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Idioma disponible: inglés
No need to dwell on the The Art of Fugue’s one thousand and one secrets, whether real or presumed: let’s just play it, pure and simple. For too long, many considered it had been created more so for the eyes and mind than for the ears, and what a mistake that was! Bob van Asperen proves it once again with his incredibly deep 1741 Christian Zell harpsichord. Van Asperen only plays fourteen of the definite, finalised manuscript’s “contrapuntus”, adding a canon found annotated on the same manuscript, which was itself finalised. The other contrapuntus and canons in The Art of Fugue are drafts at various degrees of revision, and it is known that a monumental triple fugue remained unfinished. As a complement, the harpsichordist had the surprising yet outstanding idea to combine Berhard Klapprott and a second harpsichord to play two mirror fugues from other manuscripts, which require a large number of playing fingers. The sound disparities between both harpsichords help the listener follow Bach’s titanic contrapuntal inventions. It’s clear this music wasn’t intended for the eyes alone… © SM/Qobuz
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The Art of Fugue, BWV 1080 (Johann Sebastian Bach)
Bob Van Asperen, Christian Zell harpsichord, 1741 - Johann Sebastian Bach, Composer
Aeolus Aeolus
Bob Van Asperen, Christian Zell harpsichord, 1741 - Johann Sebastian Bach, Composer
Aeolus Aeolus
Bob Van Asperen, Christian Zell harpsichord, 1741 - Johann Sebastian Bach, Composer
Aeolus Aeolus
Bob Van Asperen, Christian Zell harpsichord, 1741 - Johann Sebastian Bach, Composer
Aeolus Aeolus
Bob Van Asperen, Christian Zell harpsichord, 1741 - Johann Sebastian Bach, Composer
Aeolus Aeolus
Bob Van Asperen, Christian Zell harpsichord, 1741 - Johann Sebastian Bach, Composer
Aeolus Aeolus
Bob Van Asperen, Christian Zell harpsichord, 1741 - Johann Sebastian Bach, Composer
Aeolus Aeolus
Bob Van Asperen, Christian Zell harpsichord, 1741 - Johann Sebastian Bach, Composer
Aeolus Aeolus
Bob Van Asperen, Christian Zell harpsichord, 1741 - Johann Sebastian Bach, Composer
Aeolus Aeolus
Bob Van Asperen, Christian Zell harpsichord, 1741 - Johann Sebastian Bach, Composer
Aeolus Aeolus
Bob Van Asperen, Christian Zell harpsichord, 1741 - Johann Sebastian Bach, Composer
Aeolus Aeolus
Bob Van Asperen, Christian Zell harpsichord, 1741 - Johann Sebastian Bach, Composer
Aeolus Aeolus
Bob Van Asperen, Christian Zell harpsichord, 1741 - Johann Sebastian Bach, Composer
Aeolus Aeolus
Bob Van Asperen, Christian Zell harpsichord, 1741 - Johann Sebastian Bach, Composer
Aeolus Aeolus
Bob Van Asperen, Christian Zell harpsichord, 1741 - Johann Sebastian Bach, Composer
Aeolus Aeolus
Bob Van Asperen, Christian Zell harpsichord, 1741 - Bernhard Klapprott, second harpsichord by Martin Skowroneck, Bremen 1996 - Johann Sebastian Bach, Composer
Aeolus Aeolus
Bob Van Asperen, Christian Zell harpsichord, 1741 - Bernhard Klapprott, second harpsichord by Martin Skowroneck, Bremen 1996 - Johann Sebastian Bach, Composer
Aeolus Aeolus
Bob Van Asperen, Christian Zell harpsichord, 1741 - Bernhard Klapprott, second harpsichord by Martin Skowroneck, Bremen 1996 - Johann Sebastian Bach, Composer
Aeolus Aeolus
Bob Van Asperen, Christian Zell harpsichord, 1741 - Bernhard Klapprott, second harpsichord by Martin Skowroneck, Bremen 1996 - Johann Sebastian Bach, Composer
Aeolus Aeolus
Presentación del Álbum
No need to dwell on the The Art of Fugue’s one thousand and one secrets, whether real or presumed: let’s just play it, pure and simple. For too long, many considered it had been created more so for the eyes and mind than for the ears, and what a mistake that was! Bob van Asperen proves it once again with his incredibly deep 1741 Christian Zell harpsichord. Van Asperen only plays fourteen of the definite, finalised manuscript’s “contrapuntus”, adding a canon found annotated on the same manuscript, which was itself finalised. The other contrapuntus and canons in The Art of Fugue are drafts at various degrees of revision, and it is known that a monumental triple fugue remained unfinished. As a complement, the harpsichordist had the surprising yet outstanding idea to combine Berhard Klapprott and a second harpsichord to play two mirror fugues from other manuscripts, which require a large number of playing fingers. The sound disparities between both harpsichords help the listener follow Bach’s titanic contrapuntal inventions. It’s clear this music wasn’t intended for the eyes alone… © SM/Qobuz
Detalles de la grabación original : Recording : V/2012, Georgskirche, Weener (Germany)
Acerca del álbum
- 1 disco(s) - 19 pista(s)
- Duración total: 01:16:37
- 1 Libreto digital
- Artistas principales: Bob Van Asperen
- Compositor: Johann Sebastian Bach
- Sello: Aeolus
- Área: Allemagne
- Género Clásica Música de cámara
- Periodo: Música Barroca
Aeolus Aeolus
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