Concert programme
A journey from Bach to Mendelssohn
J.S. Bach's music and style had a considerable influence on his sons, but also on later composers such as Haydn, Mozart, Beethoven, Schumann and Mendelssohn. His contrapuntal techniques and harmonic language were studied and adopted, while the rediscovery of his music in the 19th century sparked a revival of interest in Baroque music and had a lasting impact on the development of music history.
Bach's music and his contrapuntal and harmonic style had a considerable influence on his own sons, but also on later composers such as Haydn, Mozart, Beethoven, Schumann and Mendelssohn.
The rediscovery of his music in the 19th century contributed to a revival of interest in early music and had a decisive impact on the development of music history.
1. Johann Sebastian BACH (1685-1750)
Praeludium & Fuge in G, BWV 541
Bach took particular care in the musical education of his eldest son, Wilhelm Friedemann. By the time the young organist and harpsichordist was old enough to leave home (around 1730), he was already famous.
The question remained as to which organ bench he would call his own for the next few years.
An audition in Halberstadt was unsuccessful, but in 1733 the new Silbermann organ in Dresden's Sophienkirche came into the picture.
For this position in Dresden, Bach's father had written his son's application letter, and it is no coincidence that it was on the same paper as a new copy of BWV 541. This prelude and fugue together constitute the ideal piece for an audition: virtuosic, playful, energetic from start to finish, and also resolutely fashionable – in the Italian style, of course.
Wilhelm Friedemann won the audition with this piece and remained in Dresden for more than twelve years.
2. Wilhelm Friedemann BACH (1710-1784)
Duetto “Gottes süsse Seelenlehre”
(cantata “Wohl dem, der den Herren fürchtet”, FK76)
(arrangement for organ: Marc Appelmans)
Cantata from 1752 for soprano, alto, mixed choir, 2 violins, viola, cello and organ. In the original version, the duet was sung by soprano and alto soloists, with basso continuo.
3. Carl Philip Emanuel BACH (1714-1788)
Solfeggietto, Wq117/2
A leading figure of Empfindsamkeit, C.P.E. Bach was the second surviving son of Johann Sebastian Bach and his cousin Maria Barbara.
As a composer, Carl Philipp Emanuel is considered one of the most important representatives of the Empfindsamkeit style, applying his father's polyphony in a more gallant style. In this respect, he is a key figure between his father's Baroque style and the Classicism of the First Viennese School (which includes Mozart, Haydn and Beethoven).
The term “solfeggietto” refers to an exercise, a short study.
This fairly popular piece is a study in rhythmic regularity and touch, but also in composition (how a piece of music can be constructed from the simplest of ideas).
4. Joseph HAYDN (1732–1809)
Excerpts from Flötenuhrstücke 1792 : Andante – Menuett – Presto
Haydn considered the works of C.P.E. Bach to be a major source of inspiration and learned a great deal from his innovative approaches to composition, particularly in the fields of keyboard music and symphonies. He was interested in his theoretical writings, particularly his work ‘Versuch über die wahre Art das Clavier zu spielen’ (On the True Art of Playing Keyboard Instruments).
Both composers were important figures in the development of classical music, and their paths probably crossed in the musical life of the time.
C.P.E. Bach recognised Haydn's talent and later praised him for perfectly understanding and applying his ideas.
The three pieces presented were written for a mechanical clock with a flute mechanism.
These short pieces were written for a Flötenuhr, or flute clock.
What is that ? A musical clock, or music clock, is a clock that indicates the hours of the day with a musical tune, which is played on bells or organ pipes using a cylinder (playing drum) equipped with pins.
In addition to Haydn, Mozart also wrote short pieces for music clocks.
5. Ludwig VAN BEETHOVEN (1770-1827)
Two-part Fugue, Wo031
Beethoven considered Bach to be one of the greatest composers of all time and demonstrated this in his own compositions. He hardly ever wrote for the organ, but at the age of 12 he composed this modest two-part fugue.
In this piece, written when he was twelve, Beethoven proves that he had already studied Bach's contrapuntal works very well and had mastered the rules of harmony and counterpoint.
6. Wolfgang Amadeus MOZART (1809-1847)
Adagio from the Clarinet Concerto / from the Clarinet Concerto K622
Mozart was also one of those composers who studied and continued Bach's work.
The Adagio from Mozart's Clarinet Concerto in A major, KV 622 is the second movement of this famous work for clarinet and orchestra.
The movement exudes a sense of melancholy and beauty, characteristic of Mozart's late works.
The clarinet concerto was completed in 1791, shortly before Mozart's death.
The Adagio is one of the most popular and most frequently performed movements in the classical repertoire.
7. Robert SCHUMANN (1810-1856) Studie für den Pedalflügel, Op. 56 No. 1
Schumann was a great admirer of Bach and contributed to the rediscovery of his music in the 19th century.
Robert Schumann's Opus 56 consists of six canonical pieces written for piano with pedal. They are the result of Schumann's keen interest in counterpoint and the possibilities offered by the pedal.
8. Felix MENDELSSOHN (1809-1847) Sonate IV, op. 65 nr. 4
- Allegro con brio
- Andante religioso
- Allegretto
- Allegro maestoso e vivace
Mendelssohn was a fervent admirer of Bach and helped to popularise his music, notably through his memorable performances of the St Matthew Passion.
He wrote six organ sonatas, the fourth of which he composed in 1844 on commission from an English publisher.
The sonatas do not have a classical sonata form, but are more comparable to suites from Bach's time.