Notes and Editorial Reviews
We can readily imagine with what modest pride the 40-year-old Bach presented his second wife Anna Magdalena with this most delightful of all domestic scrapbooks. Bach himself started it off for her with two of the keyboard Partitas (A minor, BWV827 and E minor, BWV930) which later formed part of the collection published as the composer's Op. 1 in 1731. Thereafter it was up to Anna Magdalena herself to choose and to enter little compositions which made particular appeal. Not all the music by any means is by her husband and there are pieces for example by Couperin, Bohm, Stolzel, Hasse and her stepson Carl Philipp Emanuel as well as several by anonymous composers. Many if not all these pieces were probably family favourites and were doubtless
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performed by the various members of the Bach household—a redoubtable ensemble if ever there was.
Nicholas McGegan, and Lorraine Hunt with David Bowles have taken full advantage of the generous durations afforded by CD technology and offer a programme considerably more representative of Anna Magdalena's taste than was ever possible within the confines of a single LP. This is a well planned programme which, though omitting the two Partitas—an understandable decision since performances of these are frequent and plentiful—includes over half the number of pieces in the Music Book. Connoisseurs of this enchanting anthology will be reassured to know that almost all of the most priceless jewels are included, among them the aria on which the Goldberg Variations are based, the aria ''Schlummert ein'' from BWV82, the Prelude in C major from Book 1 of the 48, Couperin's B flat Rondeau from the sixth Ordre, the French Suite in D minor (BWV812) and the three movements which Anna Magdalena copied from the French Suite in C minor (BWV813), the fine harmonization of the hymn Wer nur den liebe Gott lasst walten, Stolzel's aria Bist du bein mir and the anonymous but affecting aria Gedenke doch, mein Geist.
All this and much else besides is very sensitively performed. Lorraine Hunt gives a beautifully restrained and expressive account of Schlummert ein; perhaps it was a shade too slow but better that by far than driving the tempo too hard. Gedenke doch, a sacred Lied comes over well, too. My only complaint with this item is that it is far too short. Anna Magdalena copied only one verse but there must surely have been others. I enjoyed in equal measure McGegan's harpsichord and clavichord playing. Nothing is hurried and rhythms, though taut have an elasticity which allows the music to breathe. The Couperin Rondeau, a particularly happy choice on Anna Magdalena's part, benefits enormously from McGegan's leisurely and eloquent playing as does the famous C major Prelude from Book 1 of the 48.
In summary, an attractive programme performed with affection and a good sense of style. The booklet contains the texts of the vocal items in German, English and French and there is a fine accompanying essay by the Bach scholar, Georg von Dadelsen who edited the Anna Magdalena Clavierbuchlein for Barenreiter in 1959.
-- Nicholas Anderson, Gramophone [9/1992]
The selections on this recording were copied into the notebooks of Anna Magdalena Bach by her husband Johann Sebastian Bach and by Anna Magdalena Bach herself, mostly between 1722 and the 1730s. Many of the works contained there are now attributed to composers other than J.S. Bach.
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Works on This Recording
6.
Ich habe genug, BWV 82: Ich habe genug by Johann Sebastian Bach
Performer:
Lorraine Hunt Lieberson (Mezzo Soprano),
David Bowles (Cello),
Nicholas McGegan (Harpsichord)
Period: Baroque
Written: 1727; Cöthen, Germany
Language: German
11.
Bist du bei mir by Gottfried H. Stölzel
Performer:
Lorraine Hunt Lieberson (Mezzo Soprano),
David Bowles (Cello),
Nicholas McGegan (Harpsichord)
Period: Baroque
Language: German
Notes: This work, formerly attributed to J.S. Bach, is currently believed to have
been composed by Gottfried Heinrich Stölzel.
12.
March in E flat major, BWV Anh. 127 by Johann Sebastian Bach
Performer:
Nicholas McGegan (Harpsichord)
Period: Baroque
Notes: This work, originally attributed to J.S. Bach, is currently believed to
have been composed by C.P.E. Bach.
15.
Rondeau in B flat major, BWV Anh. 183 by Johann Sebastian Bach
Performer:
Nicholas McGegan (Harpsichord)
Notes: This work, originally attributed to J.S. Bach, is now believed to have been composed by François Couperin.
17.
Polonaise in D minor, BWV Anh. 128 by Johann Sebastian Bach
Performer:
Nicholas McGegan (Clavichord)
Period: Baroque
Notes: This work is no longer believed to have been composed by J.S. Bach.
19.
Polonaise in F major, BWV Anh. 117a by Johann Sebastian Bach
Performer:
Nicholas McGegan (Clavichord)
Period: Baroque
Notes: This work is no longer believed to have been composed by J.S. Bach.
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