Harpsichord Gems, vol.2. The Great Transcriptions (2005)

Weiss, Bach, Reincken, Geminiani

Olga Martynova

When we speak about music, baroque means more than the age of figured bass and stile concertato. Today, as never before, there is a growing awareness that it is also the era of transcriptions and arrangements, which are just as indicative of the face of the age as are any innovations in the sphere of musical composition. 
In those far off times, the public’s attitude to their favorite works of art was quite different to what it is today. It would never occur to anyone then to jealously guard from interference — as if it were sacred — each note of a generally recognized masterpiece. If a composition was popular it should be played as often as possible, in different transcriptions and arrangements. No musician would miss the opportunity of re-arranging a work, that had caught the public’s fancy, for different players: for the leading court soloists, for his friends and pupils, or even for musicians who were quite unknown to him — professionals and wealthy amateurs (willing to spend a fair sum of money on the acquisition of sheet music for a piece they liked). And even the duties of court music director or leader of a church choir were inconceivable without the constant re-working of their own pieces — for yet another holiday or some other ceremonial occasion.

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Olga Martynova

Olga Martynova is one of the premier harpsichordists in Russia today. An honours graduate in piano and harpsichord from the Moscow Conservatoire, she decided to devote herself to early music after hearing a recital in France by Hopkinson Smith, the distinguished performer of early plucked instruments. His master classes made a profound impression on her and deeply influenced her understanding of music. Martynova continued her studies in France, graduating from the Ecole Nationale de Musique de Bobigny with a gold medal. She went on to win the Van Wassenaer competition in the Netherlands and the Premio Bonporti in Italy, and has given harpsichord and piano recitals all over Europe. Since 2003 Olga Martynova has performed on historical instruments and toured with the Moscow orchestra Pratum Integrum. Like Pratum Integrum she records exclusively for the Caro Mitis label. Her previous recordings feature selected keyboard sonatas by Johann Christian Bach (CM 0052004), transcriptions of Baroque music for harpsichord (CM 0072004), Johann Caspar Ferdinand Fischer’s Musicalisches Blumen- Bu?schlein (CM 0012006) and piano pieces of the 19th and 20th centuries arranged for harpsichord (CM 0102006). These recordings have been widely praised (the German magazine Toccata- Alte Musik aktuell voted the album of J.C. Bach sonatas ‘CD of the month’). Olga Martynova also performs with the Moscow Baroque and A La Russe ensembles, and teaches at the Moscow Conservatoire and Gnesin School of Music.

 

 

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Harpsichord Gems, vol.2. The Great Transcriptions (2005)

Weiss, Bach, Reincken, Geminiani

Olga Martynova

    SA-CD.net -

This is a marvellous disc of Harpsichord gems. The pieces by Sylvius Leopold Weiss are not only wonderful, but also the pieces that falls easiest on the ear. Weiss was a lutenist and this suite is a transcription from his tablature. The music is somewhat melancholy, always with a lovely flow. The piece by Bach is actually a reworking of a trio sonata by J.A. Reincken. Something that intrigued the young Bach about Reincken was his ability to write fugues, they where all perfect. But Bach made his own imprint when he arranged these pieces and it is surely an original piece from start to finish. Well, you know what I mean, it sounds original anyway. The Francesco Geminiani pieces are also transcriptions. In this case from violin sonatas - Geminiani made a fortune from these arrangements. Music with a bit more passion, a bit more fire. The Weiss suite I can only describe a French elegance despite its origins. The Bach more controlled and thought out, in the best sense. The playing of Olga Martynova is absolutely brilliant. It is obvious that she loves this music and her temperament and skill makes this a very successful recording. Her phrasing is superb and I simply adore her feeling for timing. More please! The sound is perfect. Olga Martynova is in my room. The surround sound from Polyhymnia is as good as it gets, and a bit more actually.

Edvin[read full review]

Harpsichord Gems, vol.2. The Great Transcriptions (2005)

Weiss, Bach, Reincken, Geminiani

Olga Martynova

Digital Converters: Meitner design
Microphones: Neumann km130 DPA (B & K) 4006 ; DPA (B & K) 4011
Producer: Michael Serebryanyi
Recording Engineer: Erdo de Groot, Roger de Schot
Recording location: Manege Hall of the Moscow Theatre School of Dramatic Art
Recording Software: Merging
Recording Type & Bit Rate: DSD64

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CM0072004: Harpsichord Gems, vol.2. The Great Transcriptions
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Tracks.
1.
Prelude in Re minore
Weiss
00:02:25   Select quality & channels above
2.
Allegro in Re minore
Weiss
00:02:59   Select quality & channels above
3.
Sonata in D minor - Allemande
Weiss
00:05:13   Select quality & channels above
4.
Sonata in D minor - Courante
Weiss
00:03:21   Select quality & channels above
5.
Sonata in D minor - Gavotte
Weiss
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6.
Sonata in D minor - Sarabande
Weiss
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7.
Sonata in D minor - Bourree
Weiss
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8.
Sonata in D minor - Gigue
Weiss
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9.
Sonata in A minor BWV 965 - Adagio
Bach,Reincken
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10.
Sonata in A minor BWV 965 - Fuga
Bach,Reincken
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11.
Sonata in A minor BWV 965 - Adagio. Presto
Bach,Reincken
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12.
Sonata in A minor BWV 965 - Allemande
Bach,Reincken
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13.
Sonata in A minor BWV 965 - Courante
Bach,Reincken
00:02:38   Select quality & channels above
14.
Sonata in A minor BWV 965 - Sarabande
Bach,Reincken
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15.
Sonata in A minor BWV 965 - Gigue
Bach,Reincken
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16.
Pieces de Clavecin - Prelude (Lentement)
Geminiani
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17.
Pieces de Clavecin - Vivement
Geminiani
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18.
Pieces de Clavecin - Moderement
Geminiani
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19.
Pieces de Clavecin - Vivement
Geminiani
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