The Art of Fugue BWV 1080 by Johann Sebastian Bach. Monsaingeon, Gould and Okonsar
When referring to the Art of The Fugue by Johann Sebastian Bach with Bruno Monsaingeon, Gould refers to the particular later works by Bach not in any general aesthetic phrases, but as being endlessly enlarging universes of hues of gray, or simply colorless contrapuntal designs. Gould was quoting Albert Schweitzer about the first fugue in the collection, yet he sensed this unique detailed description is also liable for the very last fugue of the series.
His consideration connected with the entire work provides the ideal description.
Johann Sebastian Bach, the foremost member of a distinguished family of German music artists and composers, is recognized as the most significant composer of all time. His most famous works feature The Brandenburg Concertos, Well-Tempered Clavier and the Art of the Fugue. Bach's recognition throughout his life-time must have been as a consequence of his expertise as an organist even more than a composer, nevertheless following the nineteenth century he happened to be heralded as being a genius whose work represents the actual peak of the Baroque period of time.
Johann Sebastian Bach did not create newer forms, he enriched the current German style by using a strong contrapuntal technique, an unrivaled power over harmonic as well as motivic organization, the adaptation of rhythms, forms besides textures coming from foreign countries, especially Italy and France.
The Art of Fugue (BWV1080) undoubtedly constitutes a pinnacle of Bach's art. Conceived for harpsichord, the work continues to be transcribed for rather different instruments, such as string trio, guitar, synthesizer and harp. Richard Boothby's version for his own consort of viols, Fretwork, might be simply the most odd, in that it opts for a sound-world that looks further back in its history.
The Julliard Quartet's previous recording of the work, has been a reference, however drawn from the opposite end of the approach to the composer's output. Taken with one another these recordings offer a couple of stimulating approaches to Bach's, possibly greatest music.
Mehmet Okonsar, in his particular rendering of the work using a Baroque Church organ has plainly reaped the benefit from the lessons of the early-music movement concerning late Baroque style and performance practice. However the pianist's longstanding involvement with contemporary music is also apparent throughout his feeling regarding what is without a doubt unique and also significant in Bach.
We can enjoy every performance by Mehmet Okonsar as much as he enjoyed making it. It would be unjust to say that he plays the work as though it were merely another Johann Sebastian Bach's one; but Okonsar plays it together with the organic experience and elegance connected with the born musician as well as a very sensitive one, handing it out esteem exactly where respect is due, and discreet technical guidance where it is not. A careful distinction have to be created between depth of interpretation, which may be totally natural, and depth of understanding, which may be fully superimposed.
Comfort along with sturdiness are to be noticed here as well, and there is a fine intellect at work besides great fingers.
His approach involving the complete work gives the most effective gratification.
Okonsar's specific and personal option regarding the succession of the pieces within the series: several (related) fugues performed on the organ pursued by a Canon performed on the harpsichord, testifies how greatly the actual composition has been reckoned as well as analyzed.
His First Prize at the International Young Virtuoses Competition of Antwerp in 1982 appeared to be the beginning of his international career. Continuously programming by far the most challenging pieces, Okonsar's orchestral debut was the 3rd Concerto by Rachmaninoff performed at the "deSingel" Concert Hall in Antwerp. However his genuine leaping board have been in Utah, the 6Th prize at the "Gina Bachauer International Piano Competition", 1991. The "Academie des Arts Contemporains" of Enghien, Belgium honored him in 1991, for his acoustic and electronic compositions with the Gold as well as Bronze medals respectively.
That is among the most interesting performances of the Art of Fugue (BWV1080) on the organ I already know. Search and view on Youtube.
About the Author:
Jose Brophy is a part-time classical music writer and record collector. He studied classical piano and continues to play as his day-job permits. He is a fan of J. S. Bach and pre-Baroque music. He is contributing in various music blogs including "inventor-musicae", the premier site on music and musicology, founded by Mehmet Okonsar.
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