BROEKERT LEEN DE - CD 3 HISTORICAL ORGANS IN..

Popis - 3 HISTORICAL ORGANS IN..:
Three organs from Zeeland were the point of departure for a voyage of discovery towards fitting repertoire for these instruments. Leen de Broekert presents these three entirely different organs with adventurous music that is not always an obvious choice. What they all have in common is the fact that they belong to the lesser known compositions by Johann Sebastian Bach (1685-1750). The programme starts in Middelburg with a festive prelude by the composer Thomas Babou from Liege (1656-1739), in which trumpet and cornet put in a befitting appearance . In 1738 Johann Kaspar Ferdinand Fischer (?-1746), a German contemporary of Babou, composed a collection of suites for harpsichord named after the nine muses and entitled: Musicalischer Parnassus. The suite Euterpe represents the muse of flute music. The Fugue in D minor, BWV 539, better known among organ players as the “Fugue for Violin “, is an 18th century tranion of unknown origin of Bach’s Fugue in G minor from the Sonata in G minor, BWV 1001, a solo for violin. The Fugue is combined with the Adagio that precedes the fugue in the aforesaid sonata. This Adagio (tranion Leen de Broekert) is a worthier companion in comparison to the rather insignificant Prelude to which the Fugue has been linked in several manus. Leen de Broekert’s arrangement of one of Mozart’s sonatas for piano agrees with the 18th century musical usage in which the distinction between harpsichord, fortepiano and organ was not all that strict. The Baarland organ resonates in music by the composers Charles –Joseph van Helmont from the south of Holland (1715 -1790) and Dieudonné Raick (1703-1764) and in a partita by one of Bach’s contemporaries, Gottfried Heinrich Stölzel (1690-1749). At the age of eighteen Charles-Joseph van Helmont succeeds Josse Boutmy (1697-1779) as the organ-player of the Sint Goedele church in Brussels. In 1737 he becomes the bandmaster of the Kapelle church in Brussels but four years later he returns to Sint-Goedele and for a period of 36 years he offers musical training to choir singers, organises musical performances in church and composes sacred music for church services. Apart from being a priest , theologian and lawyer , Dieudonné Raick was also a famous organ-player and in this capacity he was associated with the Antwerp cathedral, the Sint-Pieter in Leuven and the Sint-Baafs church in Gent. A number of inviting sonatas and suites for harpsichord by Raick have been preserved. Johann Sebastian Bach was well familiar with Gottfried Heinrich Stölzel’s music and held him in high esteem as a composer. He included his Partita in g-minor in the little music-book which he himself had put together for his eldest son Wilhelm Friedemann. The partita ends with a minuet of his own composing. Bach’s and Teleman’s chamber music is a perfect match for the organ at Gapinge, an organ that used to be private property. The looks of this organ are remarkable due to the impressive trophys of instruments adorning its panels. They symbolize so to speak the art of the muse to which Leen de Broekert too has contributed in a meaningful manner.