Georg Philipp Telemann – Harpsichord Solos from Der Getreue Music Meister – Janine Johnson

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[hifi lofi] 01-Trouble fete (Gorner) (2:18)
[hifi lofi] 02-Piece pour le Clavessin (Kreysing the Younger) (1:18)
[hifi lofi] 03-Partin a Cembalo Solo: Preludio (Telemann) (0:45)
[hifi lofi] 04-Partin a Cembalo Solo: Aria Dolce (Telemann) (1:33)
[hifi lofi] 05-Partin a Cembalo Solo: Rondeau (Telemann) (1:11)
[hifi lofi] 06-Partin a Cembalo Solo: Menuets (Telemann) (2:50)
[hifi lofi] 07-Partin a Cembalo Solo: Gigue a l’Angloise (Telemann) (0:37)
[hifi lofi] 08-Partin a Cembalo Solo: Passacaille (Telemann) (3:06)
[hifi lofi] 09-Partin a Cembalo Solo: Fantasia furs Clavier Vivace (Telemann) (1:22)
[hifi lofi] 10-Suite: Allemande (Kreysing the Yonger) (2:09)
[hifi lofi] 11-Suite: Courante (Kreysing the Yonger) (1:20)
[hifi lofi] 12-Suite: Sarabande (Kreysing the Yonger) (2:35)
[hifi lofi] 13-Suite: Menuet (Kreysing the Yonger) (1:10)
[hifi lofi] 14-Suite: Gigue (Kreysing the Yonger) (1:38)
[hifi lofi] 15-Ouverture Burlesque: Ouverture a la Polonaise (Telemann) (2:40)
[hifi lofi] 16-Ouverture Burlesque: Bouree (Telemann) (1:24)
[hifi lofi] 17-Ouverture Burlesque: Loure (Telemann) (1:30)
[hifi lofi] 18-Ouverture Burlesque: Gavotte en Rondeau (Telemann) (1:15)
[hifi lofi] 19-Ouverture Burlesque: Menuet (Telemann) (2:27)
[hifi lofi] 20-Ouverture Burlesque: Giga (Telemann) (1:51)
[hifi lofi] 21-Ouverture Burlesque: Marche pour Monsieur le Capitaine Weber (Telemann) (1:58)
[hifi lofi] 22-Ouverture Burlesque: Retraite Allegro (Telemann) (0:46)
[hifi lofi] 23-Ouverture Burlesque: La Poste (Telemann) (1:42)
[hifi lofi] 24-Suite: Allemande Vivement (Pezold) (2:50)
[hifi lofi] 25-Suite: Courante (Pezold) (3:55)
[hifi lofi] 26-Suite: Sarabande (Pezold) (4:24)
[hifi lofi] 27-Suite: Gigue (Pezold) (2:59)
[hifi lofi] 28-Suite: Menuet en Rondau (Pezold) (5:27)

 

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Johann Sebastian Bach – Suites – Op 22 24 and 29 – Janine Johnson

Janine Johnson’s original suites showcase her considerable composition talents as well as the thoughtful harpsichord playing for which she is known. Janine is one of those artists who puts enormous quantities of consideration and attention to detail into her work, and it all comes out in the music. Rich tones, reflective work.
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[hifi lofi] 01-Suite in d minor Opus 22- Prelude (4:01)
[hifi lofi] 02-Suite in d minor Opus 22- Scherzo (2:53)
[hifi lofi] 03-Suite in d minor Opus 22- A Little Bit Confused (4:41)
[hifi lofi] 04-Suite in d minor Opus 22- Fugue (3:15)
[hifi lofi] 05-Suite in d minor Opus 22- Allemande – Twisted (4:17)
[hifi lofi] 06-Suite in d minor Opus 22- La Folia (5:53)
[hifi lofi] 07-Suite in D major Opus 29- Prelude (2:17)
[hifi lofi] 08-Suite in D major Opus 29- Allemande – Conflicted (2:17)
[hifi lofi] 09-Suite in D major Opus 29- Canon (1:25)
[hifi lofi] 10-Suite in D major Opus 29- Courante (2:10)
[hifi lofi] 11-Suite in D major Opus 29- Sarabande (4:24)
[hifi lofi] 12-Suite in D major Opus 29- Menuets (2:54)
[hifi lofi] 13-Suite in D major Opus 29- Gigue (2:44)
[hifi lofi] 14-Suite in f-sharp minor Opus 24- Prelude (2:12)
[hifi lofi] 15-Suite in f-sharp minor Opus 24- Allemande (5:25)
[hifi lofi] 16-Suite in f-sharp minor Opus 24- Courante (2:26)
[hifi lofi] 17-Suite in f-sharp minor Opus 24- Sarabande (3:34)
[hifi lofi] 18-Suite in f-sharp minor Opus 24- Canaries (2:50)
[hifi lofi] 19-Suite in f-sharp minor Opus 24- Gigue (2:38)
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Janine Johnson – Spain – Janine Johnson

No one casts a larger shadow over eighteenth century Spanish keyboard music than the Italian Domenico Scarlatti (1685-1757). His sonatas written after 1729 are full of imitations of the guitar, and folk tunes with their distinctive rhythms, harmonies and shifts between major and minor. Scarlatti’s genius is that his music preserves the intensity of its provincial elements while raising them to the level of high art. Before Scarlatti, Spanish keyboard music was mainly in the sacred contrapuntal tradition inherited from Cabezon and Cabanilles. After Scarlatti, the spinning out of contrapuntal material or sets of variations were abandoned for the Scarlatti model of secular sonata in binary form, often in sets of two or three by key.

Two of the most remarkable Spanish keyboard composers of the generation after Scarlatti are Padre Antonio Soler (1727-1783) and Manuel Blasco de Nebra (1750-1784), while the music of Juan Sesse (1736-1801) represents the sort of Spanish keyboard music that escaped the influence of Domenico Scarlatti.

The harpsichord used for this recording was built by John Phillips in 1993 and is based on mid-eighteenth century Florentine models, the cousins of the lost Spanish originals.
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[hifi lofi] 01-Sonata No 73 in D major Allegro (Soler) (7:24)
[hifi lofi] 02-Sonata No 74 in D major Andante (Soler) (7:35)
[hifi lofi] 03-Sonata K 476 in g minor Allegro (Scarlatti) (4:19)
[hifi lofi] 04-Sonata K 477 in G major Allegrissimo (Scarlatti) (4:04)
[hifi lofi] 05-Fuga Op 1 No 5 in g minor (Sesse) (5:28)
[hifi lofi] 06-Sonata Op 1 No 4 in g minor Adagio (de Nebra) (6:43)
[hifi lofi] 07-Sonata Op 1 No 4 in g minor Allegro (de Nebra) (4:35)
[hifi lofi] 08-Sonata No 48 in c minor (Soler) (3:06)
[hifi lofi] 09-Sonata No 108 in C major (Soler) (3:23)
[hifi lofi] 10-Sonata K 532 in a minor (Scarlatti) (3:52)
[hifi lofi] 11-Sonata K 533 in A major (Scarlatti) (3:23)
[hifi lofi] 12-Sonata Op 1 No 5 in f sharp minor Adagio (de Nebra) (7:00)
[hifi lofi] 13-Sonata Op 1 No 5 in f sharp minor Presto (de Nebra) (5:58)
[hifi lofi] 14-Sonata K 499 in A major (Scarlatti) (6:02)
[hifi lofi] 15-Sonata K 599 in A major (Scarlatti) (3:47)

 

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Johann Sebastian Bach – Selections from JS Bach ClavierUbung III – Janine Johnson

One of my favorite works for organ is the great Praeludium in E flat from Bach’s Clavier Übung III, which is usually followed in recital by the Fugue in E flat, called “St. Anne’s”, though in Bach’s manuscript the two are separated by the entire remainder of the work, 27 pieces in all. As a harpsichordist, the temptation was too great to not adapt these and other works to my own instrument. The Praeludium especially reminds me of the French Ouverture in ClavierÜbung II and the Ouverture of Partita #4 in ClavierÜbung I, both harpsichord works. I also have a great fondness for Bach’s Chorale Preludes, as well as his Fugues. ClavierÜbung III being organ music, often has pedal parts, though much is also for manuals alone, including the Duetti which are often performed on the harpsichord.

I chose for this album pieces that both touch me musically and are playable on the harpsichord. Those with pedal parts sometimes required octave transpositions but mostly demanded I get my not so large hands to stretch more than usual. These large reaches were in part facilitated by the keyboard of the Gräbner harpsichord with it’s narrow key span. The piece in this set that required the most rewriting was “Vater unser im Himelreich” (two manuals + pedal), but being one of the most complex and moving of the entire book, I could not leave it out.

For this album I worked from the facsimile of the original publication (1739) and found some of the text to be different from “corrected” modern versions. Of particular note is the hair raising cross relations in the “Fuga super Jesus Christus unser Heiland “. Bach is very specific in his notation and in order to retain an extensive canonic imitation between the bass and alto there can be no other option than what he has written (this section appears in the backdrop on the album cover). The other unfortunate “correction” is in Duetto IV. To my ear Bach’s sometimes strange harmony is part of what makes his music so fascinating. I also love some of his allusions to the texts of the Chorales he has chosen to set, such as the great flowing river in “Christ unser Herr zum Jordan kam”.

The harpsichord, built in 2008 by John Phillips, Berkeley, is modeled after the 1722 Johann Heinrich Gräbner preserved in the Villa Bertramka in Prague; the earliest of four surviving Gräbner harpsichords. Although now much modified, it is a very good example of the large middle German harpsichord with which Bach would have been intimately familiar. It is even likely that Bach knew J. H. Gräbner, as the latter held the position of official tuner at the Electoral Saxon court in Dresden. One of Gräbner’s sons, Christian Heinrich, studied organ with Bach in Leipzig. Typical of the largest German instruments of the 1720s; it has a range of FF-d3, two manuals with a sliding coupler, and a registration of two unisons and an octave. Special thanks to the owner for the use of this harpsichord and to John Phillips for his assistance, and allowing me the use of his shop for recording.
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[hifi lofi] 01-Praeludium pro Organo pleno BWV 552(1) (8:59)
[hifi lofi] 02-Prelude and Fugue for organ in E flat major (St Anne’s) BWV 552(2) (6:12)
[hifi lofi] 03-Kyrie Gott Vater in Ewigkeit (I) chorale prelude for organ BWV 669 (3:37)
[hifi lofi] 04-Kyrie Gott heiliger Geist (II) chorale prelude for organ BWV 674 (1:01)
[hifi lofi] 05-Duetto for keyboard No4 in A minor BWV 805 (2:20)
[hifi lofi] 06-Allein Gott in der Hoh sei Ehr (V) chorale prelude for organ BWV 675 (3:26)
[hifi lofi] 07-Fuga super Jesus Christus unser Heiland fugue for organ BWV 689 (5:51)
[hifi lofi] 08-Duetto for keyboard No2 in F major BWV 803 (2:49)
[hifi lofi] 09-Vater unser im Himmelreich (III) chorale prelude for organ BWV 683 (1:37)
[hifi lofi] 10-Kyrie Gott heiliger Geist (I) chorale prelude for organ BWV 671 (5:07)
[hifi lofi] 11-Christ unser Herr zum Jordan kam (I) chorale prelude for organ BWV 684 (4:17)
[hifi lofi] 12-Duetto for keyboard No3 in G major BWV 804 (2:31)
[hifi lofi] 13-Dies sind die heilgen zehn Gebot (II) chorale prelude for organ BWV 678 (4:56)
[hifi lofi] 14-Fughetta super Dies sind die heilgen zehn Gebot for organ BWV 679 (1:44)
[hifi lofi] 15-Kyrie Gott Vater in Ewigkeit (II) chorale prelude for organ BWV 672 (1:14)
[hifi lofi] 16-Duetto for keyboard No1 in E minor BWV 802 (2:16)
[hifi lofi] 17-Fughetta super Wir glauben all an einen Gott for organ BWV 681 (1:37)
[hifi lofi] 18-Vater unser im Himmelreich (II) chorale prelude for organ BWV 682 (7:27)

 

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Johann Sebastian Bach – Opere per clavicembalo – Janine Johnson

A visual artist who adorns world class harpsichords with intricate artwork, the multitalented Janine Johnson is also a gifted musician and is known for her elegant yet extremely agile style of playing. This album of J.S. Bach by Johnson was recorded on an instrument commissioned specifically for the performance of his work; her selections were chosen to show off the unusual “organ-like colors” of this remarkable harpsichord.
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[hifi lofi] 01-Well Tempered Clavier Book II – Prelude (7:39)
[hifi lofi] 02-English Suite No 2 in A Minor – Prelude (4:51)
[hifi lofi] 03-English Suite No 2 in A Minor – Allemande (4:13)
[hifi lofi] 04-English Suite No 2 in A Minor – Courante (1:55)
[hifi lofi] 05-English Suite No 2 in A Minor – Sarabande (3:02)
[hifi lofi] 06-English Suite No 2 in A Minor – Bourree (4:39)
[hifi lofi] 07-English Suite No 2 in A Minor – Gigue (3:32)
[hifi lofi] 08-Well Tempered Clavier Book I – Prelude and Fugue in C Major (4:32)
[hifi lofi] 09-Well Tempered Clavier Book II – Prelude and Fugue in G Major (4:08)
[hifi lofi] 10-English Suite No 3 in G Minor – Prelude (3:19)
[hifi lofi] 11-English Suite No 3 in G Minor – Allemande (3:44)
[hifi lofi] 12-English Suite No 3 in G Minor – Courante (2:12)
[hifi lofi] 13-English Suite No 3 in G Minor – Sarabande (3:31)
[hifi lofi] 14-English Suite No 3 in G Minor – Gavotte (2:52)
[hifi lofi] 15-English Suite No 3 in G Minor – Gigue (2:48)
[hifi lofi] 16-Gott der wohn uns bei – Chorale (1:47)
[hifi lofi] 17-Gott der wohn uns bei – Chorale Prelude (4:12)

 

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Georg Philipp Telemann – 12 sonate per violoncello – Vito Paternoster

After suites, sonatas, Bach’s partitas, and many other solo cello pieces, Vito Paternoster continues to challenge himself with the world of unaccompanied music. Particularly, he keeps focusing on cello solo and its expressive universe, in the wake of the 18th-century music, when composers used to rewrite a piece for other instruments to infuse new energy in them (q v Sonatas and Partitas for violins arranged for cello, from a 18th-century manuscript edited by Vito Paternoster and Magnatune). Among them, of course, there is GP Telemann ‘s beautiful Fantasias, here transcribed for cello solo, representing the cornerstone of unaccompanied music, where the stile concitato and dances finds the rigour of counterpoint.

Bach’s fugue-writing was deep and penetrating, while Telemann’s music is short- breath and proceeds by split-second intuitions and little phrases. This makes his language always lively, interesting and essential at once.
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[hifi lofi] 01-Largo Fantasia I in mi b magg (TWV 4014) (GP Telemann) (1:41)
[hifi lofi] 02-Allegro Grave Allegro Fantasia I in mi b magg (TWV 4014) (GP Telemann) (4:37)
[hifi lofi] 03-Largo Fantasia II in do magg (TWV 4015) (GP Telemann) (1:27)
[hifi lofi] 04-Allegro Fantasia II in do magg (TWV 4015) (GP Telemann) (1:57)
[hifi lofi] 05-Allegro Fantasia II in do magg (TWV 4015) (GP Telemann) (0:51)
[hifi lofi] 06-Adagio Fantasia III in si b min (TWV 4016) (GP Telemann) (1:30)
[hifi lofi] 07-Presto Fantasia III in si b min (TWV 4016) (GP Telemann) (1:52)
[hifi lofi] 08-Grave-Vivace Fantasia III in si b min (TWV 4016) (GP Telemann) (1:06)
[hifi lofi] 09-Vivace Fantasia IV in sol magg (TWV 4017) (GP Telemann) (1:51)
[hifi lofi] 10-Grave Fantasia IV in sol magg (TWV 4017) (GP Telemann) (0:45)
[hifi lofi] 11-Allegro Fantasia IV in sol magg (TWV 4017) (GP Telemann) (1:53)
[hifi lofi] 12-Allegro-Presto-Allegro Fantasia V in re magg (TWV 4018) (GP Telemann) (1:21)
[hifi lofi] 13-Presto Fantasia V in re magg (TWV 4018) (GP Telemann) (0:54)
[hifi lofi] 14-Andante Fantasia V in re magg (TWV 4018) (GP Telemann) (0:33)
[hifi lofi] 15-Allegro Fantasia V in re magg (TWV 4018) (GP Telemann) (2:09)
[hifi lofi] 16-Grave Fantasia VI in la min (TWV 4019) (GP Telemann) (1:48)
[hifi lofi] 17-Presto Fantasia VI in la min (TWV 4019) (GP Telemann) (1:21)
[hifi lofi] 18-Siciliana Fantasia VI in la min (TWV 4019) (GP Telemann) (1:35)
[hifi lofi] 19-Allegro Fantasia VI in la min (TWV 4019) (GP Telemann) (2:11)
[hifi lofi] 20-Dolce Fantasia VII in la b magg (TWV 4020) (GP Telemann) (1:20)
[hifi lofi] 21-Allegro Fantasia VII in la b magg (TWV 4020) (GP Telemann) (2:57)
[hifi lofi] 22-Largo Fantasia VII in la b magg (TWV 4020) (GP Telemann) (1:39)
[hifi lofi] 23-Presto Fantasia VII in la b magg (TWV 4020) (GP Telemann) (0:59)
[hifi lofi] 24-Piacevolmente Fantasia VIII in mi magg (TWV 4021) (GP Telemann) (1:13)
[hifi lofi] 25-Allegro Fantasia VIII in mi magg (TWV 4021) (GP Telemann) (2:21)
[hifi lofi] 26-Allegro Fantasia VIII in mi magg (TWV 4021) (GP Telemann) (0:52)
[hifi lofi] 27-Siciliana Fantasia IX in mi min (TWV 4022) (GP Telemann) (1:33)
[hifi lofi] 28-Vivace Fantasia IX in mi min (TWV 4022) (GP Telemann) (2:27)
[hifi lofi] 29-Allegro Fantasia IX in mi min (TWV 4022) (GP Telemann) (1:19)
[hifi lofi] 30-Presto Fantasia X in sol magg (TWV 4023) (GP Telemann) (1:30)
[hifi lofi] 31-Largo Fantasia X in sol magg (TWV 4023) (GP Telemann) (1:16)
[hifi lofi] 32-Allegro Fantasia X in sol magg (TWV 4023) (GP Telemann) (1:06)
[hifi lofi] 33-Un poco vivace Fantasia XI in si b magg (TWV 4024) (GP Telemann) (1:29)
[hifi lofi] 34-Soave-Un poco vivace Fantasia XI in si b magg (TWV 4024) (GP Telemann) (2:33)
[hifi lofi] 35-Allegro Fantasia XI in si b magg (TWV 4024) (GP Telemann) (0:56)
[hifi lofi] 36-Moderatro Fantasia XII in re min (TWV 4025) (GP Telemann) (1:36)
[hifi lofi] 37-Vivace Fantasia XII in re min (TWV 4025) (GP Telemann) (1:16)
[hifi lofi] 38-Presto Fantasia XII in re min (TWV 4025) (GP Telemann) (1:04)
[hifi lofi] 39-Andante Sonata per cello solo in re magg (TWV 401) (GP Telemann) (1:55)
[hifi lofi] 40-Vivace Sonata per cello solo in re magg (TWV 401) (GP Telemann) (1:31)
[hifi lofi] 41-Recitativo Sonata per cello solo in re magg (TWV 401) (GP Telemann) (1:13)
[hifi lofi] 42-Andante Sonata per cello solo in re magg (TWV 401) (GP Telemann) (1:07)
[hifi lofi] 43-Vivace Sonata per cello solo in re magg (TWV 401) (GP Telemann) (2:18)
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