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Die Kunst der Fuge, BWV 1080 | |
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앨범: 바흐: 푸가의 기법 BWV 1080 Johann Sebastian Bach (1685 - 1750)
1. Contrapunctus 1 - Track 전곡 연주 |
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Album Title: Bach: Die Kunst der Fuge, BWV 1080 (The Art of Fugue) Performer: Davitt Moroney (Harpsichord) Composer: Johann Sebastian Bach (1685 - 1750)
Audio CD (October 1, 1999)
Audio LP (January 28, 1985)
Number of Discs: 2
SPARS Code: DDD / n/a
Recorded in: Stereo
Series: Musique D'Abord
Format: 2 × Audio CD, Album, Reissue
Country: France
Recorded at Salle Adyar, Paris, France.
Label: Harmonia Mundi France
Copyright: (c) ℗ 1985 harmonia mundi Fr.
Album Total 98:50
Genres: Classical, Music
Style: Baroque, Keyboard Notes
(P) 1985, 2001 Harmonia Mundi S.A.
Recorded January 1985, Salle Adyar, Paris.
Made in Germany.
Phonographic Copyright (p) – Harmonia Mundi S.A.
Die Kunst der Fuge (The Art of the Fugue), for keyboard, BWV 1080 (01:39:01)
Catalog No. BWV 1080
Composer Johann Sebastian Bach (1685 - 1750)
Performer Davitt Moroney (Harpsichord)
Genre Baroque Period / Fugue
Date Written by 1742; circa 1745-1750; Leipzig, Germany
Period Baroque
Disc 1 4 Fugues Simples
1. Contrapunctus 1 (À 4 Voix: Thème Rectus) (03:42)
2. Contrapunctus 2 (À 4 Voix: Thème Inversus) (03:20)
3. Contrapunctus 3 (À 4 Voix: Thème Rectus) (02:58)
4. Contrapunctus 4 (À 4 Voix: Thème Inversus) (04:08) 3 Contre-Fugues En Strette
5. Contrapunctus 5 (À 4 Voix: Thème Inversus Et Rectus) (04:20)
6. Contrapunctus 6 (À 4 Voix: In Stylo Francese [Per Diminutionem]: Thème Rectus Et Inversus) (04:19)
7. Contrapunctus 7 (À 4 Voix: Per Augmentationem Et Diminutionem: Thème Rectus Et Inversus) (04:14) 4 Doubles Et Triples Fugues
8. Contrapunctus 9 (À 4 Voix: Alla Duodecima 2 Thèmes, Dont Le 2e Est Le Thème Principal Rectus) (03:25)
9. Contrapunctus 10 (À 4 Voix: All Decima 2 Thèmes, Dont Le 2e Est Le Thème Principal Inversus) (05:29)
10. Contrapunctus 8 (À 3 Voix: 3 Thèmes, Dont Le 3e Est Le Thème Principal Inversus) (07:28)
11. Contrapunctus 11 (À 4 Voix: Les Mêmes 3 Thèmes Rectus, Dont Le 1er Est Le Thème Principal) (07:43)
Disc 2
2 Fugues Miroir
1. Contrapunctus 12 (À 4 Voix: Rectus) (03:36)
2. Contrapunctus 12 (À 4 Voix: Inversus) (03:39)
3. Contrapunctus 13 (À 3 Voix: Rectus) (02:29)
4. Contrapunctus 13 (À 3 Voix: Inversus) (02:52) La Dernière Fugue, Inachevée
5. Contrapunctus 14 (À 4 Voix: "Fuga A 3 Soggetti": 3 Thèmes Dont Le 3e Est Le Nom De BACH) (09:30) 4 Canons
6. Canon In Hypodiapason (Canon Alla Ottava) (À 2 Voix: Thème Inversus Et Rectus) (02:38)
7. Canon Alla Decima, Contrapunto Alla Terza (À 2 Voix: Thème Inversus) (04:57)
8. Canon Alla Duodecima, In Contrapunto Alla Decima (À 2 Voix: Thème Rectus) (02:14)
9. Canon [In Hypodiatessaron] Par Augmentationem In Contrario Motu (À 2 Voix: Thème Rectus Et Inversus) (05:21) La Dernière Fugue, Complétée Par D. Moroney
10. Contrapunctus 14 (À 4 Voix: 4 Thèmes Dont Le 3e Est Le Nom De Bach, Et Le 4e Est Le Thème Principal, Rectus) (10:29).
Davitt Moroney (Harpsichord) Bach’s Musical Testament
Bach’s last – and unfinished – great work takes us into a world of unsurpassed beauty and refinement. Although no specific instrumentation is indicated in the manuscript, The Art of Fugue was probably meant for the harpsichord, as is convincingly demonstrated by this splendid interpretation by Davitt Moroney, who, moreover, suggests solutions to some of the questions the work has always posed. Davitt Moroney plays a harpsichord by John Phillips, 1980, after Ruckers, 1646, Blanchet, 1756 and Taskin ,1780. This title was released for the first time in 1985.
Biography Davitt Moroney (Harpsichord) Born: December 23, 1950 Country: England
Davitt Moroney is one of today's top specialists in older keyboard instruments, one who has delved deeply into the music and aesthetics of French and English harpsichord music. He has perhaps the most scholarly orientation among leading early music performers, but his performances are accessible to any listener. Born in Britain of Irish-Italian ancestry, he studied in England, France, and the United States, coming to early music through scholarly study. His PhD, granted at the University of California in 1980, dealt with the choral music of Tallis and Byrd. Through the 1970s, however, he studied organ (with the Austrian player Susi Jeans) and harpsichord (with the Canadian Kenneth Gilbert), and after finishing his degree he embarked on a career as a recitalist, with Paris as his home base. Moroney has released over 50 compact discs of keyboard music of the sixteenth through eighteenth centuries, as a soloist, chamber player, and participant in concertos, winning several Gramophone Awards and France's Grand Prix du Disque de l'Académie Charles Cros. His most ambitions project, which took 15 years of planning, research, and rehearsal, is a complete survey of the keyboard music of the great Elizabethan-era English composer William Byrd. A seven-disc set (for the price of five), on the Hyperion label, it was the first album of its kind. Meticulously researched, it includes a 45,000-word program book written by Moroney himself. The recording uses the most appropriate instruments available, including two different harpsichords, clavichord, chamber organ, the Ahrend organ of the Church-Museum des Augustins, Toulouse, and a muselar virginal especially built for the recording. Many of the recordings were made in the actual locations where Byrd himself had played his music, including Lincoln Cathedral, Ingatestone Hall in Essex, and L'Abbaye Royale de Fontevraid, France. Despite all the research and intellectual effort involved, and the strict authenticity for which he strives, Moroney's performances are vivid and expressive, delighting contemporary audiences. one way he is known for putting his insights across to audiences is to address them directly. In the year 2000, Moroney's biography Bach: An Extraordinary Life appeared, and his critical edition of Bach's Art of the Fugue (one of over a dozen he has edited) included a new completion of that work's massive unfinished closing fugue. Since 2001 he has been professor of music and university organist at the University of California, Berkeley.
INTRODUCTION 바흐/ 푸가의 기법 바흐의 마지막 작품이자 미완성의 이 위대한 작품은 우리를 비길 데 없는 아름다움과 정제된 순수의 세계로 인도한다. 비록 필사본에는 어떠한 특별한 기악 편성법도 명시되어 있지 않지만, 바흐에 대한 뛰어난 해석가인 다비드 모로니의 권위 있는 해석에 따르면, 푸가의 기법은 본래 하프시코드 곡으로 의도되었을 것이며, 또한 이작품이 늘상 제기해 온 여러 의문점들에 대한 해석이 열쇠를 제시하고 있다. ....
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푸가의 기법 BWV 1080 바흐의 미완성 대작(작품 1080). 15곡의 푸가와 4곡의 카논으로 구성된 작품으로, 바흐가 죽은 뒤 1751년 미완성인 채로 출판되었다. 기본 주제와 다양한 변형의 악곡들이 복잡한 순서로 배열되어 있다. 이전에는 바흐의 말년인 49년 무렵의 작품으로 여겨왔으나, 최근에는여러 악곡이 1740년대 초기 작품이라는 견해가 제시되고 있다. 자필 악보와 51년 초판 악보 사이에 곡수 및 배열순서에 큰 차이가 있고, 악기 편성이 지정되어 있지 않는 등 작품의 전체적 구성에 관한 의도가 불분명하기 때문에 오늘날까지 여러 가지로 해석, 편곡되어 연주되고 있다. 오랫동안 푸가와 카논의 범례집에 불과하다고 여겼으나, 1927년 전곡이 초연된 뒤 재평가되어 푸가기법의 모든 유형이 집대성된 서양음악의 위대한 정신적 유산으로 평가되고 있다. |
 곧 미남 리차드강 어리버리 돈키호테.
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