«NACH BACH oder fügsame Fugen?»
Chamber Music
Wednesday, 9 August 2023
7.30 pm, Gsteig Church
Since Johann Sebastian Bach, the fugue has been one of the most important disciplines in music. Rigid in architecture, it ideally complements the prelude and its greater scope for expressive freedom. How would it sound if a fugue by Schumann or Chopin were to be set against a prelude by Bach? Or if the same Bach were to be set against music by Hummel, Alkan or Arensky? What kind of subtle marriage could the meeting between the master of polyphony and his heirs produce? As a continuation of his solo project “Auf allen Kla4en” (with music by Rossini and Satie), author Alain Claude Sulzer invites pianist Yaara Tal to the stage and offers a literary prelude (in German) to the pieces performed.
Alain Claude Sulzer, Narrator/Author
Yaara Tal, Piano
| Music reading – in German Der preussische Apoll | |
| Johann Sebastian Bach (1685-1750) | |
| Prelude No. 16 in G Minor, BWV 885 from “The Well-Tempered Clavier”, Book II | |
| Prince Louis Ferdinand of Prussia (1772-1806) | |
| Four Voices Fugue in G Minor, Op. 7 | |
| Der missratene Sohn | |
| Johann Sebastian Bach (1685-1750) | |
| Prelude No. 2 in C Minor, BWV 871 from “The Well-Tempered Clavier”, Book II | |
| Wilhelm Friedemann Bach (1710-1784) | |
| Fugue in C Minor, F. 32 | |
| Die Vergessenen | |
| Johann Sebastian Bach (1685-1750) | |
| Prelude No. 14 in F-sharp Minor, BWV 883 from “The Well-Tempered Clavier”, Book II | |
| Johann Nepomuk Hummel (1778-1837) | |
| Fugue in F-sharp Minor, Op. 7 No. 3 | |
| JEAN LACHT UND WEINT | |
| Voltaire/dt. Alain Claude Sulzer | |
| Johann Sebastian Bach (1685-1750) | |
| Prelude No. 10 in E Minor, BWV 855 from “The Well-Tempered Clavier”, Book I | |
| Charles-Valentin Alkan (1813-1888) | |
| “Jean qui pleure”, Fugue in E Minor | |
| Johann Sebastian Bach (1685-1750) | |
| Prelude No. 10 in E Minor, BWV 855 from “The Well-Tempered Clavier”, Book I | |
| Klingende Namen | |
| Johann Sebastian Bach (1685-1750) | |
| Prelude No. 6 in D Minor, BWV 875 from “The Well-Tempered Clavier”, Book II | |
| Robert Schumann (1810-1856) | |
| Fugue in D Minor, Op. 72 No. 1 | |
| Der heilige Napoleon | |
| Napoléon Alkan (1826-1906) | |
| Etude fuguée sur deux motifs du “Prophète” de Meyerbeer (G Minor) | |
| Flucht und Fügung | |
| Johann Sebastian Bach (1685-1750) | |
| Prelude No. 6 in D Minor, BWV 851 from “The Well-Tempered Clavier”, Book I | |
| Anton Arensky (1861-1910) | |
| Fughetta in D Minor | |
| Der ausschliessliche Künstler | |
| Johann Sebastian Bach (1685-1750) | |
| Prelude No. 8 in E-flat Minor, BWV 853 from “The Well-Tempered Clavier”, Book I | |
| Lyonel Feininger (1871-1956) | |
| Fugue in E-flat Minor | |
| 75' | |
| CHF 80/60/40 |
