumann, who is now believed to have made many of the Romantic Age’s basic errors in the interpretation of Bach, also said that playing his music daily would lead to solid musicianship. Chopin, too, was devoted to The Well-Tempered Clavier from his childhood and taught its preludes and fugues to his pupils and urged them to play them daily. When he was working on his own 24 Piano Preludes in all the keys, Bach’s were never far from his side. Shostakovich honored the 200th anniversary of Bach’s death with his 24 Preludes and Fugues, Op. 87. Another important, but somewhat more distant modern descendant of The Well-Tempered Clavier is Paul Hindemith’s 1942 collection of 12 fugues in 12 keys, called Ludus Tonalis, a title that loosely translates to The Key-Game.

Bach gave a clearly didactic purpose to his collection in the descriptive subtitle of Part I: For the Practice and Profit of Studious Musical Youth, as Well as for the Amusement of Those Who May Already Be Skilled in This Subject of Study. The son of one of Bach’s pupils noted that his father’s lessons had begun with the composer’s Two-Part Inventions, continued with some suites and then went on to The Well-Tempered Clavier, which “Bach played through three times for him [but of course not at a single sitting], with his incomparable art. My father counted these among his happiest hours, when Bach, claiming to be not in the mood to teach, sat at one of his fine instruments and so turned the hours into minutes.”

In the whole of The Well-Tempered Clavier, Bach gave only five specific tempo indications, so today each performer’s choices must be his own, although they are almost always influenced to some degree by certain conventions of the Baroque era and by the work’s long history and tradition. This complex compound of history and tradition with individual insights and preferences may lead different performers to greatly different sound-manifestations of Bach’s texts.

The Prelude and Fugue in C Major, BWV 870 is a work that Bach did not place in The Well-Tempered Clavier until the final phase, around 1742, when he adapted the two from his earlier work. In the prelude, Bach utilizes both the scale and a pedal point, and its style is that of free figural keyboard improvisation. The work has both a weight and breadth stemming from its elements of repetition and its densely woven textures. The fugue is very straightforward and a good contrast to the bass-heavy prelude that precedes it. In this lively fugue, Bach creates a galant feel by taking the subject and breaking it into two halves. Its structure includes four episodes, each sequential. It features a coda based on a reversed-hand technique, where the left hands pivots over the thumb in expanding intervals over an octave.


French Suite No. 5 in G Major, BWV 816BACH

One of the most popular forms of extended instrumental composition in Bach’s time was the suite. For him and for his contemporaries, a suite was generally a set of stylized adaptations of dances that had moved from the ballroom to the concert room during the 17th century. The movements contrast in mood and character, but they are usually in the same key. Most of the dances have two sections, each of which is played twice, sometimes with improvised ornamentation or variation. When there are pairs of dances of the same type, after the second one has been played, the first is played again, but without repeating the sections.

Bach wrote more than two dozen suites for orchestra, violin, cello, lute and the keyboard. Some are called partitas, a term that came into use perhaps for no other reason than that they are works in several parts. Bach wrote the word “Overture” at the head of each orchestral suite, probably intending it to do no more than describe the introductory movement, but the result was that until relatively recently his suites for orchestra were frequently called overtures.

In the 1720s, Bach began to work on three sets of keyboard suites that reached their final form gradually, over a period of several years. The grandest and the last completed are the six partitas, while the others are six English suites and six French suites. The style and design of the suites in each of the three sets are consistent, although there is nothing particularly English or French about any of them; how they acquired these designations remains a mystery.

Since the French suites, unlike the others, have no introductory preludes, in performing them, Bach might have begun with brief improvisations. The works open directly with three of the four dances that were considered more or less obligatory. The first, an Allemande, originated in Germany and became popular as a dance throughout Europe. The second, a Courante, came from France and Italy, where its name connoted “running,” for it was originally a lively dance performed in small, quick, running (or sometimes jumping) steps. The third, a Sarabande, originated as a wild, lascivious dance, but after its introduction to Europe, in Spain, was at first suppressed and then converted into a dance of slow and stately measure.

Next come the galanteries, social dances that were still popular in Bach’s day; they were chosen by the composer and added here with a similarity to the practice of later generations of playing a minuet between a slow movement and finale. In this long suite there are four galanteries, all of French origin: a Gavotte, a moderately quick, but somewhat heavy-footed country dance; a Bourrée, originally a quick, vigorous dance popular in many parts of France; a Loure, which was an elegant theatrical dance rather like a slow jig; and finally, the brilliant jig itself, called Gigue in French.


15 Sinfonias, BWV 787-801 BACH

Bach composed his 15 Three-Part Inventions (he actually called them Sinfonias) for keyboard at the same time as their 15 Two-Part Invention counterparts, but they were not published until 1801, a half-century after his death. Presumably the term “invention” which he applied to the two-part as well as to the set of three-part sinfonias (BWV 787-801), he borrowed from Bonporti, who used it in his Invenzioni da camera, Op. 10, written in Bologna in 1712. The word invention primarily means “idea,” the initial musical thought, which becomes elaborated into a composition. Giovanni Battista Vitali had used the term invention a bit earlier (1689) in his Artifici musicali, a work Bach also might have known, where Vitali specified this kind of composition as containing “canoni in diverse maniere, contrapunti dopii, invenzione curiose.” Vitali says in his preface to the music, “One who does not know how to skillfully handle the mysterious secrets of his art in any style possible does not deserve to be called a musician.”

Bach uses the term “sinfonia” in accordance with its general meaning then, when it was a blanket term for all polyphonic instrumental compositions, but such usage was already becoming anachronistic by Bach’s time. The Sinfonias first appear along with the Two-Part Inventions in the 1722 Clavier-Büchlein written for Wilhelm Friedemann, Bach’s then 10-year-old son, and they also appear, slightly revised, in a 1723 volume which Bach prefaces with a detailed description of the instructional purpose of the 30 pieces. He also included a short rhetorical exposition on the clefs and ornaments, which gave an overview of the different musical genres of the era. Bach wrote for the commonly used keys in symmetrical order and then reordered them in the second iteration, when they appear in an order like that he used in The Well-Tempered Clavier. Some see this series as Bach’s preliminaries for his study of fugue and preparation for The Well-Tempered Clavier.

Bach’s stated aim was to further the study of keyboard playing and composition in equal measure as well as to allow the performer “to play cleanly in two voices...[and] deal correctly with three obbligato voices...but, above all else, to acquire a true cantabile style of playing, and, with it, to get a good foretaste of the art of composition.” Every amateur and professional musician has had at least an acquaintance with one of these pieces even today. They afford an endless source of pleasure as well as an object of study for all who attempt them. Playing the three-part sinfonias gives an education in counterpoint, form, and efficient invention based on a motive. The value of the three-part sinfonias was never only instructional; these are difficult, challenging and incredibly beautiful, and provide as many challenges to the professional concert artist as they do to the student.


The Sinfonias follow the same order of keys as the Inventions, an order similar to that used in The Well-Tempered Clavier, although, of course, in The Well-Tempered Clavier, Bach explored many more keys, going through the complete circle of fifths. In the Sinfonias, Bach frequently uses fugal procedure. Even when he unfolds the music in a freer fashion, in the opening he usually writes imitation between the top two voices. Presumably, Bach chose to limit the length in both the Inventions and Sinfonias so that the student would not need to turn pages in the midst of playing; therefore, all the compositions are miniatures of comparable size.

The Well-Tempered Clavier: Book II: Prelude and Fugue No. 11 in F Major, BWV 880BACH

Bach did not repeat the distinctive title at the head of his manuscript of the second collection of 24 preludes and fugues, but it has always been obvious that Parts I and II belong together, despite the distance of time between them. In all likelihood, Bach assembled Part II from appropriate pieces that he had been collecting for some time, bringing some early ones up to date and composing new ones when needed to complete the sequence.

Part II is looked on as retrospection, a reconsideration of all the musical questions and answers of 20 years earlier. It probes deeply into the idea of musical architecture and what can be built within its recognized principles and rules. The preludes, unlike fugues, have no fixed structure. Bach’s fugues all maintain a strict number of voices and the constituent parts enter one by one with a statement of the subject.

No. 11, in F Major, BWV 880: The Prelude, set in long rhythmic units and in a rich four or even five voice texture, is more complex than the usual dance movement of a sarabande, whose form it seems to be based on. It is followed by a tightly organized three-voice concise Fugue.

Partita No. 2 in C Minor, BWV 826BACH

Baroque musicians gave the name “partita” to several different kinds of compositions, but for Bach, partita was more or less interchangeable with “suite,” and there is no basic difference between his dozen English and French suites and his six partitas, except that the partitas include some of his very greatest keyboard music. Each partita consists of an introductory movement, followed by a set of stylized dances, transported from 16th century ballrooms to 18th century concert rooms.

Bach seems to have gotten the idea of writing the partitas from the great success that his predecessor at Saint Thomas, Johann Kuhnau, had had with his. Kuhnau was a talented, imaginative musician and a worthy model, but


he was no Bach, and his partitas now have only a modest historical interest. Beginning in 1726, Bach published his partitas singly, and then he issued the six together in 1731 under the title Keyboard Practice, Consisting of Preludes, Allemandes, Courantes, Sarabandes, Jigs, Minuets and Other Galanteries [i.e. miscellaneous other dances] to Refresh the Spirits of Music Lovers, calling it Op. 1. Bach’s listing of the movements indicates that he thought of each partita as a collection of separate pieces rather than as an organic, unified composition; nevertheless, there are important internal relationships among the separate parts of some of them.

Bach engraved the copper printing plates with his own hands and printed a small edition (of which less than a dozen copies have survived), but many movements were widely circulated in manuscript copies during his lifetime. The author of the first book-length study of the composer and his music, published in 1802, said, “This work made a big stir in the musical world. Such keyboard compositions had not been seen or heard before. They are so brilliant, pleasant, expressive and original that anyone who could play them well was assured of success with them.” This reflection is still true, but to play the works well is still a great challenge to any performer, for although the textures on the printed page may look thin and easy to deal with, the music is often fiercely difficult to play.

The Second Partita, the only one of his partitas not to have six movements, opens with a grand and stately sinfonia that combines elements of the two different kinds of overtures that were then written in France and in Italy. There is the slow introduction, Grave, Adagio, a sinfonia in the style of a French overture, with a dotted rhythm, which is followed by a long aria, Andante, and then a sprightly section in two-part counterpoint and triple meter. (Some listeners may remember the brilliant vocal adaptation of this movement sung by the Swingle Singers in a recording that was immensely popular in the 1960s). Next come the three dances prescribed by convention, beginning with a traditional Allemande, which in this version includes some counterpoint, and has a gentle melancholy. A lively and graceful Courante follows, again characterized by its Bachian counterpoint. Next is a measured, solemn, but lyrical Sarabande, after which come two “galanteries,” an energetic and playful Rondeau and a brilliant, bold and witty Capriccio, the latter replacing the usual Gigue at the end.

Italian Concerto in F Major, BWV 971 JOHANN SEBASTIAN BACH

In 1735, Bach issued a publication entitled Keyboard Practice Part Two, Consisting of a Concerto to the Italian Taste and an Overture in the French Manner, for Harpsichord with Two Manuals, Written to Refresh the Spirits of Music Lovers. The overture as a form (an alternative name for suite) was then at the height of its popularity, but it was soon to become obsolete. The


concerto, on the other hand, was the new form, the form of the future. Both were fascinating keyboard adaptations or representations of orchestral writing.

Bach was very conservative in certain aspects of his life and work, but he was also a tireless seeker of new and original kinds of musical expression and a zealous experimenter with the latest forms of the modern music of his time, especially the concerto. For him, the concerto was a new invention, recently arrived from Italy. Its general idea was to set one or more instruments in contrast and even in competition with an orchestral body, although there were also concertos for orchestra without soloist. Over a period of years Bach copied out many concertos composed by Vivaldi as well as other Italian composers; he arranged a number of them for solo harpsichord, making them, in effect, concertos for soloist, but without orchestra. It was no doubt that this unaccompanied concerto is an extension of these exploratory experiments, and Bach was here using the baroque Italian concerto as his model. He was writing “for lovers of music, for their enjoyment,” and not for the didactic purposes or their technical advancement.

Bach recommended a two-manual instrument because its use it allowed the player and the composer the freedom to explore new contrasts and dynamic gradations that were not available to keyboard players before.

In the Italian concerto, which Bach himself called Concerto in the Italian Style, contrasting textures, dynamics and sonorities represent orchestral or “tutti” passages and keyboard “solos.” A critic writing in 1739 pointed out that this work is “a perfect model of a well made concerto, but at the present time there are few or practically no concertos [with orchestra] of such excellence.” Bach gives the “tutti” to the powerful principal manual of the harpsichord and the virtuosic “solo” writing to the second manual.

The concerto has three movements in the fast-slow-fast sequence that follow the expected baroque pattern, which for Bach was a conscious choice in favor of modernity. The brilliant first movement has no tempo marking, but it is understood to be Allegro. The music begins in orchestral style with full chords and a strong theme that recurs in contrast with the “solos.” The Andante middle movement presents a repeated rhythmic accompaniment figure supporting a long solo melody with much ornamentation in two large parts and a closing coda. The finale is a dazzling Presto movement in three parts in which Bach’s craftsmanship is evident in the way that he spectacularly demonstrates his mastery of counterpoint.

Program notes by Susan Halpern, copyright 2016.


RICHARD GOODEPiano

Richard Goode has been hailed for music-making of tremendous emotional power, depth and expressiveness, and has been acknowledged worldwide as one of today’s leading interpreters of Classical and Romantic music. In regular performances with the major orchestras, recitals in the world’s music capitals and through his extensive and acclaimed Nonesuch recordings, he has won a large and devoted following.

Gramophone magazine recently captured the essence of what makes Goode such an original and compelling artist: ‘‘Every time we hear him, he impresses us as better than we remembered, surprising us, surpassing our expectations and communicating perceptions that stay in the mind.”

Goode opens his 2015-2016 season as soloist with the Los Angeles Chamber Orchestra and Jeffrey Kahane, followed by appearances with the Orchestre de Paris and Herbert Blomstedt, the Cincinnati Symphony and David Zinman, and the Orchestre National de Lyon and Ton Koopman, among others. A compelling recitalist, Goode will be featured in the Great Performers Series at Lincoln Center in New York, at the Royal Festival Hall in London, in the Chicago Symphony series, and at major venues in the US and Europe, including those in Budapest, Cleveland, Denver, Dublin, Genova, Glasgow, Kansas City, Philadelphia, San Francisco, Vancouver and Washington, DC. He will also return to both the Gilmore Festival and Krannert Center at the University of Illinois, in addition to performing in a gala concert celebrating the 30th anniversary of the Philadelphia Chamber Music Society.

In the 2014-2015 season Goode opened Lincoln Center’s Mostly Mozart Festival and was featured in five appearances at Carnegie Hall. In addition to a recital in the main hall, he appeared as a soloist with the Boston Symphony Orchestra under the baton of Andris Nelsons, in two chamber music concerts with young artists from Marlboro Music Festival and conducting a master class on Debussy piano works. He was also heard as soloist with orchestras including the Los Angeles Philharmonic, and St. Louis, Milwaukee and San Diego symphonies. In addition, he performed recitals at the Concertgebouw in Amsterdam, Wigmore Hall in London, the Celebrity Series of Boston, Cal Performances in Berkeley, the Philadelphia Chamber Music Society, the University Musical Society in Ann Arbor, at Shriver Hall in Baltimore, in Toronto at the Royal Conservatory, at The Schubert Club in St. Paul, Spivey Hall in Atlanta, Yale School of Music, Dartmouth College, Duke Performances, Middlebury College and in other major series in the US and Europe.

Among the highlights of recent seasons have been the recitals in which, for the first time in his career, Goode performed the last three Beethoven sonatas

Biography


in one program, drawing capacity audiences and raves in such cities as New York, London and Berlin. The New York Times, in reviewing his Carnegie Hall performance, hailed his interpretations as “majestic, profound readings. Goode’s playing throughout was organic and inspired, the noble, introspective themes unfolding with a simplicity that rendered them all the more moving.” Recent seasons have also included performances with the Metropolitan Opera Orchestra led by Fabio Luisi at Carnegie Hall, with the Los Angeles Philharmonic and Gustavo Dudamel, with Orpheus on tour and at Carnegie Hall playing the Schumann Concerto and on tour with the Boston Symphony Orchestra.

An exclusive Nonesuch recording artist, Goode has made more than two dozen recordings over the years, ranging from solo and chamber works to lieder and concertos. His latest recording of the five Beethoven concertos with the Budapest Festival Orchestra and Iván Fischer was released in 2009 to exceptional critical acclaim, described as “a landmark recording” by Financial Times and nominated for a GRAMMY Award. His 10-CD set of the complete Beethoven sonatas cycle, the first ever by an American-born pianist, was nominated for a GRAMMY and has been ranked among the most distinguished recordings of this repertoire. Other recording highlights include a series of Bach partitas, a duo recording with Dawn Upshaw and Mozart piano concertos with the Orpheus Chamber Orchestra.

A native of New York, Goode studied with Elvira Szigeti and Claude Frank, with Nadia Reisenberg at the Mannes College of Music, and with Rudolf Serkin at the Curtis Institute. His numerous prizes over the years include the Young Concert Artists Award, First Prize in the Clara Haskil Competition, the Avery Fisher Prize, and a GRAMMY award for his recording of the Brahms sonatas with clarinetist Richard Stoltzman. His first public performances of the complete cycle of Beethoven sonatas at Kansas City’s Folly Theater and New York’s 92Y in 1987-88 brought him to international attention being hailed by The New York Times as “among the season’s most important and memorable events.” It was later performed with great success at London’s Queen Elizabeth Hall in 1994 and 1995.

Goode served, together with Mitsuko Uchida, as co-Artistic Director of the Marlboro Music School and Festival in Marlboro, Vermont from 1999 through 2013. Participating initially at the age of 14, at what The New Yorker magazine recently described as “the classical world’s most coveted retreat,” he has made a notable contribution to this unique community during the 28 summers he has spent there. He is married to the violinist Marcia Weinfeld, and, when the Goodes are not on tour, they and their collection of some 5,000 volumes live in New York City.

Richard Goode records for Nonesuch, www.richardgoodepiano.com


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Documents

SOKA PERFORMING ARTS CENTER€¦ · BACH Partita No. 2 in C Minor, BWV 826 ... BACH 1. [without tempo designation] 2. Andante 3. Presto Program No. 9 in F Minor, BWV 795 No. 10 in