Johann Sebastian Bach - Die Kunst der Fuge / The Art of Fugue 2016

Johann Sebastian Bach - Die Kunst der FugeRachel Podger, Brecon Baroque

Формат записи/Источник записи: [SACD-R][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2016
Жанр: Classical/Chamber/Violin
Издатель (лейбл): Channel Classics Records
Продолжительность: 01:10:29
: Буклет PDF

Треклист:
Simple Fugues:
1 Contrapunctus 1 2:47

2 Contrapunctus 3 2:27

3 Contrapunctus 2 2:58

4 Contrapunctus 4 3:38

5 Canon Alla Ottava 2:15
Double Fugues:
6 Contrapunctus 9 ‘Alla Duodecima’ 2:26

7 Contrapunctus 10 ‘Alla Decima’ 3:47
Counter Fugues
8 Contrapunctus 5 2:51

9 Contrapunctus 6 ‘In Stylo Francese’ 3:49

10 Contrapunctus 7 ‘Per Augmentationem Alla Terza’ 3:30
Triple Fugue:
11 Contrapunctus 8, A 3 5:50
Triple/Quadruple Fugue:
12 Contrapunctus 11, A 4 5:40

13 Canon Alla Duodecima 3:43

14 Contrapunctus 12, A 4 3:48

15 Canon Alla Decima 4:27

16 Contrapunctus 13, A 3 4:35

17 Canon Per Augmentationem In Contrario Motu 3:22

18 Contrapunctus 14 8:23

Rachel Podger: Violin, Pesarinius, 1739
Johannes Pramsohler: Violin, David Teccler, Rome 1743
Johannes Pramsohler: Viola, Jan Pawlikowski made in 2008 in Kraków
Jane Rogers: Viola, Patrick Robin, courtesy loan from the Royal Academy of Music
Alison McGillivray: 5-string cello by Wang Zhi Ming 2009
Marcin Świątkiewicz: Harpsichord, Flemish ‘ravelment’ double manual after Ruckers 1628, by Andrew Wooderson, Bexley 1999
Контейнер: ISO (*.iso)
Тип рипа: image
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DST64
Количество каналов: 5.0, 2.0
Доп. информация: Channel Classics CCS SA 38316 (2016)
Recording: Church of Saint Jude-on-the-Hill, 15-17 Dec, 2015
SACD-rip to iso via Cambridge Audio CXU (3.39 GB)
channelclassics/catalogue/38316-Bach-The-Art-of-Fugue/
: AnnabelLee (PS³SACD forum)

Об альбоме (сборнике)
Bach’s The Art of Fugue, BWV 1080, broken off at the end by the composer’s death, was written out in open score, with no indication of instrumentation. This has given rise over the years to a variety of instrumental realizations, with keyboard performances being the most common, but string orchestra, or wind versions, and so forth, are also often essayed. This version, led by English, period-performance specialist Rachel Podger with her small Brecon Baroque ensemble, is part of a much smaller group: those that apply different settings to the various fugues in the set. Most are for combinations of strings, but a harpsichord may or may not be added, and harpsichordist Marcin Swiatkiewicz gets a couple of fugues on his own. The arrangements are presumably by historical-performance conductor John Butt, who wrote the booklet notes, but even he does not attempt to justify the procedure beyond some general suggestions that the work might not have been as abstract as it’s generally supposed. Podger’s version, lushly beautiful as it may be on the surface, disturbs that abstract quality, and individual listeners may decide for themselves whether they buy the approach. It is not clear why some fugues get harpsichord accompaniment, which is placed pretty far in the background in any event, but you could try sampling adjacent pieces without and with the harpsichord to see what you think. The intimate but clear sound from Channel Classics, working in London’s Church of St-Jude-on-the-Hill is a major plus.
allmusic
I haven’t heard as persuasive an account of The Art of Fugue since Fretwork released their elegant version in 2002. In Brecon Baroque, Rachel Podger has gathered some of her stellar friends and made this fine CD which has clarity and passion, as well as thought-provoking decisions about scoring.
I have listened to a number of performances on the organ, which in some ways seems to be the obvious medium for such intellectually abstract and challenging music; but I find Podger’s acute judgment as to what might be the best combination of instruments to shape the character of each piece as sound as her flawless and committed playing. We have the Canons “alla Decima” and “alla Duodecima” played on the harpsichord, which appears in other movements - but not all - as a basso continuo. The string players can appear as two violins, viola and ‘cello, or as violin, two violas and ‘cello or any combination in trio. The order seems wholly logical, and the importance of this recording is greatly enhanced by a splendid essay by John Butt on the compositional techniques that are demonstrated in this extraordinary compendium of canonic and fugal writing Bach drew together as Die Kunst der Fuge. This booklet is a model for what a booklet should be, and it is a real treat to have such a scholarly but accessible essay.
The playing is wonderful - a viol-like edge and clarity where that is required; a sense of growing intensity through the gathering complexities of the work; and the final Contrapunctus left hanging, unfinished in the air with its wistful resolution unfulfilled. I much enjoyed this remarkable display of heartfelt musicianship and hope that the performance will receive the accolades it deserves.
earlymusicreview