Westminster

| | . — XWN 19067

G-PARAMO ec UN». > NPs

ii < Se a Et)

> if , “

a

WLLL) This is a MONOPHONIC recording

;

__ J.S. BACH: PARTITAS Volume 1

ds SIDE ONE

- Partita No. 1in B Major 1. Praeludium 4. Sarabande 2, Allemande 5. Menuett 1, Menuett 2 8. Courante 6. Gigue 13:45

THE MUSIC—Most literate music lovers could answer without equivocation when asked the identity of “Opus 1” of such compos- ers as Beethoven, Schubert, Brahms—in the first instance a memor- able series of trios (with piano), in the second the celebrated “Erlkonig”, in the third an arresting if not wholly realized piano sonata in C. Asked the same question about Bach, they would re- spond with disbelief, suspecting a hoax. After all, Bach did zot use opus numbers. However, there is factual evidence to the contrary that he did, at least once: for the edition of these Partitas published in 1731 bears, unmistakably, the inscription: Opus 1.

Most composers designated only printed works by opus numbers; in Bach’s case they were so few, during his lifetime, it was hardly worth bothering. Rather he inclined to such a designation as “Cla- vierübung” (“Keyboard exercises”) of which this comprised part I. In a series that totaled four volumes by 1742, he included a majestic set of organ chorale preludes (Volume III) and the Goldberg Vari- ations (Volume IV), since all keyboard instruments were then con- sidered related, and the organ works could be played on the pedal clavier as readily as on the organ with pedal.

“Clavieriibung” was a heritage from Kuhnau, his predecessor at the Thomas-kirche school in Leipzig; as was, also, the term “Par- tita” for what is no more nor less than a suite. Though Italian in origin, “Partita” by Bach’s time, had come to mean a “German” suite ;

that is to say, a suite in which certain German dance forms pre- dominated. Where the emphasis was otherwise the term was altered

to the more specific “French” or “English” suites, as we know from Bach’s own preference for one term or the other, when justified.

According to Eric Blom, the obligatory movements of a suite con-

sisted of “Allemande, Courante, Sarabande and Gigue”, almost in-

variably in the same key because the genesis of the whole genre was the lute, which had to be retuned for key changes, a trouble- some, time-consuming operation. A prelude was often added.

This general observation is borne out by the specific description of Bach’s “Opus I,” which reads:

“Praeludium, Allemanden, Couranten, Sarabanden, Giguen, Me- nuetten und andern Galanterien” thereby embracing all the “obliga- tory” examples, while reserving latitude for others.

From the first B flat chord to the last, the Praeludium of the Par- tita No. 1 is a twining growth of interrelated line and meaning, evolving as naturally as any plant from one supporting limb to the next. A triumphant example of the contrapuntal style, it contains no note which is superfluous, and few not derived from the first two measures. The second movement is a classic example of the “Ger- man” (“Allemande”) dance in moderate tempo, with the first ca- dence on the dominant, working back to the tonic. The key relation- ships give the first hint of the sonata form to come. Whether in the Italian or French spelling, the title Courante refers to a “running” (“courir”) dance, descended as the “running set” of our square dances. A special fillip is given here by the contrast of triplet figures in one voice with dotted eighth and sixteenths in another. The Sa- rabande is an evocation, pure and simple, of music’s power to sup- plicate, beseech, venerate; as much a prayer as any expressiof directly described so. Menuetts I and II follow, with the second OPA CP OP PP PR PP PP PR PP PO PR PR PR PA PR PC) Lo LU LC Lo LG oe Lo LA Le LS LG LA La 2 LS LG 2 2 % LU

oe + +

1. Sinfonia

2. Allemande

3. Courante

Partita No. 2 in C Minor

4, Sarabande

5. Rondeau

6. Capriccio 15:30

ou

SIDE TWO

Partita No. 4 in D Major 1. Ouverture 4. Aria 7. Gigue 2. Allemande 5. Sarabande 3. Courante 6. Menuett 28:30

e

JOERG DEMUS, piano

Li

Le 0% 0% 0% 0% 670 0% 00 000 0°e 00 00 00 20 oe oe ohn ote ote ote ohn che an oe a Va Va Va Pa Pa 9 % © © 6 ©. ©. © 1° 9% 9,8 98 9,9 9,9 0,9 0.9 09 OO 0.0 0.9 0,9 0.0 0.6 0, CLX 2) SAP AP SAP APPLE 0%

menuett foreshadowing the function of the trio in the later scherzo form. À further contrast is assured by restriction of the initial (re- peated) menuett to rigorous, contrapuntal interplay, with chords and pedal points providing another, sustained sonority, in the “trio.” The light, gliding scheme of the concluding Gigue is beauti- fully different from all that has preceded, featuring flashing high- lights provided by the crossing left hand above and below the run- ning figure in the right.

The opening of the Partita No. 2 in C minor is a far more elabo- rate movement than encountered in the preceding work. In Bach’s time the sinfonia was a term equivalent to overture, with sub-divi- sions accerding to the tempo-patterns utilized. This would be the French genre, with a “Grave introduction, followed by a faster main section. The French influence is sustained by the third, fugal section. The contrapuntal emphasis of this partita is carried on by the imitative pattern of treble and bass in the Allemande. In the first section ending on the dominant, sonorities are enlarged by additien of an inner voice, and in the second they are stripped down to the essentials in a design marvellously intricate, but also marvel- lously transparent. The Courante, rather than the Sarabande, car- ries the expressive burden of the whole work, as exemplified by sustaining tension and heightening interest. The Sarabande is much more a dance piece than its previous counterpart, even if the supple bass part fascinates the attention with its individuality and inge- nuity. This is particularly so in Part II, in which it intrudes the lay-out of the previous treble, against a varied diversionary pat- tern. While at a latter time the rondeau challenged the attention with appearances and reappearances of a distinctive theme, spelled by contrasting ones, here the challenge involves not only time but place —that is, the contrapuntal echo as well as the homophonic recurrence.

The extent and complexity of the introductory movement of the Partita No. 4 in D proclaims a score of greater involution and more Baroque detail than those which precede or follow. In the proclam- ative first section of the Ouverture we have a five-voice range. As is customary in the French form of overture, it is succeeded by a fugal section, more brilliant than rigorous, with emphasis on the activities of the outer voices. It ranges widely over the keyboard, with dart- ing episodes of virtuoso character diverging from and drawn back to the basic contrapuntal pattern. The Allemande, in keeping with suggestions of the foregoing, is as much a study in the execution of triplet figures against an even duple rhythm as it is an exposition of the basic form itself, with the Courante being adapted with artful ease to the requirements of the “running” dance.

It is a commonplace of Bach’s writing that the most expressive ends are often achieved with the simplest means. In the Aria we have a lyric supplication which is essentially a duet of treble and bass, reinforced by an occasional inner voice, for reasons purely harmonic. In the Sarabande Bach’s bass writing supplies the steady, insistent, recurrent point of reference against which the florid curve of interest develops in the treble. The ensuing Menuctt is simple enough in form, with a brief “trio” and return to the beginning for the final eight measures. The final movement is an expression half

¢ +

toccata and half gigue, which has invited individual performance separate from the work which precedes it. It is a triumphantly bril- liant expression however regarded: as contrapuntal fabric, as a super-instance of the gigue, or as a mere challenge for aspiring fingers.

IRVING KOLODIN Music Editor, Saturday Review

THE ARTIST—Joerg Demus was born in St. Polten, Austria on December 2, 1928. At six he began to study piano, and in 1940 entered the Music Academy in Vienna. He studied with some of the greatest artists in the piano world, including Walter Gieseking, Edwin Fischer, Wilhelm Kempff, Yves Nat and Michelangeli. An- other famous artist, Wilhelm Backhaus has acclaimed Demus as the finest among the younger European pianists. In 1947, Joerg Demus won the Austrian Music Award and in September 1956 the first prize at the International Busoni Competition. In London, two years later he received the Harriet _ : Cohen Bach medal and has also earned the Honor Award at the Gesell- schaft der Musikfreunde. Even be- fore his arrival in the United States in 1955 Demus was well known to mu- sic lovers through his many record- ings as soloist, accompanist, and part- ner in four-hand piano works. He is known for his interpretation of Bach, Schubert, Schumann and the French impressionists. $

THE RECORD —The original tapes for this recording were pro- duced with the latest and most natural microphone techniques avail- able, and were then transferred to a master disc without changes, the original sound preserved as performed. Pressings from the mas- ter disc were compared with the original tape and only when a comparable match was effected was actual production approved. This recording follows the R.I.A.A. characteristics. Stereophonic discs: For best playback results, play only with stylus in good condition, preferably a diamond (maximum radius 0007"). To preserve the ster- eophonic quality of the record, it should not be played with a monophonic car- tridge. , Monophonic discs: For best playback results, play only with stylus in good con- dition, preferably a diamond (maximum radius 001"). Although the record was Processed to give exceptionally high quality on monophonic playback equip- ment, stereophonic components will further enhance its sound.

PR guise italian M ee eile GRA i 0

ENGINEER: PETER CURIEL MASTERING: CLAUDE RIE COVER DESIGN: ARW PRODUCTIONS PRINTED IN U.S.A.

Write for free complete catalog to Westminster Recording Co., Inc. A Subsidiary of ABC-Paramount Records, Inc.

1501 Broadway, New York, N. Y. 10036 50 #5. 020 050 50 050 050 620 080 020 080 020 010 620 02 0%0 oe 2% 6% oe 8% 020 220 020 6% 0% 4% 080 8% oe 4% 0% oko ote 8% 620 6% 6% 629 890 829 68 4% se 24 a a a Pa 400. 0 + + 0 + + 0 + + + + + Vo .%. 2%0 2% 2? ae 2% 0 0 00 0,0 0.9 9. 0.0 020 020 050 050 920 050 050 000 050 65 ® © SAP EX Oo 94% 0,0 ©, 9 ©, f ©9 ©,9 8 © 0,8 © 0,9 © Ci MT PC ve,+e APS ® ®, Fo 9,8 0,9 ©, Oo OOO 09.09.08 08 1 #9 0,8 © Ch) SD © O.4

\/ 7 e ® e + + o + + + + +. ++ + + + + oe + +

ENJOY THESE OTHER OUTSTANDING WESTMINSTER AND MUSIC GUILD RECORDINGS BY DEMUS: BACH: KEYBOARD CONCERTI

(for 2 and 4 hands)

DEMUS, BADURA-SKODA, pianos

VIENNA STATE OPERA ORCH.; REDEL cond.

XWN-18925-26/WST-14109-10 (2 records)

BACH: A BACH RECITAL

Capriccio; Anna Magdalena Notebook;

Chromatic Fantasy & Fugue; others

M-17/S-17 (Music Guild) _ DEMUS, piano

AUSTRIAN COMPOSERS OVER 2 CENTURIES (Fux, Haydn, Mozart, Beethoven,

Schubert, Bruckner, Berg)

DEMUS, piano .

M-23/S-23 (Music Gui:d)

BACH: GOLDBERG VARIATIONS

DEMUS, piano

M-52/S-53 (Music Guild)

LEP oie

0. + In iC NY US AA anse"