Vaudry by Johan Brouwer

Johan Brouwer

Vaudry

Price: € 19.95
Format: CD
Label: Aliud
UPC: 8717775551089
Catnr: ACDBA 0892
Release date: 16 September 2016
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Label
Aliud

UPC
8717775551089

Catalogue number
ACDBA 0892

Release date
16 September 2016

Album

Artist(s)

Composer(s)

About the album

The Italian Influences on French Music and on the Music of Bach
The subject of this new CD is The Italian Influences on French Music and on the Music of Bach. It follows on from my previous Taskin CD Bach and the French Baroque. This programme is played on a copy of a 17th-century French harpsichord, built by David Rubio (1980) after an instrument by Vaudry (1681). The Vaudry instrument with its characteristic French timbre and a more Italian mode of construction is a specific early French instrument and is therefore, in my opinion, more suitable for this music than the Taskin instrument of the previous CD. Taskin is more based on a continuation of the Franco-Flemish tradition.

Johan Brouwer has made various CDs, including a CD with his collection of harpsichords, built by David Rubio. 2012 saw the release of a CD with works played on the famous Arp Schnitger positiv (1695) in Nieuw-Scheemda and on his Italian harpsichord, built by David Rubio (1977) after Giovanni Giusti (1679). In 2014 a CD with mostly French baroque music was recorded, played on his French harpsichord, built by David Rubio (1979) after Pascal Taskin (1769)

The subject of this new CD is The Italian Influences on French Music and on the Music of Bach. It follows on from my previous Taskin CD Bach and the French Baroque.

Artist(s)

Johan Brouwer (harpsichord)

Johan Brouwer (1943) studied organ under Wim van Beek and music theory under Frans van Eeden at the Groningen conservatory, then harpsichord at the Amsterdam conservatory. After his soloist exam he took up further studies with Gustav Leonhardt. Johan Brouwer followed masterclasses by Ton Koopman, René Saorgin and Jos van Immerseel. Johan Brouwer has given concerts in the Netherlands, France, Sweden, Portugal, England and Germany and as leader/harpsichordist formed part of the Groningen baroque orchestra Collegium Musicum, concentrating not just on the great traditional works of the baroque but also on unknown work from the 17th and 18th centuries. He also worked for a long time as conductor of the Winschoten Chamber Choir, with which he performed much 17th century music together with the Collegium Musicum Groningen. Johan Brouwer has made various CDs, including a CD with his collection of harpsichords, built by David Rubio, a CD with radio recordings from ’73 and ’83 made by the NCRV on the Hinsz organs of Midwolda and Appingedam and 2 CDs in the book ‘35 Years of Collegium Musicum Groningen’, in which he can be heard as continuo player and conductor. 2012 saw the release of a CD in which works are played on the famous Arp Schnitger positiv (1695) in Nieuw-Scheemda and on his Italian harpsichord, built by David Rubio (1977) after Giovanni Giusti (1679). In 2014 there is a release of a new CD ‘Bach and the French baroque’. 2016 saw the release of my CD played on my copy of the Jean Vaudry harpsichord (1681) with Bach and French music

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Composer(s)

Johann Sebastian Bach

Johann Sebastian Bach was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and hundreds of cantatas. His music is revered for its technical command, artistic beauty, and intellectual depth. Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.

Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.

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François Couperin

François Couperin was a French composer. He is the most imporant and best known member of the Couperin family, which consisted of a whole dynasty of composers. Couperin was nicknamed 'Le Grand' (the Great), and is considered to be one of the most seminal composers of the Baroque period, especially in regard to his music for harpsichord. His keyboard music is characterised by a strong idiomatic nature, both in its personal style and in its close relation to the instrument's features. Next to his harpsichord music, Couperin composed music for organ, vocal music, both sacred and secular, and chamber music. Moreover, he published several theoretical treatises on the playing techniques on the harpsichord and its role in the accompaniment of music.

Next to his harpsichord music, Couperin composed music for organ, vocal music, both sacred and secular, and chamber music. Moreover, he published several theoretical treatises on the playing techniques on the harpsichord and its role in the accompaniment of music.

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Johann Jakob Froberger

Jean-Henry d'Anglebert

Jean-Henry D'Anglebert was a French composer of keyboard music from the Baroque period. D'Anglebert might have been a student of Jean Champion de Chambonnières, the founder of what the early French harpsichord school. In any case, both these harpsichordists have had a major impact on keyboard music, and in particular the keyboard suite. Only one publication of D'Anglebert, one from 1689, is known to survive. This collection consists of 57 works - original works and transcriptions of orchestral parts and arias from operas by Jean-Baptiste Lully - for harpsichord in 4 suites, and 5 works for organs and 5 educational pieces for keyboard accompaniment. The suites are quite long due the inclusion of transcriptions of works by Lully and vaudevilles (popular melodies), to fill the pages. This strive for using the space of the pages most optimally can also be found in his own music, which is strongly modified making the pages black with all the notes and embellishments. This creates a very thick, musical texture. The keyboard arrangements of the full, five part orchestral works by Lully, too, influenced D'Anglebert's own dances. In his allemanes and gigues he made use of thick, five-voiced chords and cramped elaborations within the work itself. His gigues are remarkably fast in tempo and his two polyphonic gigues in 12/8th measure are the first of their kind in France.

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