Passacaglia über Bachs Passacaglia
JOHANN SEBASTIAN BACH (1685-1750) CÉSAR FRANCK (1822-1890) FRANK MARTIN (1890-1974) ARNOLD SCHÖNBERG (1874-1951)
There are today many different "right" ways of registrating the Passacaglia. We can differentiate between three main tendancies: the romantic-symphonic, rich in nuance (e.g. going from a whispering, soft beginning to the impressive and powerful climax), the highly complex, developped from analysis (e.g. with serial techniques) and the quite homogenous registered Organo pleno throughout. The present production follows this concept: in these works, Martin, Frank and Schönberg, each in his individual way, come to grips with the form of the Passacaglia, the instrument organ and Master Bach. Their scores illustrate the above-mentionned registration tendencies. While Martin and Franck are the symphonic "type", Schönberg is rather the analytical "type". To represent these three tendencies, the organist Daniel Glaus chose for Bach a relativly homogenous Pleno registration. In general, we can say that the three "more modern" composers Frank Martin. César Frank and Arnold Schönberg deserve to be included in this programme, for each takes Bach's Passacaglia as the starting point, then proceeds on his own individual way. A comparison of the four scores shows certain resemblances, yet individuality predominates. Each work is quite distinct.
Daniel Glaus (Orgel)Koproduktion mit Schweizer Radio DRS, Studio Basel.
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