Raaf Hekkema - J.S. Bach: Solo (Arranged for saxophone by Raaf Hekkema) (2023) [Hi-Res]
BAND/ARTIST: Raaf Hekkema
- Title: J.S. Bach: Solo (Arranged for saxophone by Raaf Hekkema)
- Year Of Release: 2023
- Label: Challenge Classics
- Genre: Classical
- Quality: FLAC (tracks) / 24bit-44.1kHz FLAC (tracks)
- Total Time: 59:51
- Total Size: 245 / 553 MB
- WebSite: Album Preview
Tracklist:
1. Sonata No.1 in G Minor, BWV 1001: I. Adagio (3:27)
2. Sonata No.2 in A Minor, BWV 1003: IV. Allegro (6:37)
3. Sonata No.3 in C major, BWV 1005: III. Largo (2:37)
4. Sonata No.3 in C Major, BWV 1005: IV. Allegro assai (5:04)
5. Sonata No.2 in A Minor, BWV 1003: I. Grave (3:41)
6. Sonata No.1 in G Minor, BWV 1001: IV. Presto (3:51)
7. Chromatic Fantasia BWV 903 (7:43)
8. Prelude in A Minor, BWV 922 (6:07)
9. Prelude, Fugue and Allegro in E-flat Major, BWV 998: I. Prelude (2:46)
10. Prelude, Fugue and Allegro in E-flat Major, BWV 998: III. Allegro (3:21)
11. Partita in A Minor, BWV 1013: I. Allemande (4:09)
12. Partita in A Minor, BWV 1013: II. Corrente (3:37)
13. Partita in A Minor, BWV 1013: III. Sarabande (4:16)
14. Partita in A Minor, BWV 1013: IV. Bourrée anglaise (2:44)
1. Sonata No.1 in G Minor, BWV 1001: I. Adagio (3:27)
2. Sonata No.2 in A Minor, BWV 1003: IV. Allegro (6:37)
3. Sonata No.3 in C major, BWV 1005: III. Largo (2:37)
4. Sonata No.3 in C Major, BWV 1005: IV. Allegro assai (5:04)
5. Sonata No.2 in A Minor, BWV 1003: I. Grave (3:41)
6. Sonata No.1 in G Minor, BWV 1001: IV. Presto (3:51)
7. Chromatic Fantasia BWV 903 (7:43)
8. Prelude in A Minor, BWV 922 (6:07)
9. Prelude, Fugue and Allegro in E-flat Major, BWV 998: I. Prelude (2:46)
10. Prelude, Fugue and Allegro in E-flat Major, BWV 998: III. Allegro (3:21)
11. Partita in A Minor, BWV 1013: I. Allemande (4:09)
12. Partita in A Minor, BWV 1013: II. Corrente (3:37)
13. Partita in A Minor, BWV 1013: III. Sarabande (4:16)
14. Partita in A Minor, BWV 1013: IV. Bourrée anglaise (2:44)
The pandemic in 2020-21 brought little to dispel the gloom among performing musicians. But these months also proved to be a time of reflection and artistic rebirth for many, the arts became a breeding ground for spiritual offspring, and so it proved for me; the genesis of the work you can hear on this album. Finally, there was plenty of time to spend many hours every day working on the project against a background of calm, which made Bach's music all the more comforting!
The prime cut with which I open this album is the Sonata I have assembled from Bach's three sonatas for solo violin. Even though a sonata in six movements may go against musical tradition, I feel it is a very satisfactory solution from a musical perspective.
Soon after this, I cast my greedy eye over the earlier works for organ and harpsichord. The Chromatic Fantasia symbolises early Bach for me; a composer who was heavily influenced by the fantastical style of his idol and predecessor Dieterich Buxtehude.
I made a pilgrimage to my own hero of early music, Ton Koopman. His enthusiasm for my arrangements grew as our meeting progressed. I am deeply grateful to him for his generous assistance.
The Fantasia BWV 922 seemed to be a bigger task altogether. I was keen to let my own creative juices flow in order to adapt the texture in such a way that I could still do the greatest justice to the music's harmonic complexity and sweeping argument.
Before this, however, I had already set about arranging Bach's most famous organ work, the Toccata and Fugue. Generally, I would describe it as a good idea to avoid fugues for what I have in mind, but this one was relatively straightforward for me.
My arrangement of the Partita BWV 1013 is perhaps the simplest of all my Bach transcriptions. All I had to do was transpose this into a key I considered to be better suited to my instrument. I play it on a 1924 curved Buescher soprano saxophone with a matching Buescher mouthpiece. Using historical saxophones may result in a lighter and more transparent sound.
The same argument also applies to the Prelude and Allegro from BWV 998, which I recorded on a straight Buescher alto saxophone made in 1927.
The prime cut with which I open this album is the Sonata I have assembled from Bach's three sonatas for solo violin. Even though a sonata in six movements may go against musical tradition, I feel it is a very satisfactory solution from a musical perspective.
Soon after this, I cast my greedy eye over the earlier works for organ and harpsichord. The Chromatic Fantasia symbolises early Bach for me; a composer who was heavily influenced by the fantastical style of his idol and predecessor Dieterich Buxtehude.
I made a pilgrimage to my own hero of early music, Ton Koopman. His enthusiasm for my arrangements grew as our meeting progressed. I am deeply grateful to him for his generous assistance.
The Fantasia BWV 922 seemed to be a bigger task altogether. I was keen to let my own creative juices flow in order to adapt the texture in such a way that I could still do the greatest justice to the music's harmonic complexity and sweeping argument.
Before this, however, I had already set about arranging Bach's most famous organ work, the Toccata and Fugue. Generally, I would describe it as a good idea to avoid fugues for what I have in mind, but this one was relatively straightforward for me.
My arrangement of the Partita BWV 1013 is perhaps the simplest of all my Bach transcriptions. All I had to do was transpose this into a key I considered to be better suited to my instrument. I play it on a 1924 curved Buescher soprano saxophone with a matching Buescher mouthpiece. Using historical saxophones may result in a lighter and more transparent sound.
The same argument also applies to the Prelude and Allegro from BWV 998, which I recorded on a straight Buescher alto saxophone made in 1927.
Year 2023 | Classical | FLAC / APE | HD & Vinyl
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