Diana Boyle – Brahms Piano WorksThey carry a strong sense of mood or inner feeling that mere titles could not convey. Diana Boyle is a fine pianist who records diana boyle piano but prepares each recording with years of thought, consideration and meditation on the music. Her interpretations are individual and thought-provoking, often delicate, not always diana boyle piano to the norm which pianists of lesser talent will follow, but looking to breathe new life and spirit into classic masterpieces. Though recorded inboylee recording is as fresh as today and was previously on Integra Records CD. About tren quito hours ago.
Diana Boyle | Piano
Click here to listen. Recorded at Forde Abbey, Dorset, st March Purchase from the UK. Purchase from the USA. Also available through and all good record shops. Bach completed the first draft of Art of Fugue in , revising and adding to it over the next seven years.
At his death in July the work was found to be incomplete: Later commentators have wondered whether there might have been another page to the manuscript which got lost. But recent scholarship has shown neither account of the unfinished manuscript to be correct.
The evidence suggests rather that Bach stopped work on Art of Fugue in the Autumn of before the deterioration in his sight made it no longer possible for him to work; and, since there are usable empty staves on the last extant page of the manuscript of Contrapunctus 14, the notion that Bach completed the fugue on another piece of paper becomes implausible.
Did he leave it for others to complete? Was it that he had second thoughts about the propriety of introducing the BACH motif as a fugal subject in his own work? This seems to be contradicted by the fact that the motif has already appeared earlier in the work. Was it just something he never got around to?
Bach would certainly have drafted out the full scheme of this supremely complex fugue before working it through in detail, and it has long been known that the foundational thematic subject of the Art of Fugue can successfully be integrated with the existing material of Contrapunctus 14, suggesting that this is what Bach had in mind. Of the several attempts to complete the fugue, in modern times, that of Donald Francis Tovey is probably the most successful and the most frequently used.
But, although composers like Schumann played with notions of partial or ambiguous closure in their works, the aesthetics of the artistic fragment did not generally refer to music perhaps because the sense of rupture brought about in the listener by a piece of music that literally breaks off in mid sentence is too shocking to be theorised in any satisfactory way.
Music, like oral story-telling or poetry, film and dance, develops its formal and semantic structures in real time, drawing the listener into an embodied flow of narrative and argument.
We follow music in our heads, and if it suddenly stops, we experience a kind of miniature mental trauma as we topple into an abyss of emptiness. All music exists in relation to silence, but the silence that precedes and comes after a completed work is connected to the music, anticipating meaning or reverberating with it. The silence which follows a piece of music which is broken off is quite different — unstructured, perturbing, even desolate. By analogy, it tells us that there is no such thing as a completed life; that all lives end in mid sentence; that we live and then, from one moment to the next, we stop living, and that even the greatest among us — even Bach — cannot escape this inexorable truth.
The suddenness of the ending of Contrapunctus 14 is perhaps especially affecting, because it truncates music whose inner purpose is so much to do with the working through and completing of an elaborate hierarchy of complex patterns.
He conceived the work not just as a collection of fugues illustrating different possibilities of the form, but as a large-scale structure made out of a progression of fugues or unified by strong tonal and thematic relationships. In one sense, Art of Fugue is the result of what one might call a research experiment: Bach develops this material over fourteen long fugues and four canons.
Although the precise sequence of these pieces is disputed, they are generally arranged in order of increasing complexity. High tends to mean difficult of access, if not remote, possibly cold and even dangerous. Only the toughest and most knowledgeable climbers attempt to scale the highest peaks.
There has perhaps always been a division in the output of European composers between works written for themselves and for their musical peers and possibly a few unusually well- educated amateurs, and works written for the more general public. Whether they have written for the church or aristocratic patrons or a concert-going public, composers have had to satisfy the demands of the people with the cheque book. But, at the same time, they have always found time to write music for its own sake.
Art of Fugue is just such a work, written by Bach not with a view to performance, but as an exploratory exercise in his art. If we connect fugue as a musical form with any composer rather than with another then it is of course Bach we connect it to. If composers wrote fugues. Bach - Art of Fugue. Brad Michel Piano Technician: Grotrian-Steinweg model c.