Yuan Sheng - J.S. Bach: Klavierbüchlein für Wilhelm Friedemann Bach (2022)
BAND/ARTIST: Yuan Sheng
- Title: J.S. Bach: Klavierbüchlein für Wilhelm Friedemann Bach
- Year Of Release: 2022
- Label: Brilliant Classics
- Genre: Classical Clavichord
- Quality: flac lossless (tracks)
- Total Time: 02:08:49
- Total Size: 681 mb
- WebSite: Album Preview
Tracklist
01. Applicatio in C Major, BWV 994
02. Prelude in C Major, BWV 924
03. Wer nur den lieben Gott lässt walten in A Minor, BWV 691
04. Prelude in D Minor, BWV 926
05. Jesu, meine Freude in D Minor, BWV 753
06. Allemande in G Minor, BWV 836
07. Allemande in G Minor, BWV 837
08. Prelude in F Major, BWV 927
09. Prelude in G Minor, BWV 930
10. Prelude in F Major, BWV 928
11. Minuet in G Major, BWV 841
12. Minuet in G Minor, BWV 842
13. Minuet in G Major, BWV 843
14. Praeludium No. 1 in C Major, BWV 846a
15. Praeludium No. 2 in C Minor, BWV 847/1
16. Praeludium No. 3 in D Minor, BWV 851/1
17. Praeludium No. 4 in D Major, BWV 850/1
18. Praeludium No. 5 in E Minor, BWV 855a
19. Praeludium No. 6 in E Major, BWV 854/1
20. Praeludium No. 7 in F Major, BWV 856/1
21. Praeludium No. 8 in C-Sharp Major, BWV 848/1
22. Praeludium No. 9 in C-Sharp Minor, BWV 849/1
23. Praeludium No. 10 in E-Flat Minor, BWV 853/1
24. Praeludium No. 11 in F Minor, BWV 857/1
25. Pièce pour le clavecin: I. Allemande
26. Pièce pour le clavecin: II. Courante
27. Prelude in C Major, BWV 924a
28. Prelude in D Major, BWV 925
29. Prelude in E Minor, BWV 932
30. Prelude in A Minor, BWV 931
31. Baß-Skizze in G Minor
32. Fuga à 3 in C Major, BWV 953
33. Praeambulum No. 1 in C Major, BWV 772
34. Praeambulum No. 2 in D Minor, BWV 775
35. Praeambulum No. 3 in E Minor, BWV 778
36. Praeambulum No. 4 in F Major, BWV 779
37. Praeambulum No. 5 in G Major, BWV 781
38. Praeambulum No. 6 in A Minor, BWV 784
39. Praeambulum No. 7 in B Minor, BWV 786
40. Praeambulum No. 8 in B-Flat Major, BWV 785
41. Praeambulum No. 9 in A Major, BWV 783
42. Praeambulum No. 10 in G Minor, BWV 782
43. Praeambulum No. 11 in F Minor, BWV 780
44. Praeambulum No. 12 in E Major, BWV 777
45. Praeambulum No. 13 in E-Flat Major, BWV 776
46. Praeambulum No. 14 in D Major, BWV 774
47. Praeambulum No. 15 in C Minor, BWV 773
48. Suite in A Major, BWV 824: I. Allemande
49. Suite in A Major, BWV 824: II. Courante
50. Suite in A Major, BWV 824: III. Gigue
51. Partita di Signore Steltzeln, BWV 929: I. Ouverture
52. Partita di Signore Steltzeln, BWV 929: II. Air Italien
53. Partita di Signore Steltzeln, BWV 929: III. Bourrée
54. Partita di Signore Steltzeln, BWV 929: IV. Minuet
55. Fantasia No. 1 in C Major, BWV 787
56. Fantasia No. 2 in D Minor, BWV 790
57. Fantasia No. 3 in E Minor, BWV 793
58. Fantasia No. 4 in F Major, BWV 794
59. Fantasia No. 5 in G Major, BWV 796
60. Fantasia No. 6 in A Minor, BWV 799
61. Fantasia No. 7 in B Minor, BWV 801
62. Fantasia No. 8 in B-Flat Major, BWV 800
63. Fantasia No. 9 in A Major, BWV 798
64. Fantasia No. 10 in G Minor, BWV 797
65. Fantasia No. 11 in F Minor, BWV 795
66. Fantasia No. 12 in E Major, BWV 792
67. Fantasia No. 13 in E-Flat Major, BWV 791
68. Fantasia No. 14 in D Major, BWV 789
69. Fantasia No. 15 in C Minor, BWV 788
With almost 70 separate pieces across the 130 minutes of this generous collection, Yuan Sheng surveys a sometimes overlooked aspect of Bach’s industry and genius, as both teacher and family man. This side of him is generally associated with the two notebooks begun for and subsequently compiled by his wife Anna Magdalena, but both of those volumes include several pieces not by Bach himself.
Johann Sebastian regarded Wilhelm Friedemann as the most naturally gifted of his musical children, and some idea of the child’s gifts, and the rigour of his training, may be gleaned from the fact that the notebook dates from 1720, when WF was just ten years of age. The collection follows his standard teaching practice of composing pieces which address particular technical aims – finger exercises, trills, clarity of touch – so that the music itself would teach the student and technique could be derived from the music rather than the other way around.
Much of the material from this Clavierbüchlein became absorbed into the better known collection of two-part Inventions and three-part Sinfonias which JS compiled three years later, but the original sequence is more extensive and more diverse. Almost uniquely on record, Yuan Sheng has recorded and presented the two collections together, affording an invaluable insight into Bach’s creative mind as a teacher and as refiner and reviser of his own music.
Yuan Sheng studied with the ‘high priestess’ of Bach on the piano, Rosalyn Tureck, but he has long made a name for himself as a harpsichordist, pianist and Bach interpreter of the highest pedigree, as well as a teacher of historically informed performance practice in his native China. In this regard, as performer and teacher (like Bach himself) he pursues a multi-branched career across several continents. He has several critically acclaimed albums of Bach to his name on the Piano Classics label including the Goldberg Variations, Partitas and French Suites.
Klavierbüchlein für Wilhelm Friedemann Bach (Bach's original spelling: Clavier-Büchlein vor Wilhelm Friedemann Bach) is a collection of keyboard music compiled by Johann Sebastian Bach for his eldest son Wilhelm Friedemann with a clear didactic purpose. Most of the pieces included are better known as parts of The Well-Tempered Clavier and the Inventions and Sinfonias. The pieces of the collection are arranged by complexity, beginning with the most simple works.
The works are for “Keyboard” so may be played on any instrument: organ, harpsichord, spinet or clavichord. Bach however considered the clavichord as the best instrument for personal use, because it is able to express most adequate the finest thoughts and a cantabile way of playing.
Played on the clavichord by Yuan Sheng, “China’s premier interpreter of Bach” (International Piano Magazine). A pupil of Solomon Mikowsky (Manhattan School of Music) and notably Rosalyn Tureck Yuan Sheng extensively studied the performance practice of Baroque music. Equally at home at the piano as the harpsichord he has an instinctive feeling for the possibilities, sonorities and touch of the instrument at hand, so that “the listener might easily have imagined the composer at the keyboard” (Boston Intelligencer).
01. Applicatio in C Major, BWV 994
02. Prelude in C Major, BWV 924
03. Wer nur den lieben Gott lässt walten in A Minor, BWV 691
04. Prelude in D Minor, BWV 926
05. Jesu, meine Freude in D Minor, BWV 753
06. Allemande in G Minor, BWV 836
07. Allemande in G Minor, BWV 837
08. Prelude in F Major, BWV 927
09. Prelude in G Minor, BWV 930
10. Prelude in F Major, BWV 928
11. Minuet in G Major, BWV 841
12. Minuet in G Minor, BWV 842
13. Minuet in G Major, BWV 843
14. Praeludium No. 1 in C Major, BWV 846a
15. Praeludium No. 2 in C Minor, BWV 847/1
16. Praeludium No. 3 in D Minor, BWV 851/1
17. Praeludium No. 4 in D Major, BWV 850/1
18. Praeludium No. 5 in E Minor, BWV 855a
19. Praeludium No. 6 in E Major, BWV 854/1
20. Praeludium No. 7 in F Major, BWV 856/1
21. Praeludium No. 8 in C-Sharp Major, BWV 848/1
22. Praeludium No. 9 in C-Sharp Minor, BWV 849/1
23. Praeludium No. 10 in E-Flat Minor, BWV 853/1
24. Praeludium No. 11 in F Minor, BWV 857/1
25. Pièce pour le clavecin: I. Allemande
26. Pièce pour le clavecin: II. Courante
27. Prelude in C Major, BWV 924a
28. Prelude in D Major, BWV 925
29. Prelude in E Minor, BWV 932
30. Prelude in A Minor, BWV 931
31. Baß-Skizze in G Minor
32. Fuga à 3 in C Major, BWV 953
33. Praeambulum No. 1 in C Major, BWV 772
34. Praeambulum No. 2 in D Minor, BWV 775
35. Praeambulum No. 3 in E Minor, BWV 778
36. Praeambulum No. 4 in F Major, BWV 779
37. Praeambulum No. 5 in G Major, BWV 781
38. Praeambulum No. 6 in A Minor, BWV 784
39. Praeambulum No. 7 in B Minor, BWV 786
40. Praeambulum No. 8 in B-Flat Major, BWV 785
41. Praeambulum No. 9 in A Major, BWV 783
42. Praeambulum No. 10 in G Minor, BWV 782
43. Praeambulum No. 11 in F Minor, BWV 780
44. Praeambulum No. 12 in E Major, BWV 777
45. Praeambulum No. 13 in E-Flat Major, BWV 776
46. Praeambulum No. 14 in D Major, BWV 774
47. Praeambulum No. 15 in C Minor, BWV 773
48. Suite in A Major, BWV 824: I. Allemande
49. Suite in A Major, BWV 824: II. Courante
50. Suite in A Major, BWV 824: III. Gigue
51. Partita di Signore Steltzeln, BWV 929: I. Ouverture
52. Partita di Signore Steltzeln, BWV 929: II. Air Italien
53. Partita di Signore Steltzeln, BWV 929: III. Bourrée
54. Partita di Signore Steltzeln, BWV 929: IV. Minuet
55. Fantasia No. 1 in C Major, BWV 787
56. Fantasia No. 2 in D Minor, BWV 790
57. Fantasia No. 3 in E Minor, BWV 793
58. Fantasia No. 4 in F Major, BWV 794
59. Fantasia No. 5 in G Major, BWV 796
60. Fantasia No. 6 in A Minor, BWV 799
61. Fantasia No. 7 in B Minor, BWV 801
62. Fantasia No. 8 in B-Flat Major, BWV 800
63. Fantasia No. 9 in A Major, BWV 798
64. Fantasia No. 10 in G Minor, BWV 797
65. Fantasia No. 11 in F Minor, BWV 795
66. Fantasia No. 12 in E Major, BWV 792
67. Fantasia No. 13 in E-Flat Major, BWV 791
68. Fantasia No. 14 in D Major, BWV 789
69. Fantasia No. 15 in C Minor, BWV 788
With almost 70 separate pieces across the 130 minutes of this generous collection, Yuan Sheng surveys a sometimes overlooked aspect of Bach’s industry and genius, as both teacher and family man. This side of him is generally associated with the two notebooks begun for and subsequently compiled by his wife Anna Magdalena, but both of those volumes include several pieces not by Bach himself.
Johann Sebastian regarded Wilhelm Friedemann as the most naturally gifted of his musical children, and some idea of the child’s gifts, and the rigour of his training, may be gleaned from the fact that the notebook dates from 1720, when WF was just ten years of age. The collection follows his standard teaching practice of composing pieces which address particular technical aims – finger exercises, trills, clarity of touch – so that the music itself would teach the student and technique could be derived from the music rather than the other way around.
Much of the material from this Clavierbüchlein became absorbed into the better known collection of two-part Inventions and three-part Sinfonias which JS compiled three years later, but the original sequence is more extensive and more diverse. Almost uniquely on record, Yuan Sheng has recorded and presented the two collections together, affording an invaluable insight into Bach’s creative mind as a teacher and as refiner and reviser of his own music.
Yuan Sheng studied with the ‘high priestess’ of Bach on the piano, Rosalyn Tureck, but he has long made a name for himself as a harpsichordist, pianist and Bach interpreter of the highest pedigree, as well as a teacher of historically informed performance practice in his native China. In this regard, as performer and teacher (like Bach himself) he pursues a multi-branched career across several continents. He has several critically acclaimed albums of Bach to his name on the Piano Classics label including the Goldberg Variations, Partitas and French Suites.
Klavierbüchlein für Wilhelm Friedemann Bach (Bach's original spelling: Clavier-Büchlein vor Wilhelm Friedemann Bach) is a collection of keyboard music compiled by Johann Sebastian Bach for his eldest son Wilhelm Friedemann with a clear didactic purpose. Most of the pieces included are better known as parts of The Well-Tempered Clavier and the Inventions and Sinfonias. The pieces of the collection are arranged by complexity, beginning with the most simple works.
The works are for “Keyboard” so may be played on any instrument: organ, harpsichord, spinet or clavichord. Bach however considered the clavichord as the best instrument for personal use, because it is able to express most adequate the finest thoughts and a cantabile way of playing.
Played on the clavichord by Yuan Sheng, “China’s premier interpreter of Bach” (International Piano Magazine). A pupil of Solomon Mikowsky (Manhattan School of Music) and notably Rosalyn Tureck Yuan Sheng extensively studied the performance practice of Baroque music. Equally at home at the piano as the harpsichord he has an instinctive feeling for the possibilities, sonorities and touch of the instrument at hand, so that “the listener might easily have imagined the composer at the keyboard” (Boston Intelligencer).
Year 2022 | Classical | FLAC / APE
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