4 de Novembro de 2022 - 20:30
Capela de Nossa Senhora de Santo Amaro (Misericórdia)
Oeiras

 

Affectus - obras de Joham Sebastian Bach

In this program we find some examples of the most outstanding characteristics of the German genius, of his favorite musical forms as well as of the compositional techniques that made him famous. In short, the quintessence of one of the greatest composers that the History of Music has given.

The striking Fantasy in A minor, called "Praeludium" in some manuscript sources, is an early piece by Bach, probably composed between 1700-1710. His extravagant and repetitive style surprises with its great drama, which surrounds us from the beginning to the end of the work.

In the Prelude, Fugue and Allegro we find an original piece not only in its structure, divided into three clearly differentiated movements, but also in its conception, since it was originally intended to be played either with a harpsichord or a lute.

The English Suites, composed in Weimar, stand as the first cycle of great suites that he composed, written with amazing maturity considering the date they were conceived. For example, in the Suite in G minor  we can clearly see the adaptation of the orchestral style in its prelude, as well as the ritornello structure —of clear Italian influence—, traits of an advanced musical vision.

In the second part of  The Well-Tempered Clavier, one of the most famous keyboard collections ever composed, we find a more modern style, influenced by the musical changes that were taking place around Bach. A clear example of this modernity is the sonata form of the Prelude in D major, divided into the three typical parts of exposition, development and re-exposition.

Finally, we get to one of the par excellence forms used by Bach, although  with greater weight in other instruments or in chamber music. The solo violin Sonatas, together with the Partitas, undoubtedly represent one of the greatest musical achievements of all time. In this case, the wonderful transcription for harpsichord by the legendary Dutchman Gustav Leonhardt (1928-2012) manages to adapt the original for violin with exquisite elegance. This transcription technique is well documented at the time, as there are examples of Bach himself: he adapted concertos by Italian and German authors for both the harpsichord and the organ.

 

Javier Núñez, harpsichord