Rachmaninoff: Piano Concerto No. 3 in D minor, Op. 30

Piano Concerto No. 3 in D minor, Op. 30 - III. Finale, Alla Breve (Remastered 2022, Version 1930)

John Jenkins (2001/2011)
music for 2-manual harpsichord and six instruments in 5-limit Just Intonation
based on Johann Sebastian Bach’s Ricercar a 6 from Musikalisches Opfer, BWV 1079

commissioned with the assistance of the Canada Council
by Continuum (Toronto) & Evenings of New Music (Bratislava)

The musical material has been taken from Johann Sebastian Bach's Ricercar a 6 in Musikalisches Opfer, BWV 1079 (1747), mm. 29-103 (all but the exposition). Bach’s original pitches and durations remain for the most part unaltered, but their vertical relations have been disturbed by presenting the individual notes largely in sequential (rather than simultaneous) order. Like an unfolded architectural diagram, the resulting melodic material retraces Bach's harmonic and motivic constructions as a kind of projection onto two dimensions. This music (contained in its entirety in the keyboard part) undergoes a second projection back into the six non-keyboard instrumental parts, which may be realised by any six appropriately registered instruments of flexible tuning. Each of these parts largely retains its original pitches from the Bach, separated by silences, producing a new music in hocketed correlation with the other five parts. This transformation of Bach’s music has been notated in 5-limit Just Intonation based on a lattice of interlocking pure fifths and thirds, allowing all intervals between pitches to be exactly tuned by ear. This intonation is written up using the Extended Helmholtz-Ellis JI Pitch Notation, developed by Marc Sabat and Wolfgang von Schweinitz. A diagram of the pitches used, and a legend of the notation, are provided below. In the 2011 revised version, an additional “sotto voce” shadow music of sustained tones has been composed to facilitate the tuning of pitches by mostly simple JI consonances. The instruments should shift as smoothly as possible between the playing of foreground and background pitches (indicated by small noteheads), helping each other play as a purely tuned consort. John Jenkins (1592-1678) was an English composer who wrote primarily instrumental consort music, often originally intended for home performances by amateur musicians. Unlike many other composers, who were in the employ of royal courts and/or the Church, Jenkins spent much of his life working privately for various families in remote country houses of eastern England. He is also known as the inventor of the “lyra consort”, an exotic mixed ensemble consisting of violin, lyra viol, bass viol, theorbo, and harpsichord. The melody is to be expressively phrased, with an abundance of local detail. The general sensibility is ornate and Baroque, with great attention to the collectively created phrases. Vibrato should be used very sparingly. Tones connected by slurs are to be played as a single connected gesture. A comma just before a note indicates the beginning of a new phrase; immediately after a note, or before a rest, it indicates the end of a phrase. Dynamics and articulations have been written to suggest and facilitate the natural flow of phrases, and may be interpreted freely by agreement of the performers. John Jenkins was written at the request of Jennifer Waring (for Continuum, Toronto) and Daniel Matej (for Musica Aeterna, performing at the 2000 Bratislava Evenings of New Music). It was commissioned with the assistance of the Canada Council for the Arts.

Berlin, 24 January 2011

John Jenkins (2001/11)

Chicago Symphony Orchestra
André de Ridder, conductor
Inon Barnatan, piano
Jean Martinon, conductor

Ravel: Piano Concerto In G Major

La sansonnette - Dominique Forges
Scottish des trolls finlandais - Trad
Scottish Tabou - Jean-Michel Corgeron

Mathilde Lacaze : violon
Antoine Leclercq : guitare
Ludovic Rio : accordéon chromatique
En invité virtuel, John Lang "Pen Of Chaos" : bouzouki (http://www.penofchaos.com)

2009

http://triolam.free.fr



Trio LAm & John Lang - Scottish - La sansonnette/Scottish des trolls finlandais/Scottish Tabou

Archie Chen is a pianist who is dedicated to upholding the music of John Field. And boy, does he deliver with this recording of the "Fantaisie sur un air russe in A minor 'In the Garden.'" It's a gem of a piece that's been long forgotten, but Chen brings it back to life with his scintillating performance. He's a devil-may-care virtuoso, but he also knows when to hold back and let Field's graceful lyricism and delicate fioritura shine. It's a rousing recording that will make you want to listen to more of Field's piano music. And who knows, maybe you'll even discover some hidden depths that you didn't know were there.

Fantaisie sur un air russe in A minor 'In the Garden' by John Field (1782-1837) a hidden gem performed by pianist Archie Chen on John Field's birthday July 26th. 

Live from the Hugh Lane Gallery on July 26th, 2015 as part of the Dublin International Piano Festival & Summer Academy concert series. Please comment and share!

My SoundCloud Channel: https://soundcloud.com/archie-chen
Official Website: http://www.archiechen.com
Youtube DIPF https://www.youtube.com/c/PianofestivalIe
Youtube Archie https://www.youtube.com/c/ArchieChenPianist
Festival Website: http://www.pianofestival.ie
Teaching Website: http://www.pianoacademy.ie

Piano: Hamburg Steinway B
Piano Technician: Martin Walsh
Recording Engineer: Darby Carroll
Piano provided by Pianos Plus

http://www.pianofestival.ie 
http://www.archiechen.com

John Field Fantaisie sur un air russe in A minor 'In the Garden'

Me playing Grieg piece to a music competition in 2008, on a grand Yamaha piano, 183 cm.

Edvard Grieg - Bryllupsdag på Troldhaugen (Wedding Day at Troldhaugen)

Hewen Ma performs Images for Piano by Debussy. Recorded live during the Marion Rubin Berman ’31 Piano Honors Concert April 12, 2012 in NEC's Jordan Hall in Boston.
For more information: http://necmusic.edu/concerts

Debussy: Images for Piano -  Et la lune descend sur le temple qui fut

Glenn Gould : Bach: The Well-Tempered Clavier, Book I, Preludes & Fugues Nos. 1-8, BWV 846-853 - Gould Remastered

J. S. Bach - WTC I Prelude & Fugue No. 3 in C-Sharp Major BWV 848 - Glenn Gould (1963)

Baroque Evening

Civic Orchestra of Chicago. Cliff Colnot, conductor. 2011 live concert recording in Orchestra Hall - Chicago, IL.

Stravinsky: Rite of Spring (part 2)

Canadian composer Marc Sabat (*1965) is based in Berlin since 1999. He has made pieces for concert and installation settings, drawing inspiration from investigations of the sounding and perception of Just Intonation and of various music traditions — folk, experimental and classical. His pieces are presented and broadcast internationally at festivals of new music including the Donaueschinger Musiktage, Klangspuren Schwaz, MaerzMusik, Huddersfield, Darmstadt, Musica Viva and Carnegie Hall. Scores and artist editions are available from Plainsound Music Edition. Recent recordings include the LP “Les Duresses”, released by care of editions (Berlin) as well as discs on the labels Populist Records (Los Angeles) and World Edition (Köln).

Sabat studied composition, violin and mathematics at the University of Toronto, at the Juilliard School in New York, and at McGill University, as well as working privately with Malcolm Goldstein, James Tenney and Walter Zimmermann. Together with Wolfgang von Schweinitz he has developed the Extended Helmholtz-Ellis JI Pitch Notation and is a pioneer of music written and performed in extended Just Intonation. He teaches at the Universität der Künste Berlin, and as a guest at the California Institute of the Arts, the Escola Superior in Barcelona, the Janacek Academy in Brno and the Paris Conservatoire. In 2010, he was an artist-in-residence of the Villa Aurora in Los Angeles, followed in 2011 by a one year residency at the German Academy in Rome, Villa Massimo.

John Jenkins (2001/11)

Marc Sabat

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