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Edition Bachakademie Vol 133 - Musical Offering Bwv 1079, Etc


Release Date: 02/29/2000 
Label:  Hänssler Classic   Catalog #: 92133   Spars Code: DDD 
Composer:  Johann Sebastian Bach
Performer:  Martin JoppMichael BehringerGottfried Von der GoltzKarl Kaiser,   ... 
Number of Discs: 1 
Recorded in: Stereo 
Length: 0 Hours 58 Mins. 

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Notes and Editorial Reviews

Edifying and enjoyable performances complemented by excellent recorded sound.

This is an immaculately prepared and persuasive account of Bach's celebrated (if concentrated) amalgam of nostalgic contrapuntal invention and 'enlightened' sensibility. The polarity of style and genre - reflected in the mix of ricercar, canon and trio sonata - led Spitta to call the Musical Offering a 'motley heap, thrown together', though Karl Kaiser, the flautist on the disc, explains with penetrating eloquence how Bach delighted in the musical narration of these juxtaposed elements: a kind of musical 'address' to Frederick the Great, whose hand in the work's theme and inspiration for the project is legendary. Possibly the work reflects
Read more Bach's own place in 1747, as father to Carl Philipp Emanuel who was in the King's employ as a fashionable pioneer, Bach himself being the conscience of timeless musical craft (hence the King's famous outburst, 'Gentlemen, old Bach has arrived').

The most striking aspect of this new performance is the uncompromising working of the 'thema regium' without a trace of didactic flummery. While Michael Behringer is a touch bland and harried in the Ricercar a 3, he proves to be a responsive accompanist to the robust and beautifully balanced playing of Gottfried von der Goltz (of Freiburg Baroque Orchestra fame) and Kaiser in the Trio. Indeed, the use of fortepiano (which Bach was known to have tried at various times in his last decades) in the more 'pathetic' gestures of this work is most persuasive, enhanced by the vying violin and flute which seem acutely aware of the diverse articulation and dynamics of the newfangled instrument. There is little doubt that this piece responds particularly well to the delicatesse of baroque playing, for example the third canon, whose 'motum contrarium' is but the means for a wonderfully plangent reading of the soulful instrumental dialogue which even Aurele Nicolet cannot reproduce (Archiv, 1/65 - nla). Robert Kohnen and the brothers Kuijken are perhaps more yielding in the six-part Ricercar, and Ensemble Sonnerie makes its mark in the fragrancy of the ensemble, though there are few recordings with less 'subfusc' to neutralise the expressive possibilities than this current version.

The additional canons included reflect Bach's fascination with the process of canonic technique from Weimar to his last years. The recently discovered 14 Goldberg Canons are especially remarkable for their accessible rollicking, almost like a 17th-century consort ground bass, the canons acting as servants to the intricate and often jokey figuration. Few would guess they're by Bach. In toto, a satisfying and notable release.'

Jonathan Freeman-Attwood, Gramophone [5/2000]
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Works on This Recording

1.
Musikalisches Opfer, BWV 1079 by Johann Sebastian Bach
Performer:  Martin Jopp (Violin), Michael Behringer (Harpsichord), Gottfried Von der Goltz (Violin),
Michael Behringer (Fortepiano), Karl Kaiser (Flute), Ekkehard Weber (Bass Viola da gamba)
Period: Baroque 
Written: 1747; Leipzig, Germany 
2.
Canon trias harmonica, BWV 1072 by Johann Sebastian Bach
Performer:  Gottfried Von der Goltz (Viola), Daniela Helms (Violin), Petra Müllejans (Violin),
Petra Müllejans (Viola), Gottfried Von der Goltz (Violin), Daniela Helms (Viola),
Christian Goosses (Violin), Christian Goosses (Viola)
Period: Baroque 
3.
Canon a 4 perpetuus, BWV 1073 by Johann Sebastian Bach
Performer:  Gottfried Von der Goltz (Violin), Petra Müllejans (Violin), Petra Müllejans (Viola),
Daniela Helms (Violin), Daniela Helms (Viola), Gottfried Von der Goltz (Viola),
Gottfried Von der Goltz (Cello), Christian Goosses (Viola), Christian Goosses (Violin)
Period: Baroque 
Written: 1713; Weimar, Germany 
4.
Canon a 4, BWV 1074 by Johann Sebastian Bach
Performer:  Christian Goosses (Violin), Christian Goosses (Viola), Kristin Von der Goltz (Cello),
Petra Müllejans (Violin), Gottfried Von der Goltz (Viola), Gottfried Von der Goltz (Violin),
Petra Müllejans (Viola), Daniela Helms (Viola), Daniela Helms (Violin)
Period: Baroque 
Written: 1727; Leipzig, Germany 
5.
Canon a 2 perpetuus, BWV 1075 by Johann Sebastian Bach
Performer:  Michael Behringer (Harpsichord)
Period: Baroque 
Written: 1734; Leipzig, Germany 
6.
Canon triplex a 6, BWV 1076 by Johann Sebastian Bach
Performer:  Gottfried Von der Goltz (Viola), Michael Behringer (Harpsichord), Kristin Von der Goltz (Cello),
Christian Goosses (Viola), Christian Goosses (Violin), Daniela Helms (Viola),
Daniela Helms (Violin), Petra Müllejans (Viola), Gottfried Von der Goltz (Violin),
Petra Müllejans (Violin)
Period: Baroque 
7.
Canon doppio sopr'il soggetto, BWV 1077 by Johann Sebastian Bach
Performer:  Christian Goosses (Viola), Christian Goosses (Violin), Daniela Helms (Viola),
Kristin Von der Goltz (Cello), Daniela Helms (Violin), Petra Müllejans (Viola),
Petra Müllejans (Violin), Gottfried Von der Goltz (Viola), Gottfried Von der Goltz (Violin)
Period: Baroque 
Written: 1747; Leipzig, Germany 
8.
Canon super fa mi a 7 post tempus musicum, BWV 1078 by Johann Sebastian Bach
Performer:  Christian Goosses (Violin), Gottfried Von der Goltz (Violin), Petra Müllejans (Violin),
Daniela Helms (Violin)
Period: Baroque 
Written: 1749; Leipzig, Germany 
9.
Canons (14) on the Ground from the "Goldberg Variations", BWV 1087 by Johann Sebastian Bach
Performer:  Daniela Helms (Violin), Daniela Helms (Viola), Christian Goosses (Viola),
Christian Goosses (Violin), Gottfried Von der Goltz (Viola), Gottfried Von der Goltz (Violin),
Petra Müllejans (Violin), Michael Behringer (Harpsichord), Petra Müllejans (Viola)
Period: Baroque 
Written: ?1731; Leipzig, Germany 
10.
Canon concordis discors, BWV 1086 by Johann Sebastian Bach
Performer:  Michael Behringer (Harpsichord)
Period: Baroque 
Written: ?1731; Leipzig, Germany 

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