Friday
December 1, 2006
7:00 p.m.
David Greer Concert Hall
Bloomingdale School of Music
323 West 108th Street
New York, NY 10025
(212) 663–6021
1 train (map) to 110th street and Broadway, walk
south for two blocks to 108th street, make a right towards Riverside Drive, the
school is half way between Broadway and Riverside Drive.
Nearby buses (map), M104, M4, M116, M60, M5. Other MTA
maps available from their website. |
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Bach and the Fantasy
Description:
The keyboard fantasy's long history of development during the
Baroque period from the 16th century to the 18th century had
a significant influence on keyboard literature for the organ,
the harpsichord and finally the early fortepiano. An improvisational
form, it found its roots in free-style preludes and capriccios
as well as the early contrapuntal ricercares which developed
the practice of interlacing, imitative voices. This tradition
of keyboard composition, dependent exclusively on the inventive
powers of the artist, came to be known as the fantastic style.
Although the keyboard fantasy was definitely a vehicle for
virtuoso display, the prominent ideal of the time was the affect
of the spirit of the music, whether it was flamboyantly rhapsodic
or austere. As the eminent art historian, Germain Bazin, eloquently
describes, the Baroque artist prefers forms that take flight
to those that are static and dense; his liking for pathos leads
him to depict sufferings and feelings, life and death at their
extremes.
While Bach composed a number of keyboard fantasies, preludes,
and fugues in the grand virtuoso tradition, he also applied
that fantasy to the dance suite in the later gallant style.
This program illustrates three works which embody the sensibility
of the fantasy and reflect Bach's handling of a tradition of
keyboard composition in the high Baroque period.
Program:
J.S. Bach
Prelude and Fugue in E-flat Major, BWV 852
Partita in A Minor, BWV 827
Chromatic Fantasy and Fugue, BWV 903
Performers:
Monica
Verona,
piano |
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