In Concert - Live - 2 CD Edition
Johann Sebastian Bach: Chorale from
Cantata No. 147 Jesu, Joy of Men's Desiring is arranged by
Myra Hess and Prelude Chorale BWV 639 I Call on
Thee, Lord Jesus Christ is arranged by Ferruccio Busoni.
Originally written for male choir with organ and orchestral accompaniment, the
Chorale Jesu, Joy of Men's Desiring is one of Bach’s best known works. This
beautiful musical gem has been transcribed for almost every possible ensemble or
solo instruments. The majestic music creates the atmosphere of a great
cathedral, with a mood of dignity and serenity presenting a real challenge to
great pianists. Although many purists to day might look with disfavor of Busonis
arrangements of Bach’s works (Bach himself arranged music by Vivaldi), by any
reasonable assessment Prelude Chorale BWV 639 I Call on Thee, Lord Jesus
Christ amply underscore his sublime craftsmanship. Both works were performed
and recorded by IBA on March 27th, 1999 in the Henry Crown Symphony Hall,
Johann Sebastian Bach: Aria from Cantata No. 208,
Sheep May Safely Graze, is arranged by Egon Petri. As assistant
to his former teacher Ferruccio Busoni in editing Bach’s keyboard works, the
popular Bach aria is Petri’s own transcription. The aria comes from the cantata
No. 208 “Was mir behagt, ist nur die muntre Jagd” which Bach composed on the
occasion of the birthday of Duke Christian of Sachsen-Weissenfels in 1713. This
famous aria was performed and recorded on 15th, 2004 in the Museum of Art,
Joseph Haydn: Sonata in G major, Hob. XVI/6
was composed after Haydn first accompanied the Prince Esterhazy to his summer
estate as Cappelmeister in 1760 where he was removed from the (generally
mediocre) influences of Vienna – in his own words “forced to become original”.
The Sonata in G thoroughly illustrates this; it was performed and recorded on
July 22nd, 2006 at New Paltz, New York.
Joseph Haydn: Sonata in C major, Hob. XVI/1.
The Sonata in C is a work from Haydn’s early period and from the zenith of the
“Haydn” style. It is a youthful work for his pupils, reflecting the influences
of Haydn’s Viennese contemporaries, competent craftsmen whose names are now
forgotten. The Sonata in C was performed and recorded on April 23rd, 2004 in
Jordan Hall, Boston.
Wolfgang Amadeus Mozart: Sonata in C major, KV330.
The first movement of the tenth Sonata is exuberantly gay and is based on the
traditional sonata form. It is followed by an intimate andante cantabile with a
beautifully expressive minor episode. This movement reminds one of the Minuet
and Trio form (Minuet - Trio - Minuet - Coda); the numerous phrase marks and
careful dynamic indications testify to Mozart's fondness for this sonata. The
last four bars are not in the autograph - Mozart added them when the sonata was
engraved - what a blissful afterthought. The Andante is followed by the cheerful
Allegretto in sonata form. This sonata was also performed and recorded on April
23rd, 2004 in Jordan Hall, Boston.
Stravinsky – Agosti – Korsantia: The Firebird.
In 1934 Gwido Agosti made a magnificent piano transcription of the last 3 pieces
of the The Firebird Suite in a grand virtuosic style of Ferruccio Busoni's
transcriptions. In his transcription of Agosti's work, Alexander Korsantia chose
to take the music back to Stravinsky's original orchestral sound. It was
performed and recorded on December 15th, 2004 in the Museum of Art, Tel-Aviv.
Igor Stravinsky: Tango was composed
in 1940 and in 1953 Stravinsky made an arrangement for 19 instruments. Based on
true Tango rhythm, the piece is a veritable extravaganza of the mature
composers’ harmonies and polyphonies. Tango was performed and recorded on
September 9, 2003 in Toulouse.
Giya Kancheli: Instead of Tango was
composed in 1996. Originally written for the quartet of violin, piano, bandoneon
and double bass, Mr. Kancheli later made a piano arrangement dedicating it to
Alexander Toradze, George Vatchnadze and Alexander Korsantia who performed and
recorded it on September 9th, 2003 in Toulouse.
Sergei Prokofiev: Pastoral Sonatina, Op.
59 No. 3, Piano Sonata No. 7 in B flat major, Op. 83 and
Vision Fugitive No. 11, Op. 22 were all performed and recorded
by IBA on March 27th, 1999 in the Henry Crown Symphony Hall, Jerusalem. The
Pastoral Sonatina was written in 1933-34 as pure concert music, yet it is quite
rarely performed in recitals. The seventh piano sonata composed in 1939-42 is a
powerful and convincing piece of youthful exhibitionism and mature reflection on
the most profound issues of the time.
Sergei Prokofiev: Sonata No. 8 in B flat major Op. 84.
It is well known that Prokofiev’s style changed considerably at different times,
possibly and partly owing to the lengthy period he lived in France. It was only
after Prokofiev reentered the Soviet Union that he wrote the sketches to his
eight piano sonata. Together with his sixth and seventh sonatas the three are
sometimes referred to as the “War Sonatas” due more to the time of composition
than because of any programmatic content, although the eight bears some heroic
idioms. It was Kabalevsky who wrote that: “It would be hard to find a composer
whose works provoked such impassioned and sharp disputes as those which centered
round Prokofiev throughout his life”. Sonata No. 8 was performed and recorded on
March 27th, 1995 in the Museum of Art, Tel-Aviv.