Sunday, May 8, 2011

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20 Who said Bach said body

Saturday May 7, 20:00 pm . XXII Organ Festival "CajAstur" , Church of St. Thomas of Canterbury (Avilés). Magdalena Hasibeder , works of Cabezón , Mozart, Buxtehude, Bach and Charlotte Marck (1983) . It began on Friday
this "Body May " sponsored by the bank with Austrian organist and harpsichordist born in Linz (1982), which for its second concert in Avilés chose a baroque program almost totally unlike the Court The , which makes sense for the tremendous possibilities of the new instrument avilesino and "limitations" of Oviedo.
an appetizer a typical form as Battalla formossa , anonymous composer and Renaissance aesthetics as well resulted from the choice of the records but would involve unifying them into a keyboard sound and leaving a mess unclear to enjoy his left hand. The
called "Bach English," although by chronology should be reversed, the "German Cabezón," we hear about differences on chant Knight, same time of the first book combining similar records created on a pedal for the style, and more on harpsichord technique that organ that prevented enjoy more of the tune on which variations are built.
unusual gift program but a "toy" was the Andante für eine Orgelwalze in F, KV 616 of Mozart , with those records "octaveantes" Flute 2 'and 4' mimicking keyboards and pedals typical mechanical carts mounted Viennese again more "pianistic" regarding implementation and close to the sonatas themselves not to organ works of the genius of Salzburg.
The really "full" in terms of literature for the organ would then rival Bach's virtuosity, my admired Buxtehude and Toccata in F, BuxWV 156 where Sto new body. Thomas began to glow with a very appropriate choice of records, full, distinct in the three keyboards BB, perhaps too much at peak times by "cover your hands" but a normal examination of instruments and instrumentalists.
The same applies to the kantor corals, the last two of the six that make up the "Schübler" Choral "( Sechs Chorale von verschiedene Art ): Ach Bleib bei uns, Herr Jesu Christ, BWV 649, and taken the measure to the registration, hit for a pedal fully differentiated voices in the chorale melody, and interpretative real lesson beyond virtuosity, as in Kommst du nun Jesu vom Himmel herunter , BWV 650 , where choice the "oboe" (perhaps a mixture of flute and eighth) for the pedal was not only timely but very moving interpretation raise the bar and squeeze tubes that use Kapellmeister.
The only approach to the contemporary body come to the premiere in Spain of a French composer and organist, Charlotte Marck (1983): "Jadis et d'après Naguère Paul Verlaine" , winning the "Van Covelens Competitions 2010" , work in three distinct movements in tempi cuantro to and records, exploring new sounds in the instrument from a language full of dissonances very style Olivier Messiaen. Pierrot used nasardos, fortnight, quintadenas, decisetenas, dissonant registers itself but in the service of the composer written by to a slow start to move to a live virtuoso that flows back into the slow passing Le clown much slower, with right hand alone tutti the middle taking up the quick time, indicating the title of this core. Le squelette was personally the most striking of this composition (and most messiaenico ) with a quick but more "melodic and rhythmic almost Ostinatto in the left hand (as he recalled the medieval Ad mortem festinamus and sensing the Gregorian Dies Irae , a" Dance of Death " recurring theme in the history and both have been used in music), especially the debtor Danse Macabre of Saint-Säens playing on the right hand with strengthening the feet up. Work that will surely see you soon uploaded by the organization itself and the Austrian played with true mastery of the score and instrument.
But the end had to be Bach and also a work that represents a real effort and dominating interpretive capabilities of the instrument that must be executed: the Toccata, Adagio and Fugue in C M., BWV 564 . Loudness full, perfect choice of records, speed and cleanliness, musicality that does not fold to the technique from the very Toccata that drew applause upon completion before deploying the most difficult sound and virtuosic solo feet. The Adagio again very wise in the flute and the use differentiated from them on keyboards, as well as the tempo giusto , resulted from a serenity and lyricism that only Mein Gott is able to compose. And that Fuga voices final four despite being somewhat obscured the last in the pedal, they got a distinct listener of all, allowing even enjoy the silence reverberating through the church. Could not be better for the concert clip Avilés. Congratulations to or Frau Fräulein Hasibeder , who says it really organ, Bach says ... and well.
Next weekend continue to enjoy.
Posted by admin at 1:10 PM

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