Clavierwerke I
Listen
(18)
- Largo
- Allegro – Largo
- Allegro non troppo
- Andante
- Vivace
- Allegro
- Siciliana
- Presto
- Un poco allegro
- Adagio
- Vivace
- Menuett 1
- Menuett 2
- Variation 1
- Variation 2
- Variation 3
- Fantasia in d
- Fantasia in e
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Composer
Wilhelm Friedemann Bach
| -1784Wilhelm Friedemann Bach, the oldest son of Johann Sebastian, enjoyed the reputation of an outstanding, but at the same time one of the most independent-minded composers of his age. His work represents the ambitious attempt to absorb the legacy of his father and to develop the taste of his own generation further. Lofty artistic ambitions are to be found in almost all of W. F. Bach's works – from the early piano pieces via the cantatas of his middle period to the late sonatas and fantasias. Wilhelm Friedemann Bach wrote keyboard and chamber music, concertos and sacred cantatas. On a high level of technical ability he created a fascinating synthesis of baroque complexities and the emotionally charged galant style. While his instrumental works were written for the most part in Dresden (1733–1746) and Berlin (1774–1784) and are in the style of splendid courtly music, the vocal works date from his time as organist and director of music at the Marktkirche in Halle (1746–1764); they are distinguished by their expressive boldness and virtuosity. Personal details
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Preface writer
Peter Wollny
| 1961
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Soloist - harpsichord
Leon Berben
Whether as an organist or harpsichordist, Léon Berben can be considered a master in his field. His extensive knowledge of music history and historical performance practice make him one of the leading figures of his generation in the field of early music. His repertoire embraces keyboard music from 1550 to 1790. He is the co-author of various articles in Die Musik in Geschichte und Gegenwart. His interpretations are given special weight by intensive study of the sources and constant research work, and his solo recordings on historic instruments have received great critical acclaim, winning several awards including the Diapason d’Or, the Choc du Monde de la Musique, as well as the Quarterly German Record Critics’ Award. Léon Berben was born in 1970 in Heerlen, The Netherlands, and lives in Cologne. He gained his solo diploma in organ and harpsichord in Amsterdam and at The Hague, studying with Gustav Leonhardt (whose last student he was), Rienk Jiskoot, Ton Koopman and Tini Mathot. He was the harpsichordist for Musica Antiqua Köln (Reinhard Goebel) from 2000, with whom he performed throughout Europe, Asia and North and South America, and recorded many CDs. Since the dissolution of the ensemble in 2006, he has pursued a solo career, appearing regularly at the most prestigious international festivals such as Klavier-Festival Ruhr, Internationaal Orgelfestival Haarlem, Schleswig-Holstein Musik Festival, Bodenseefestival, Festival Oude Muziek Utrecht, Rheingau Musikfestival, Festival de Saintes, Lucerne Festival, and the Festival de Música Antiga de Barcelona. He performs regulary with Concerto Melante, a chamber music ensemble of the Berliner Philharmoniker. Personal details
Reviews
[...] These are exceptionally fine performances, and even if this were not the premiere recording of five of the works in the recital, I would still have recommended the disc wholeheartedly.
(Early Music Review, Dezember 2010)
[...] Léon Berben [stellt] alle Charakteristika dieser Meisterwerke der Klaviermusik mit vitalem Zugriff heraus, vielseitig in Ausdruck, Stimmung und reich an Klang- und Rhythmusnüancen. Fünf davon sind Ersteinspielungen – ein weiterer Hinweis darauf, welche Schätze es im Schaffen Wilhelm Friedemann Bachs noch ans Licht zu befördern gilt. Einem Genie zu Ehren, dem Musikleben zur Bereicherung.
(www.codexflores.ch, 02.05.2011)
[...] Diese CD-Edition hat es in sich, Kenner, Liebhaber und Neugierige werden daran nicht vorbei kommen. [...]
(Sebastian Blottner, www.kultiversum.de, 21.11.2010)
[...] So erstaunlich es klingt, noch nie ist das eher schmale Tasteninstrument-Œuvre des eigenwilligen ältesten Bach-Sohns komplett zu hören gewesen. Gleich mit fünf Erstaufnahmen kann der Cembalist Léon Berben glänzen, und das Resultat wird nicht nur Klangarchäologen erfreuen: Subtil-kuriose Tricks machen aus dem eher traditionsverpflichteten Anti-Star am Übergang zur Frühklassik eine besondere Figur. [...]
(kulturspiegel, 30.9.2010)
[...] this new edition is indispensable, including as it does three previously unpublished sonatas, and significant variants to three of the known ones and the solo concerto. I hope that it will remain in print for many years to come.
(Paul Simmonds, Zofingen, Switzerland - British Clavichord Society Newsletter 48, October 2010)
[...] Die explosive Spannung und Ruhe von Berbens Spiel kommt am deutlichsten in der Fantasie in d-Moll zum Ausdruck. Sowohl diese wie auch die abschließende, größer dimensionierte Fantasie in e-Moll sorgen für beeindruckende Hörerlebnisse. Die Verbindung von hoher Einfühlsamkeit, einem großen Verständnis für die Werke und einer erstaunlichen technischer Expertise lassen sie kunstvollen, weitestgehend vergessenen Kompositionen Wilhelm Friedemann Bachs in bestem Licht erstrahlen.
(Marion Beyer, klassik.com, 8.10.2010)
Berben gelingt – auf dem einem Hamburger Modell von 1728 nachgebauten Instrument, dessen Klangreichtum in der auch technisch gut balancierten Produktion wirkungsvoll zur Geltung kommt – ein faszinierendes Porträt. [... Man hat] stets aufs neue den Artikulationsreichtum, das Feuer und die instrumentale Beredsamkeit des Interpreten zu bewundern. [...]
(Kölner Stadtanzeiger, 25./26.09.2010)
So erstaunlich es klingt, noch nie ist das eher schmale Tasteninstrument-OEuvre des eigenwilligen ältesten Bach-Sohns (1710 bis 1784) komplett zu hören gewesen. Gleich mit fünf Erstaufnahmen kann der Cembalist Léon Berben glänzen, und das Resultat wird nicht nur Klangarchäologen erfreuen: Subtil-kuriose Tricks machen aus dem eher traditionsverpflichteten Anti-Star am Übergang zur Frühklassik eine besondere Figur.
(Spiegel, September 2010)
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