Graupner - Partitas Pour Clavecin, Genevieve Soly_Analekta
Graupner - Partitas Pour Clavecin, Genevieve Soly(Analekta)Compositores: Christoph Graupner (1683, 1760)
Intérpretes: Genevieve Soly (Clavecín)
Género: Clásica Estilo: Antigua instrumental
[b][b][size=4]Graupner: Partitas for Harpsichord Vol. 7
Monatliche Clavir Früchte (Darmstadt, 1722)[/size][/b][/b][align=center][img=450,450]http://i32.photobucket.com/albums/d39/macropus/Graupner-7-Cover.jpg[/img]
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In 1722, Christoph Graupner engraved and published twelve harpsichord suites with the very Baroque title Fruit Basket for Each Month,
Pieces for Harpsichord, undoubtedly in reference to the Fresh Fruit for Harpsichord (Frische Clavir Früchte, 1696) by his teacher Johann Kuhnau.
After having recorded about a third of the works comprising the Monatliche Clavir Früchte on previous CDs from the present collection, we here present the
four suites that extend from April till July. The remaining works will appear on an upcoming recording.
[b]
Structure of the Suites[/b]
On the title page, Graupner indicates that the set consists of preludes, allemandes, courantes, menuets, sarabandes, gigues, etc., but avoids the term “partita.”
There are six suites in major keys and six in minor keys, each with a varying number of fairly short pieces. Most take up no more than a page, with only a few
encroaching on the next—in which case the composer/engraver filled in the remainder of the second page with a new movement. Such thriftiness was not uncommon
at the time, neither in Germany nor in France, where the price of paper ran high. But this results in the printed order of the pieces not always being ideal for
performance (as when an allemande is followed by a menuet or an air, when we would expect and prefer a courante). Moreover, it is not necessary to play all the
movements of a suite. In this recording, a few have been omitted. The longest piece in the set is the D-major chaconne, taking up three full pages.
[b]Suites for Connoisseurs and Amateurs[/b]
Graupner states in his title that the pieces are mainly intended for beginners. Indeed, most of the works can be sight-read, or nearly so.
In 1719, in his Exemplarische Organisten-Probe, the famous theoretician Johann Mattheson, friend to Graupner and Handel, had cautioned against taking on Graupner’s
harpsichord works unprepared. He was referring to the partitas of the first set composed, engraved, and published by the Darmstadt master in 1718, the Partien auf
das Clavier (recorded on volumes 1-5 of the present collection). The dissimilar technical requirements of the two sets are certainly quite striking.
The distinction between connoisseurs (Kenner) and amateurs (Liebhaber) was normal at the time. It was common to publish collections for amateurs, or others that
catered to both markets by including a mix of easy and challenging works, precisely as in the 1718 Partien. Sets of pieces were rarely published for the connoisseur alone.
In fact, many amateur musicians had received sufficient training as to readily play short pieces with the requisite style, flair, and technique. Since engraving was an
expensive venture, it is understandable that composers aimed for the widest and most promising audience possible. For some time, as it happens, prospective buyers
had been found among the more discerning amateurs in search of quality entertainment. It was in such a spirit that Kuhnau’s partitas were said to have been “composed
and published for the choice pleasure of all amateurs.” 1
[b]An Outline of the Pieces[/b]
The preludes are contrapuntal and serious; they all end with an adagio, with the exception of the one in F minor, which obviously calls to mind the opening of J.S. Bach’s
Well-Tempered Harpsichord. In fact, if one was to play each broken chord of Graupner’s prelude twice, like Bach’s, we would have two pieces with exactly the same number
of measures.
The allemandes feature the characteristic arpeggio motif. The allemande in F major, though, is somewhat out of the ordinary, its dotted rhythms giving it a noble stance,
whereas allemandes are ordinarily more flowing and lyrical. The rhythmic motif of the left hand octaves (eighth note followed by two sixteenth notes) recalls the beating
of timpani. The passage is musically quite original and affords the player the pleasure of making the instrument sound and resound to its fullest.
The courantes are all in what is perhaps a typically Graupnerian style (I know of no other instance) I call mixed since it combines the contrasting characteristics of the
French courante (quite slow, in many voice-parts, with hemiolas at the cadential points) and the Italian corrente (rather quick, in two voice-parts).
The sarabandes in C minor and in F major have a characteristic rhythm of dotted sixteenth note followed by a thirty-second note—this short note being treated as an
échappée (type of nonharmonic tone) in the C minor sarabande and as a birdcall (half-step up) in the F major sarabande. Both pieces finish with a petite reprise
(shortened repeat). In the F-minor sarabande, the second half uses completely new musical material from the fourth measure on. This is a rare practice in dance
compositions. The new material is an extended 16-bar phrase that has the harpsichord singing in the manner of a prelude, with octaves in the left hand, repeated notes
in the soprano, and lovely harmonic filler in the alto voice.
In keeping with Graupner’s usual practice, the music of the galanteries (menuets, gavottes, air en rigaudon) is highly characterized, lively, and playful, in a fairly robust
style which is wholly appropriate. In the F-major menuet, notice the abundance of octaves in the left hand.
The short air in C minor is modeled after the opera and is nothing like a dance movement as it is so often in the partitas. An air in a suite is indeed either an air de danse
(dance tune) or a transposition of an opera aria.
The two gigues that conclude the suites in C minor and in F major are both typically Italian, swift and in ternary rhythm, with the characteristic articulation of the three
eighth notes (two slurred, one detached).
Finally, the chaconne in D major is full of lovely invention. It is bursting with exuberant ideas and its contrasting moods assure interest is maintained throughout.
[b]Conclusion[/b]
Upon finishing the recording of the four suites in this set, I have the pleasant impression of having served music that is well-written, showing an art full of mastery and
imagination. These are the works of a generous and well-versed composer/harpsichordist, who loves his instrument and knows perfectly how to put it in its best light.
The relative technical ease of these pieces takes nothing away from the joy of playing them, and their musical qualities guarantee the listener an equal joy, inasmuch as
he accepts to experience genuineness, vigor, vitality, and good taste without, for once, hoping to climb the loftiest peaks of Parnassus.
1 “Allen Liebhabern zu sonderbarer Annehmlichkeit aufgesetzet und verleget.”
© Geneviève Soly
Translation: Jacques-André Houle
[b]Harpsichord Hubbard & Broekman, Boston 1998, after Hass, kindly on loan from the maker
Temperament: modified 1/5th-comma meantone (“tempérament ordinaire” for Julius)[/b]
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Geneviève Soly, harpsichord (Hubbard & Broekman 1998, Hamburg style double manual after Hass ca. 1730)
[b]Johann Christoph Graupner[/b] (January 13, 1683 in Kirchberg - March 10, 1760 in Darmstadt) was a German harpsichordist and composer of high Baroque music who lived and worked at the same time as Johann Sebastian Bach, Georg Philipp Telemann and George Frideric Handel.
Christoph Graupner inadvertently played a key role in the history of music. Precarious finances in Darmstadt during the 1710s, forced a reduction of musical life. The opera house was closed, and many court musicians' salaries were in arrears (including Graupner's). After many attempts to have his salary paid, and having several children and a wife to support, in 1722 Graupner applied for the Kantorship in Leipzig. Telemann had been the first choice for this position, but withdrew after securing a salary increase in Hamburg. Graupner's "audition" Magnificat, set in the style of his teacher and mentor Kuhnau, secured him the position. However, Graupner's patron (the Landgrave Ernst Ludwig of Hesse-Darmstadt) would not release him from his contract. Graupner's past due salary was paid in full, his salary was increased; and he would be kept on staff even if his Kapelle was dismissed. With such favorable terms, Graupner remained in Darmstadt, thus clearing the way for Bach to become the Cantor in Leipzig.
Montreal harpsichordist Geneviève Soly came across a Graupner manuscript in the Beinecke Library at Yale in the year 2000 and started performing and recording his works. Graupner was "always on the cutting edge for his time and very innovative in his ideas for harmony, notation, and the use of instruments," as Soly has noted. "You have to take into consideration his various styles in relation to the actual period and the ideas he was interested in developing at that moment. The size of the catalogue imposes added difficulties in this respect, because another composer might have written for just as long, but in one style only. Mozart comes to mind: although he composed over a shorter period, his style was always well defined."
转自：[url=https://melomaniacos.com/thread.php?id=6904]https://melomaniacos.com/thread.php?id=6904[/url]
感谢原发布者：macropus
自领了，达票上传！
[[i] 本帖最后由 宝葫芦 于 2008-12-23 10:41 编辑 [/i]] 没听过，不了解，有作曲家、演奏者的详细介绍吗？ tsj32 。。。两票。。。反对？
怎么回事，理由呢，都跑哪儿去了，出来写明理由。 辛苦了，支持一票！handshake 感觉不错，支持一下victory 投反对票要有明确的理由,不要胡乱投票,否则反对票也是当无效票处理.
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