Keith Jarrett Bach The Well-Tempered Clavier Book 1, BWV 846-869

Keith Jarret - J.S.Bach

Keith Jarrett

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Italian Concerto in F Major, BWV 971 & Fantasia and Fugue in a Minor, BWV 904

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Aerobic mit Ingeborg Mißfeldt / Spargo – Hip Hap Hop [Karussell]
Lia Kohl – First Picture of the Weather Pattern [Shinkoyo]
Bad LSD Trips – Lazy Hideaway [Enmossed]
Iury Lech – Posmeridiano [CockTail d'Amore Music]
Mahalia Jackson – Even Me [Archive of Jazz]
Suso Saiz – From Memory And The Sky (El Cielo Y La Memoria) Part III [Music From Memory]
Kobermann – Fallen Drips [A.T.C. Records]
Ann Eysermans – Le Départ [cortizona]
Michelle Gurevich – Montreal Love Theme [s/r]
若潭 ruò tán – 月 Moon [Unexplained Sounds Group]
Blacklight Chameleon – Young Summer [Nutriot]
Hitoshi Kojo – Ebisu [Rainbo Records]
Olivia Block – Axiolite [Room40]
沙漠里的沙子晚上很温暖 – Latch [Villain]
Klaus Nomi – Samson and Delilah [RCA]
The Smiling Buddhas – Make Your Roof Electric [base]
Ana Roxanne – It's A Rainy Day On The Cosmic Shore [Leaving Records]
Hypnosis – End Title (Blade Runner) 7” Warp [CBS]
Akira Rabelais – 1390 Gower Conf. II. 20 I Can Noght Thanne Unethes Spelle That I Wende Altherbest Have Rad. [s/r]
Martyna Basta – Back and Forth [Warm Winters]
Satoshi Ashikawa – Still Sky [WRWTFWW]
Polygonia – Golden Tears [Lowless]
Gebenedeit – Agnus Dei (So schwach) [Problembär]
The Synergy – Kenjo [Celestial Harmonies]
Robert Lippock – Open [FLAU]
Pauline Hogstrand – Herein [Warm Winters Ltd.]
Wandl – Sweet Love [Affine]
Bohren & Der Club Of Gore – Welk [s/r]
Hylut – Counted [Wilhelm show me the major label]


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...[sic!] - 12/04/24

EP 2307 Book Review ไม่ต้องได้ทุกอย่างเพื่อมีความสุข (JOMO)

บางทีความสุขก็อยู่กับความคิดของเราที่เลิกที่จะพยายามไขว่คว้าเพื่อให้ได้ทุกอย่างมาเป็นของเรา ลองฟังรีวิวหนังสือเล่มนี้กันครับ

EP 2307 Book Review ไม่ต้องได้ทุกอย่างเพื่อมีความสุข (JOMO)

BERND FRANKE
I met Feldman at the crossroad... (the way down is the way up)
for soprano and string quartet based on a sonnet by D. Bengree-Jones (2002)

wp: 9.5.2002  Saarbrücken/SR/Petersen - Quartett/Soprano - Cordula Berner
(commissioned by the Saarländischer Rundfunk)
Musik im 21. Jahrhundert   Saarländischer Rundfunk
duration: 14`
publisher: C. F. Peters Frankfurt- Leipzig-London-New York
www.edition-peters.de

http://www.berndfranke.de/


Work Text

Worktelegram: got to know the West Berlin Flautist and Cage/Feldman expert Eberhard Blum in 1987  at the 9th International Composers' Congress in Künstlerhaus Boswil in Switzerland; Morton Feldman died during the week and it was through Blum that I learnt of his death, indeed of Feldman's existence! -  in the following years (through the stimulation provided by Blum) intensive study of Feldman and Cage -- during the 90's work on my cycle half -- way house - SOLO XFACH (für Joseph Beuys) which would not have come into being without such concentrated study - in Autumn 2001 commission from Musik im 21. Jahrhundert for a string quartet with Soprano solo - first idea a homage to Feldman connected with his well-known piece I met Heine on the rue Fuerstenberg - request to the English writer David Bengree- Jones for a poem for this project - Bengree-Jones writes the Sonnet The way down is the way up after Agrippa and the Dürer engraving Melencolia I - out of this comes a seven part composition - the text is fragmented - 1, 3, and 5 exist only in the form of parts  without a score  (Quantum mechanics, Uncertainty Principle) -  2, 4, and 6 (without Soprano) "react" to this energetic bundle of uncertainty and apparently chaotic polyphony - the last movement quotes the well-known Feldman piece - the soprano ends singing (not playing) with the Feldman -F.

Bernd Franke    31.3.2002



David Bengree-Jones
The way down is the way up

A Sonnet after Agrippa and Dürer

Huddled and cold on the city's bleak, damp earth, I watch the grey-locked man limp away from my derelict site.
His laugh is as harsh as the North Wind, yet to me sings the redemption of beauty as it echoes against the crumbling brick at my back.
Haunted no more, my smeared face reflects the embers and my numbed hand no longer shakes.  
The grill-ribbed Dog sleeps, slumped against my leaden limbs, his tragic muzzle senseless, the rainbow puddle iridescent with his oil-mixed spittle.
Love, the grubby child with the penny-whistle, pipes aimlessly amid the rubbish, and the tuneless melody veins
Many measured, bat-like songs to parody the pantomime of life.

A siren.  The ambulant harpies of the street swoop.
Longing for the sanguine sterility of the everyday, they
Invade my reason, stretcher me, dripping and stained, tying me to their procrustean rack.
Hopelessness is an ecstasy they are conditioned not to see.

Every searing spot in the rushing corridors is dimmed
Forever, my moved mind motionless,
Gone already as I sense the antiseptic purity of vacuous light.

I met Feldman at the crossroad... - for soprano and string quartet (2002)

Giraffenaffen 3

Froh zu sein Bedarf es wenig (Sing mit)

Freiheit

Stell dir vor (feat. Xavier Naidoo)

Bach: Das wohltemperierte Klavier - Buch I (BWV 846 - 869)

Fugue No. 1 in C Major, BWV 846/2

Prelude No. 3 in C-Sharp Major, BWV 848/1

Fugue No. 2 in C Minor, BWV 847/2

Prelude No. 1 in C Major, BWV 846/1

Prelude No. 2 in C Minor, BWV 847/1

The Köln Concert

Köln, January 24, 1975, Part II c (Live)

Köln, January 24, 1975, Part II a (Live)

Köln, January 24, 1975, Part II b (Live)

Köln, January 24, 1975, Part I (Live)

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Refined By Your Embrace

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Johann Sebastian Bach:  Passacaglia and Fugue in C minor, BWV 582

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Believer Feat. Xavier Naidoo

J.S. Bach: The Well-Tempered Clavier, Book 1, BWV 846-869 / Prelude & Fugue in C Major, BWV 846: I. Prelude

J.S. Bach: The Well-Tempered Clavier I, Prelude & Fugue No. 1 in C Major, BWV 846: I. Prelude

J.S. Bach: The Well-Tempered Clavier: Book 1, BWV 846-869: 1. Prelude in C Major, BWV 846

Prelude No. 1 in C Major, BWV 846/1 (Live in Troy, NY / 1987)

Tone - Mein Traum feat. Xavier Naidoo

J.S. Bach: The Well-Tempered Clavier, Book I

Prelude No. 5 in D Major, BWV 850/1 (Live in Troy, NY / 1987)

Prelude No. 2 in C Minor, BWV 847/1 (Live in Troy, NY / 1987)

Fugue No. 2 in C Minor, BWV 847/2 (Live in Troy, NY / 1987)

Fugue No. 4 in C-Sharp Minor, BWV 849/2 (Live in Troy, NY / 1987)

Prelude No. 4 in C-Sharp Minor, BWV 849/1 (Live in Troy, NY / 1987)

Fugue No. 6 in D Minor, BWV 851/2 (Live in Troy, NY / 1987)

Fugue No. 1 in C Major, BWV 846/2 (Live in Troy, NY / 1987)

Prelude No. 3 in C-Sharp Major, BWV 848/1 (Live in Troy, NY / 1987)

Toccata and Fugue in D minor, BWV 565 (not to be confused with a series of German cars), attributed to Johann Sebastian Bach. This is from around 1700 but sounds timeless to me.

Live video: http://www.youtube.com/watch?v=GGUBreY-6J8

I'm using the Nord Stage 2 sampled church organs and I've added some harpsichord to try to give it a little bit different feel. I only play the beginning and the end of the fugue (the middle part is less fun...) Organ (and harpsichord) are not the most expressive instruments - you can't control the volume of each note - yet this piece works so well and is so overwhelmingly beautiful.

Cute story: I remember attending church every Sunday when I was a kid and naively hoping they'd play this piece!

Video

J.S. Bach - Toccata & Fugue in D minor [organs + harpsichord]