Jory Vinikour - J.S. Bach: Harpsichord Works (2020)

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Jory Vinikour - J.S. Bach: Harpsichord Works (2020)

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Two time GRAMMY Award nominated harpsichordist Jory Vinikour is recognized as one of the outstanding musicians of his generation. A highly diversied career brings him to the worlds most important festivals and concert halls as recital and concerto soloist, and partner to several of todays nest artists. Born in Chicago, Jory Vinikour studied in Paris with Huguette Dreyfus and Kenneth Gilbert on a Fulbright scholarship. First Prizes in the International Harpsichord Competitions of Warsaw (1993) and the Prague Spring Festival (1994) brought him to the publics attention, and he has since appeared in festivals and concert series throughout much of the world. In 2019, Jory made his debut at the Ravinia Festival, playing Bachs Goldberg Variations. At the Aspen Festival, he conducted Bachs six Brandenburg Concertos. Increasingly active as a conductor, Jory has recently appeared with the St. Louis Symphony, and will conduct four performances of Handels Messiah for the St. Paul Chamber Orchestra in late 2019. Jory made his solo debut with the Cleveland Orchestra in March, 2018, performing Francis Poulencs Concert Champêtre under the direction of Stéphane Denève and will perform this work with the Wiener Akademie, under Martin Haselböcks direction, at Viennas Musikverein in May.

Italian Concerto, BWV 971 : Among the best known of Bach’s solo harpsichord works, the Concerto each Italienischen Gusto was published in 1735, as the first half of the second volume of the Clavier-Übung (with the French Overture as the second half).

This work is surely the finest of tributes to Bach’s affinity for the Italian style of concerto writing - an affinity he showed in transcribing concerti by Vivaldi, Marcello, and others for solo keyboard.

Bach uses the two keyboards of the harpsichord (and he specifically indicates such an instrument for both of the works in the second volume of the Clavier-Übung) to create contrasts between tutti and solo passages. The rather stately main theme of the first movement is juxtaposed with livelier rhythmic passages. The exceptional second movement features a florid cantilena in the right hand, accompanied by steady eighth notes in the left. The sombre mood is quickly dispelled by the exuberant final movement, wherein Bach obliges the performer to rapidly shift from one keyboard to the other.

French Overture, BWV 831: Johann Sebastian Bach published the Ouverture nach französicher Art, BWV 831 in 1735, as part of the second volume of the Clavier Ubung, along with the Italian Concerto. This Ouverture, really a partita, shares a kinship with the four orchestral overtures in many respects. It may very well have been intended for publication as the seventh keyboard partita. Bach produced an earlier version of this work, in c minor. Transposed to b minor, the key signatures of the works comprising the 1st and 2nd volumes of the Clavier Ubung follow a logical order : the six partitas are in B flat major ("B" in German parlance), c minor, a minor, D Major, G Major, e minor. The Italian Concerto is in F major, and finally, the French Overture is in b minor ("H" in German).

The work begins with the overture proper – a noble movement of rather tragic character. The opening section features the dotted rhythms associated with the Lullian style overture, one of Bach's rare uses of this style in his keyboard opus (the opening movement of the D Major partita being the other principal example). An extended fugue, in 6/8 meter follows. As in the Italian Concerto, Bach indicates the changes of keyboard with "forte" and "piano." As in a concerto grosso, these dynamics create the impression alternation between the tutti and solo groups. After the fugue, the opening material returns.

In all of Bach's suites (the six French suites, the six English suites, the six partitas), Bach follows a predetermined order of movements: the principal movements are the allemande, courante, sarabande, and gigue (although the partita in c minor does not have a gigue). Extra movements – gavotte, bourée, menuet (amongst others) usually appear between the sarabande and the gigue, which will generally end the suite.

Here, as with the orchestral suites, Bach frees himself from this routine. After the overture, he dispenses with the allemande altogether, beginning with a rather grave courante. Then follows a gavotte with trio, the first of three such movements in this work. As in the overture, Bach notes a forte for the first of the gavottes, of a robust character. The trio, in D Major, is marked piano and is of a much more delicate character. Then follows a pair of passepieds. Again, the first of these is of a rich, orchestral texture. The second passepied, in B Major, is of a nearly crystlaline delicacy. An exquisite sarabande follows, composed in four-part chorale-style writing. A rather unusual pair of bourrées follows : the first (as with the other similar movements, carrying the notation forte) is a very lively, two-part texture. Its partner, remaining in the home key of b minor, features fleeting 16th note groups. The gigue is very much in the French style (like the 7th variation of the Goldberg Variations – the 4th book of the Clavier Ubung). The great majority of Bach's gigues are fugues. This gigue takes its inspiration from the French masters before Bach, especially François Couperin. The closing movement, unique in Bach's opus, is entitled Echo. Of a rustic nature, the contrast between the lower (tutti, with the three registers of strings engaged) keyboard, and the upper (solo 8' stop) creates the effect suggested by the title.

Chromatic Fantasy and Fugue, BWV 903: Already celebrated in Bach’s lifetime, the Chromatic Fantasy and Fugue was likely composed in Köthen, when Bach was in the service of Prince Leopold. There is nothing in this work that isn’t exceptional. The Fantasy is extraordinarily inventive harmonically, certainly, but even more so in Bach’s use of varying textures at the keyboard. Brilliant passage work cedes to the most dramatic recitative, and then to complex arpeggiated episodes. The final page, making use of descending chromatic harmony, is of the most striking originality. The monumental fugue is based on a subject featuring two chromatic figures, building to a mighty finish.

Prelude, BWV 894, Andante (from Sonata for violin solo, BWV 1003), Fugue, BWV 894: Likely composed in Weimar, the Prelude and Fugue show Bach at his most virtuosic and extroverted. The prelude is structured very much like a concerto movement, with clearly delineated tutti and solo sections. Bach introduces some fleet passage work, in 32nd notes, towards the end of the movement. The Andante played here is transcribed by Bach himself, from the Sonata for solo violin in a minor, BWV 1003. The fugue is based on unrelenting triple figures. Bach used the first movement, in a very similar form to that in this early prelude, as the basis for the Concerto for flute, violin, and harpsichord in a minor (BWV 1044). The earlier fugue appears in the concerto version, but alternating with a rather more lyrical theme.