Metamorphosis: Bach & Mendelssohn | Challenge Classics CC72751

Metamorphosis: Bach & Mendelssohn

£13.25

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Label: Challenge Classics

Cat No: CC72751

Format: CD

Number of Discs: 1

Genre: Instrumental

Release Date: 6th October 2017

Contents

Works

Bach, Johann Sebastian

Klavierbuchlein for Anna Magdalena Bach, Book 2, BWVAnh113-132
» March in G major, BWVAnh124
» Minuet in G major, BWVAnh116
» Minuet in G minor, BWVAnh115
» Musette in D major, BWVAnh126
» Polonaise in G minor, BWVAnh125
Partita no.1 in B flat major, BWV825
The Well-Tempered Clavier Book 1, BWV846-869
» no.4 in C sharp minor, BWV849

Mendelssohn, Felix

Lieder (6), op.71
» no.6 Nachtlied
Songs (6) for voice and piano, op.19a
» no.4 Neue Liebe
Songs without Words (Lieder ohne Worte): Book 2, op.30
» no.2 in B flat minor
» no.5 in D major
Songs without Words (Lieder ohne Worte): Book 6, op.67
» no.3 in B flat major
Songs without Words (Lieder ohne Worte): Book 8, op.102
» no.5 in A major

Artists

Michael Gees (piano)

Works

Bach, Johann Sebastian

Klavierbuchlein for Anna Magdalena Bach, Book 2, BWVAnh113-132
» March in G major, BWVAnh124
» Minuet in G major, BWVAnh116
» Minuet in G minor, BWVAnh115
» Musette in D major, BWVAnh126
» Polonaise in G minor, BWVAnh125
Partita no.1 in B flat major, BWV825
The Well-Tempered Clavier Book 1, BWV846-869
» no.4 in C sharp minor, BWV849

Mendelssohn, Felix

Lieder (6), op.71
» no.6 Nachtlied
Songs (6) for voice and piano, op.19a
» no.4 Neue Liebe
Songs without Words (Lieder ohne Worte): Book 2, op.30
» no.2 in B flat minor
» no.5 in D major
Songs without Words (Lieder ohne Worte): Book 6, op.67
» no.3 in B flat major
Songs without Words (Lieder ohne Worte): Book 8, op.102
» no.5 in A major

Artists

Michael Gees (piano)

About

The German pianist Michael Gees is best known to Challenge Classics listeners for accompanying Christoph Prégardien, Anna Lucia Richter and other singers, but he’s also known for solo albums in which he takes a remarkable improvisatory approach to well-known piano repertoire.

Here he takes us on an imaginative journey, revealing some kinship between the music of Johann Sebastian Bach and Felix Mendelssohn. These affinities go way beyond the fact that Mendelssohn ‘discovered’ Bach and resurrected performances of his music in 19th century. Gees sees in his own way of dealing with music of the past when embellishment, adaptation and improvisation were widespread practice. Among the works he plays are Bach’s Partita in B flat major and some of Mendelssohn’s Songs Without Words.

“How can a musical idea develop over and above what has been written down? What would Bach have thought about Mendelssohn? What would have happened had they been able to encourage each other to extemporise on their compositions?” It is considerations such as these that led Gees to explore both composers by way of adaptational improvisations. “In this context, I want to mention the term historical performance practice. Once upon a time - long before the invention of jazz - it was desired of, and common for, performers to treat the prescribed material creatively, improvising on the works in front of them, not only playing them, but also playing with them.” – Michael Gees

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