Bach: The Art of Fugue; Keyboard Concertos

Bach: The Art of Fugue; Keyboard Concertos

Bach: The Art of Fugue; Keyboard Concertos
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Composer: Johann Sebastian Bach
Conductor: Rinaldo Alessandrini
Performer: Rinaldo Alessandrini
Orchestra: Concerto Italiano
Edition: Music CD
CD Release Date: 2003-09-23
Music Label: Opus 111
Soundtracks:
Music CD 1
  1. Die Kunst der Fuge (The Art of the Fugue), for keyboard (or other instruments), BWV 1080: Contrapunctus 1
  2. Die Kunst der Fuge (The Art of the Fugue), for keyboard (or other instruments), BWV 1080: Contrapunctus 2
  3. Die Kunst der Fuge (The Art of the Fugue), for keyboard (or other instruments), BWV 1080: Contrapunctus 3
  4. Die Kunst der Fuge (The Art of the Fugue), for keyboard (or other instruments), BWV 1080: Contrapunctus 4
  5. Die Kunst der Fuge (The Art of the Fugue), for keyboard (or other instruments), BWV 1080: Contrapunctus 5
  6. Die Kunst der Fuge (The Art of the Fugue), for keyboard (or other instruments), BWV 1080: Canon 1 per augmentationem in contrario mot
  7. Die Kunst der Fuge (The Art of the Fugue), for keyboard (or other instruments), BWV 1080: Contrapunctus 6 in stylo francese
  8. Die Kunst der Fuge (The Art of the Fugue), for keyboard (or other instruments), BWV 1080: Canon 2 alla ottava
  9. Die Kunst der Fuge (The Art of the Fugue), for keyboard (or other instruments), BWV 1080: Contrapunctus 7 per augmentationem et dimin
  10. Die Kunst der Fuge (The Art of the Fugue), for keyboard (or other instruments), BWV 1080: Contrapunctus 8
  11. Die Kunst der Fuge (The Art of the Fugue), for keyboard (or other instruments), BWV 1080: Contrapunctus 9 all duodecima
  12. Die Kunst der Fuge (The Art of the Fugue), for keyboard (or other instruments), BWV 1080: Contrapunctus 10 alla decima
  13. Die Kunst der Fuge (The Art of the Fugue), for keyboard (or other instruments), BWV 1080: Canon 3 alla decima contrapunto alla terza
  14. Die Kunst der Fuge (The Art of the Fugue), for keyboard (or other instruments), BWV 1080: Contrapunctus 11
  15. Die Kunst der Fuge (The Art of the Fugue), for keyboard (or other instruments), BWV 1080: Contrapunctus 12 rectus
  16. Die Kunst der Fuge (The Art of the Fugue), for keyboard (or other instruments), BWV 1080: Contrapunctus 13 rectus
  17. Die Kunst der Fuge (The Art of the Fugue), for keyboard (or other instruments), BWV 1080: Contrapunctus 12 inversus
  18. Die Kunst der Fuge (The Art of the Fugue), for keyboard (or other instruments), BWV 1080: Contrapunctus 13 inversus
  19. Die Kunst der Fuge (The Art of the Fugue), for keyboard (or other instruments), BWV 1080: Canon 4 alla duodecima in contrapunto alla
  20. Die Kunst der Fuge (The Art of the Fugue), for keyboard (or other instruments), BWV 1080: Contrapunctus 14
Music CD 2
  1. Concerto for harpsichord, strings & continuo No. 1 in D minor, BWV 1052: Allegro
  2. Concerto for harpsichord, strings & continuo No. 1 in D minor, BWV 1052: Adagio
  3. Concerto for harpsichord, strings & continuo No. 1 in D minor, BWV 1052: Allegro
  4. Concerto for harpsichord, 2 recorders, strings & continuo No. 6 in F major, BWV 1057: [Allegro]
  5. Concerto for harpsichord, 2 recorders, strings & continuo No. 6 in F major, BWV 1057: Andante
  6. Concerto for harpsichord, 2 recorders, strings & continuo No. 6 in F major, BWV 1057: Allegro assai
  7. Concerto for harpsichord, strings & continuo No. 3 in D major, BWV 1054: [Allegro]
  8. Concerto for harpsichord, strings & continuo No. 3 in D major, BWV 1054: Adagio e piano sempre
  9. Concerto for harpsichord, strings & continuo No. 3 in D major, BWV 1054: Allegro
  10. Concerto for flute, violin, harpsichord, strings & continuo in A minor ('Triple'), BWV 1044: Allegro
  11. Concerto for flute, violin, harpsichord, strings & continuo in A minor ('Triple'), BWV 1044: Adagio ma non tanto e dolce
  12. Concerto for flute, violin, harpsichord, strings & continuo in A minor ('Triple'), BWV 1044: Tempo di allabreve

Free Music Notes for Bach: The Art of Fugue; Keyboard Concertos

Free Music Review: Pure Bach
Hit: 5 Stars

First, let me say that Josquin's review says already what I would begin to say. I agree entirely with his opinion. To continue:

The Art of the Fugue was probably, among so many works of immense greatness, Bach's ultimate.

What is somewhat, if not, altogether, frequent, for Bach, is that he did not specify any particular media, instrumentation, for this work. It is pure music in every sense.

What this perforances brings to the music is that, the director, obviously, has given, who knows how many long, difficult hours, to study and determine the instrumentation for the genuis-beyond-genuis, in the variety that Bach brings to the exploration of his original theme. Or, perhaps it all appeared easily to Alessandrini. I wouldnt' doubt that, as the music as played under his hands, that could be the case.

I think of Heidegger's theory of "authenticity." This performance, to me, has not one note that strays from a voice of authenticity. THis is not something I can defend entirely with academic rhetoric. This impression derives from my response. But let it be known, I am a serious student of Bach, studying, literally since I was three years old, the Master's work. I have played most of the WTC, the suites and partitas, as well as a huge volume of the organ works.

This recording reaches all the heights and plummets the depths of this impossible music. FOr "pure" music is not written with the limitations of instrumentation or the limits of performers in mind. Those who dare take on such works and perform them best, combine the qualities of courage, humility, and most of all the willingness to work, work, work to achieve, what may never, to them, be fully satisfactory, as such music just doesn't have an end in terms of mastery.

This is a work of art that transcends even its medium of music. It is a masterpiece of architecture, a work that is also a spiritual experience. But that is not easily understood. I require the score, and much analysis, before even beginning to listen, and then, over and again, I listen, study, more and more, and gain with every effort.

Alessandrini has made the best of any recording I've heard of this work. His choice of instrumention alone, is genuis. The first fugue, reminds me of Schweitzer's desription, forgive I don't remember it verbatim, but he said something to the effect that the Affeckt of this music is of a barren landscape, no color, almost a blank canvas, yet so rich... Alessandrini captures this fully, and then takes us from that point of this blank, colorless landscape and then colors, gradually, the various permutations and variations and manifestations of the theme of the fugue; the canons, forget appreciating them fully without you study the scores and know that, as they sound much simpler in their two voices, they are the most complex and brilliant, compositionally, in their adherence to the absolute laws of canon. And Alessandrini doesn't let down one note in this beautiful renderings of these exquisite works. Tecnically, he is obviuosly masterful, but more importantly, musically, he offers the very heart and soul of Bach, within the rigid framework of the canon, never do I feel that the very heart of Bach in all its fullness, is present. Maestro Alessandrini, grazia!

Order the score ( the Dover will do complete justice to the work, and you also get within it, the Musical Offering) when you order the recording, and look forward to one of the great journeys in life, that will continue forever; the only other work that I can say is so rich, is the great Missa Solemnis of Beethoven.

Maestro Alessandrini, thank you from the depths of my life. I'm housebound much of the time with a disabilty, but I lack nothing, as I have your wonderful work to give the hours more meaning than so many people rushing around in the world. Being admitted to your world, which is, I'm sure, the world of Bach, what a joy, I feel I know you on a much deeper level than I might know the people physically in my presence, such is your greatness in your deep dedication to bring this impossible work into the world of the possible, that we may comprehend it, or at least begin to do so, and then continue, forever, to gain insight and meaning to our lives, just by listening to your interpretation.

Enjoy, also those who may find it, the DVD of Glenn GOuld's Russian Tour, where he dared perform the "Art", a most daring choice, both musically and politically at the time it was done.

I deeply appreciate anyone who has time to respond to my attempt at reviewing this recording, please be in touch, espcially if you have a very diffent perspective, or can recommend other recordings. I ain't done with the Art of the Fugue, don't reckon I ever will be! Hope not, cause that would mean, to me, I must be dead.
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