FLAC: 384 kHz / 24 bit + PDF: Booklet

Some of Georg Philipp Telemann’s violin fantasias were in my repertoire when I was still a child. The cycle of fantasias for viola da gamba, an instrument tuned similarly to the modern viola, is my recent discovery. It heldme spellbound from the very first notes. Structurally, the cycle is distinguished bya

FLAC: 384 kHz / 24 bit + PDF: Booklet

Some of Georg Philipp Telemann’s violin fantasias were in my repertoire when I was still a child. The cycle of fantasias for viola da gamba, an instrument tuned similarly to the modern viola, is my recent discovery. It heldme spellbound from the very first notes. Structurally, the cycle is distinguished bya logic of containing the music within the scale of the principal key. Nevertheless, the major-minor relationsbetween the individual pieces in the cycle are also clearly of importance. The consistent use of key relationships supports the composer’s profound invention and creates an overall sense of diversity for the performer. The numerous tempo indications in the source make it possible to define the character of each movement. In my edition, the main principle has been to remain consistent with the source material. The methodology of my own interventions in the musical source text results, first and foremost, from practical performance considerations. Since the cycle was originally designed for a somewhat different instrument, my adaptation for the viola must needs include some intuitive supplementation so that the edition can be used as ready-made concert material. I have made it a rule to analyse these minor alterations with a view to their congruity with the aesthetic and concept of Telemann’s cycle. They are therefore not the result of the editor’s mere personal preferences. In my private collection, I have recently come across Florian Bryła’s arrangements of Telemann’s violin fantasias. History thus comes a full circle as fifty years later I myself am presenting to you my transcriptions of the same composer’s gamba fantasias.I have decided to pay tribute to my grandfather’s work by including in the album’s programme one movement (Dolce) from Telemann’s Fantasia No. 7 TWV 40:20 for violin, as arranged by my honourable ancestor.

FLAC: 192 kHz / 24 bit + PDF: Booklet

Mozart’s violin sonatas, though light and easy to listen to, are hard to analyse and describe, which reflects the actual, extremely sophisticated and complex nature of this music. Of the vast multitude of ideas, each has influence on the originality of the form. Beethoven would break away from formal models in

FLAC: 192 kHz / 24 bit + PDF: Booklet

Mozart’s violin sonatas, though light and easy to listen to, are hard to analyse and describe, which reflects the actual, extremely sophisticated and complex nature of this music. Of the vast multitude of ideas, each has influence on the originality of the form. Beethoven would break away from formal models in general. Mozart did the same on a subtle local scale, nearly imperceptibly, through details and nuances. It is only on the level of expert interpretation that the composer’s genius can fully be revealed. They are all labelled by the composer as sonatas for piano and violin, and, indeed, we frequently get the impression that the piano plays the leading role. It opens sections, presents themes, shows off its unaffected, ‘rippling’ virtuosity. The violin (naturally an equal partner) frequently shapes the colour, or even functions as a ‘character instrument’. Altogether, these are fundamentally works meant to provide entertainment, but it is never a vain pastime. Music of such wealth and beauty is always first and foremost educational. It will very likely teach something different to everyone. Most of all, however, it undoubtedly represents a rich and noble spirit – not of any average person, but of a master and genius.

FLAC: 192 kHz / 24 bit + PDF: Booklet

Johann Sebastian Bach’s position among humanity’s greatest geniuses(musical and not only) has always been and will remain exceptional. His oeuvre, colossal in size but also in many other respects, expresses the human spirit most originally and completely. Despite the great many commentaries and writings on Bach

FLAC: 192 kHz / 24 bit + PDF: Booklet

Johann Sebastian Bach’s position among humanity’s greatest geniuses(musical and not only) has always been and will remain exceptional. His oeuvre, colossal in size but also in many other respects, expresses the human spirit most originally and completely. Despite the great many commentaries and writings on Bach’s music, one never tires of paying homage and showing admiration, of new interpretations and perspectives. If any music can be called sacred, not only in the sense of its religious purpose, but sacred as only things dearest to us can be, then Bach comes first. One cannot help admiring him; one will never have enough of his music or stop craving for more. There are no words too lofty to express our admiration for and delight with Bach’s music. No solemn or emphatic statements will grasp what human language cannot convey, but what Bach manages to convey through his music. It is a notable though frequently overlooked aspect of Bach’s works that, though extremely complex and sophisticated, they are at the same time the most lucid and clear. Their content appeals directly to the heart, while their form delights the mind with its self-evident structures, in which every element is placed so as best to perform its role, to be perceived and comprehended. This is music that can appeal to everyone, inspires awe in everyone, and leaves not even the least prepared listenersindifferent. Bach is an irresistible element, beautiful and noble, thatsurprises and delights us, never failing to transport usinto a better world.Like no other music, Bach has it all and thus embodies absolute completeness.