Label: Challenge Classics
Format: CD
Barcode: 0608917275124
Catalog number: CC 72751
Releasedate: 08-09-17
Format: CD
Barcode: 0608917275124
Catalog number: CC 72751
Releasedate: 08-09-17
-A new disc by one of Challenge Classics most ‘faithful’ pianists
-Once more Michael Gees takes us into an imaginative journey: he applies an ‘improvisative’ approach to the music of Johann Sebastian Bach and Felix Mendelssohn
-This way, he reveals some kinship, some affinities that go beyond the famous story of Mendelssohn as the discoverer of Bach’s music in 19th Century.
-Gees sees in his own way of dealing with music of the past the faithfulness to a ‘period performance’, when embellishment, adaptation and improvisation were widespread practice.
-Once more Michael Gees takes us into an imaginative journey: he applies an ‘improvisative’ approach to the music of Johann Sebastian Bach and Felix Mendelssohn
-This way, he reveals some kinship, some affinities that go beyond the famous story of Mendelssohn as the discoverer of Bach’s music in 19th Century.
-Gees sees in his own way of dealing with music of the past the faithfulness to a ‘period performance’, when embellishment, adaptation and improvisation were widespread practice.
Michael Gees: How can a musical idea develop over and above what has been written down? What would Bach have thought about Mendelssohn? What would have happened had they been able to encourage each other to extemporise on their compositions?
It is considerations such as these that lead me to explore the music of Johann Sebastian Bach and Felix Mendelssohn Bartholdy by way of adaptational improvisations. In this context, I want to mention the term historical performance practice. Once upon a time – long before the invention of jazz – it was desired of, and common for, performers to treat the prescribed material creatively, improvising on the works in front of them, not only playing them, but also playing with them.
It is considerations such as these that lead me to explore the music of Johann Sebastian Bach and Felix Mendelssohn Bartholdy by way of adaptational improvisations. In this context, I want to mention the term historical performance practice. Once upon a time – long before the invention of jazz – it was desired of, and common for, performers to treat the prescribed material creatively, improvising on the works in front of them, not only playing them, but also playing with them.
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1Partita in B-flat Major, BWV 825Introduction02:09
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2Partita in B-flat Major, BWV 825Prelude01:52
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3Partita in B-flat Major, BWV 825Allemande04:07
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4Partita in B-flat Major, BWV 825Courante03:10
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5Partita in B-flat Major, BWV 825Sarabande03:03
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6Partita in B-flat Major, BWV 825Menuett I02:02
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7Partita in B-flat Major, BWV 825Menuett II00:51
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8Partita in B-flat Major, BWV 825Gigue03:16
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9Lieder ohne Worte Op. 30, No. 2 in B-flat Minor05:26
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10Lieder ohne Worte Op. 67, No. 3 in B-flat Major03:43
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11Lieder ohne Worte Op. 30, No. 5 in D Major04:18
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12Notebooks for Anna Magdalena BachNo. 5 Menuet04:00
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13Notebooks for Anna Magdalena BachNo. 7 Menuet01:44
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14Notebooks for Anna Magdalena BachNo. 22 Musette02:44
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15Notebooks for Anna Magdalena BachNo. 18 Marche01:38
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16Notebooks for Anna Magdalena BachNo. 19 Polonaise03:42
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176 Gesänge, Op.19aNeue Liebe03:29
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186 Lieder, Op.71Nachtlied (Joseph von Eichendorff), 184705:25
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19Prelude and Fugue in C-sharp Minor, BWV 849Prelude04:02
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20Prelude and Fugue in C-sharp Minor, BWV 849Fugue04:37
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21Lieder ohne Worte Op. 102, No. 5 in A Major03:48