Duo Tal - 18 - Import 2 CD

Credits:

Duo Tal

Description:

Bach's "Technique des Fugues," recomposed in a new technique for piano continuo, recorded for the first time in the world. The new album by the piano duo Taal & Grothuizen, formed in 1985 by Israeli female pianist Yaara Taal and German-born Andreas Grothuizen, is Bach's "Fugue Technique" by German composer Reinhard Febel (1952-), recomposed in a completely new way. The new album by the piano duo Thal & Groothuizen is Bach's "Technique des Fugues" recomposed in a completely new way by German composer Reinhard Faber (1952-). Composed for Thal & Groothuizen, this is the world premiere recording. Feber was born in Metzingen, Baden-Württemberg, and studied composition and piano at the Stuttgart University of Music and Drama. In 1983, he composed a highly acclaimed chamber opera "Euridice" for the Bavarian State Opera. He was highly acclaimed for his chamber opera "Euridice" composed for the Bavarian State Opera in 1983. Bach's "Technique de fugue" consists of 14 fugues and 4 canons, all based on the same theme.Feber deconstructs the components of each piece and reconstructs them in entirely new ways, sometimes transforming the original musical material so that it can be played (and played together) in the broad range of the piano instrument. By controlling the tone and register with extreme precision and complexity, he has created brilliant, sometimes dramatic, and richly expressive music from the original, which was rather monocromatic. The "Technique des Fugues" was intended to be played on keyboard instruments, but Bach himself did not clearly specify this, so a wide variety of performances on various combinations of instruments have been attempted. The name "Study" is intended to suggest the exploration and experimentation of various compositional possibilities, and corresponds to Bach's concept of "contrapunctus," so to speak. The "Technique de fugue" was not intended for public performance, but was created as an encyclopedia of all the possibilities of this musical form in Bach's time, when the concept of counterpoint was already dying out.Numerous composers of the past and present, including Alban Berg, have recognized the profundity of these works, which are often thought of as based only on number theory. In these exercises, Faber accomplishes what Bach did in transforming abstract musical theory into sound structures that appeal to the listener's senses. These works and performances are not only "fantasies" or "inspirations," but they are performed while also studying the original works in sufficient depth to properly understand, devise, and find original and exquisite expression in the works. Sony Music

Tracklisting:

1.18 Studies for 2 Pianos bassed on Bach's The Art of the Fugue~Study 1: Nicht zu langsam (Contrapunctus 1)
2.18 Studies for 2 Pianos bassed on Bach's The Art of the Fugue~Study 2: Sehr schnell (Contrapunctus 2)
3.18 Studies for 2 Pianos bassed on Bach's The Art of the Fugue~Study 3: Leicht schwebend, nicht zu langsam (Contrapunctus 3)
4.18 Studies for 2 Pianos bassed on Bach's The Art of the Fugue~Study 4: Nicht zu langsam (Contrapunctus 4)
5.18 Studies for 2 Pianos bassed on Bach's The Art of the Fugue~Study 5: Langsam (Contrapunctus 5)
6.18 Studies for 2 Pianos bassed on Bach's The Art of the Fugue~Study 6: Langsam (Contrapunctus 6 per Diminutionem in Stylo Francese)
7.18 Studies for 2 Pianos bassed on Bach's The Art of the Fugue~Study 7: Nicht zu schnell (Contrapunctus 7 per Augmentationem et Diminutionem)
8.18 Studies for 2 Pianos bassed on Bach's The Art of the Fugue~Study 8: Nicht zu langsam (Contrapunctus 8)
9.18 Studies for 2 Pianos bassed on Bach's The Art of the Fugue~Study 9: Sehr schnell (Contrapunctus 9 alla Duodecima)
10.18 Studies for 2 Pianos bassed on Bach's The Art of the Fugue~Study 10: Schnell (Contrapunctus 10 alla Decima)
11.18 Studies for 2 Pianos bassed on Bach's The Art of the Fugue~Study 11: Prestissimo possibile (Contrapunctus 11)