Sandro Ivo Bartoli - Johann Sebastian Bach: Preludes, Fantasias and Minuets (2016) [Hi-Res]
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BAND/ARTIST: Sandro Ivo Bartoli
- Title: Johann Sebastian Bach: Preludes, Fantasias and Minuets
- Year Of Release: 2016/2021
- Label: Solaire Records
- Genre: Classical Piano
- Quality: flac lossless (tracks) / flac 24bits - 192.0kHz +Booklet
- Total Time: 01:14:03
- Total Size: 265 mb / 2.4 gb
- WebSite: Album Preview
Tracklist
01. Präludium, Fuge und Allegro in E-Flat Major, BWV 998: I. Präludium
02. Präludium, Fuge und Allegro in E-Flat Major, BWV 998: II. Fuge
03. Präludium, Fuge und Allegro in E-Flat Major, BWV 998: III. Allegro
04. 6 kleine Präludien, BWV 933: No. 1 in C Major
05. 6 kleine Präludien, BWV 934: No. 2 in C Minor
06. 6 kleine Präludien, BWV 935: No. 3 in D Minor
07. 6 kleine Präludien, BWV 936: No. 4 in D Major
08. 6 kleine Präludien, BWV 937: No. 5 in E Major
09. 6 kleine Präludien, BWV 938: No. 6 in E Minor
10. Menuett in G Major, BWV 841
11. Menuett in G Minor, BWV 842
12. Menuett in G Major, BWV 843
13. Fantasie in G Minor, BWV 917
14. Präludium-Fantasie in A Minor, BWV 922
15. Präludium-Fantasie in C Minor, BWV 921
16. 12 kleine Präludien, BWV 924: Prelude in C Major
17. 12 kleine Präludien, BWV 939: Prelude in C Major
18. 12 kleine Präludien, BWV 999: Prelude in C Minor
19. 12 kleine Präludien, BWV 925: Prelude in D Major
20. 12 kleine Präludien, BWV 926: Prelude in D Minor
21. 12 kleine Präludien, BWV 940: Prelude in D Minor
22. 12 kleine Präludien, BWV 941: Prelude in E Minor
23. 12 kleine Präludien, BWV 927: Prelude in F Major
24. 12 kleine Präludien, BWV 928: Prelude in F Major
25. 12 kleine Präludien, BWV 929: Prelude in G Minor
26. 12 kleine Präludien, BWV 930: Prelude in G Minor
27. 12 kleine Präludien, BWV 942: Prelude in A Minor
28. 12 kleine Präludien, BWV 924/a: Prelude in C Major
29. Chromatische Fantasie und Fuge in D Minor, BWV 903: I. Fantasia
30. Chromatische Fantasie und Fuge in D Minor, BWV 903: II. Fuga
Making records can be a tiresome affair – or it can be really simple. “I called Sandro early last year to ask him what he wanted to record as a follow-up to our Liszt recording”, Solaire’s director Dirk Fischer remembers, “And without flinching for a single second, he said: Bach.” This almost ‘mainstream’-choice was not what Fischer had expected from the unconventional Italian pianist. And yet, he was more than happy to see where it would lead them. And sure enough, the original idea quickly transformed into a unique proposition: To juxtapose some of Bach’s least known pieces – little preludes and minuets, many of which just barely scrape the one-minute mark – with two of his most monumental works for the keyboard: The Prelude, Fugue and Allegro and the Chromatic Fantasia and Fugue.
“The reason for choosing these small pieces is simply that ever since I learned them as a little child, I’ve been in love with them“, Sandro Ivo Bartoli explains, “And from time to time, I played them for my own pleasure. I usually play very complex repertoire, lots of notes all the time. Going back to these little pieces by Johann Sebastian Bach gives me a chance to clear my head.” These works may seem unassuming, but his interpretative demand was as ambitious as ever: “If I was going to record Bach, I at least wanted to make sure that I did not sound like anybody else. I made a conscious effort of not imitating someone. Glenn Gould in particular, because he’s inimitable.”
There is a suspenseful tension in Bartoli’s take on the Little Preludes. To him, these pieces rank as among the composer’s most precious gifts, while he also believes that they were written, as he puts it, ‘at the drop of a hat’: “He certainly didn’t put much effort into them. I think Bach would have been quite nonchalant about these pieces. In fact, of the 18 preludes I recorded, only the six which are in the Wilhelm Friedemann book are in an order prescribed by him. The others can be found here and there. I don’t think they meant very much to him.” He reflects for a second, then laughs: “But they mean a lot to me.”
The contrast with the more lengthy selections on the album could hardly be more radical. Bartoli describes the Chromatic Fantasia and Fugue as “almost an isolated example of a wandering kind of writing” and “possibly a written down improvisation … by a genius”. He learned to love it early in his life, having heard it for the first time on an organ in Pisa as a 15-year old. For the recording sessions, as a personal talisman, he took with him the score he had bought in Italy as a little child, the price still printed on it in Lire. As so many choices on this album – including using a beer crate for a chair – the idea was born as spontaneously as the music itself. Which befits the spirit of a CD which, the complexity and challenges of its repertoire notwithstanding, was born from instinct – and from a spirit of joy and simplicity.
01. Präludium, Fuge und Allegro in E-Flat Major, BWV 998: I. Präludium
02. Präludium, Fuge und Allegro in E-Flat Major, BWV 998: II. Fuge
03. Präludium, Fuge und Allegro in E-Flat Major, BWV 998: III. Allegro
04. 6 kleine Präludien, BWV 933: No. 1 in C Major
05. 6 kleine Präludien, BWV 934: No. 2 in C Minor
06. 6 kleine Präludien, BWV 935: No. 3 in D Minor
07. 6 kleine Präludien, BWV 936: No. 4 in D Major
08. 6 kleine Präludien, BWV 937: No. 5 in E Major
09. 6 kleine Präludien, BWV 938: No. 6 in E Minor
10. Menuett in G Major, BWV 841
11. Menuett in G Minor, BWV 842
12. Menuett in G Major, BWV 843
13. Fantasie in G Minor, BWV 917
14. Präludium-Fantasie in A Minor, BWV 922
15. Präludium-Fantasie in C Minor, BWV 921
16. 12 kleine Präludien, BWV 924: Prelude in C Major
17. 12 kleine Präludien, BWV 939: Prelude in C Major
18. 12 kleine Präludien, BWV 999: Prelude in C Minor
19. 12 kleine Präludien, BWV 925: Prelude in D Major
20. 12 kleine Präludien, BWV 926: Prelude in D Minor
21. 12 kleine Präludien, BWV 940: Prelude in D Minor
22. 12 kleine Präludien, BWV 941: Prelude in E Minor
23. 12 kleine Präludien, BWV 927: Prelude in F Major
24. 12 kleine Präludien, BWV 928: Prelude in F Major
25. 12 kleine Präludien, BWV 929: Prelude in G Minor
26. 12 kleine Präludien, BWV 930: Prelude in G Minor
27. 12 kleine Präludien, BWV 942: Prelude in A Minor
28. 12 kleine Präludien, BWV 924/a: Prelude in C Major
29. Chromatische Fantasie und Fuge in D Minor, BWV 903: I. Fantasia
30. Chromatische Fantasie und Fuge in D Minor, BWV 903: II. Fuga
Making records can be a tiresome affair – or it can be really simple. “I called Sandro early last year to ask him what he wanted to record as a follow-up to our Liszt recording”, Solaire’s director Dirk Fischer remembers, “And without flinching for a single second, he said: Bach.” This almost ‘mainstream’-choice was not what Fischer had expected from the unconventional Italian pianist. And yet, he was more than happy to see where it would lead them. And sure enough, the original idea quickly transformed into a unique proposition: To juxtapose some of Bach’s least known pieces – little preludes and minuets, many of which just barely scrape the one-minute mark – with two of his most monumental works for the keyboard: The Prelude, Fugue and Allegro and the Chromatic Fantasia and Fugue.
“The reason for choosing these small pieces is simply that ever since I learned them as a little child, I’ve been in love with them“, Sandro Ivo Bartoli explains, “And from time to time, I played them for my own pleasure. I usually play very complex repertoire, lots of notes all the time. Going back to these little pieces by Johann Sebastian Bach gives me a chance to clear my head.” These works may seem unassuming, but his interpretative demand was as ambitious as ever: “If I was going to record Bach, I at least wanted to make sure that I did not sound like anybody else. I made a conscious effort of not imitating someone. Glenn Gould in particular, because he’s inimitable.”
There is a suspenseful tension in Bartoli’s take on the Little Preludes. To him, these pieces rank as among the composer’s most precious gifts, while he also believes that they were written, as he puts it, ‘at the drop of a hat’: “He certainly didn’t put much effort into them. I think Bach would have been quite nonchalant about these pieces. In fact, of the 18 preludes I recorded, only the six which are in the Wilhelm Friedemann book are in an order prescribed by him. The others can be found here and there. I don’t think they meant very much to him.” He reflects for a second, then laughs: “But they mean a lot to me.”
The contrast with the more lengthy selections on the album could hardly be more radical. Bartoli describes the Chromatic Fantasia and Fugue as “almost an isolated example of a wandering kind of writing” and “possibly a written down improvisation … by a genius”. He learned to love it early in his life, having heard it for the first time on an organ in Pisa as a 15-year old. For the recording sessions, as a personal talisman, he took with him the score he had bought in Italy as a little child, the price still printed on it in Lire. As so many choices on this album – including using a beer crate for a chair – the idea was born as spontaneously as the music itself. Which befits the spirit of a CD which, the complexity and challenges of its repertoire notwithstanding, was born from instinct – and from a spirit of joy and simplicity.
Year 2021 | Classical | FLAC / APE | HD & Vinyl
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