Credits:

Smetana / Collegium 1704

Description:

Composer and pianist Fazil Sai offers a completely new perspective on Bach's masterpieces! The Japanese commentary includes a Japanese translation of the commentary by Fazil Sai and a newly written commentary by Hidekuni Maejima. It is a masterpiece said to have been performed by Bach's pupil Goltberg for the Count, who was suffering from insomnia. The 30 variations based on the bass part of the aria placed at the beginning and end of the work for harpsichord (clavicembalo with two-stage keyboard) are elaborated with advanced counterpoint techniques and are known as one of the pinnacles in the history of variations. The beauty of the gentle, richly ornamented melody of the opening aria is quite impressive, but the important thing about the composition of this work is that it is a "variation based on the bass part of the aria," and the first eight bars, which show the bass part of this aria, are in a form commonly used in passacaglias and chaconnes The first eight bars of the aria show the bass in a form commonly used in passacaglias and chaconnes. The 32-bar bass is the basis for 30 variations, each of which incorporates new material, techniques, and moods, which, along with their individual charms, are organically arranged to form a grand whole. Fazil Sai turns his attention to this important bass part.Bold emphasis on bass and inner voices, baroque agogic, and sometimes the slightest shift of rhythm are added to create a crispness and contrast of strength and weakness in the right and left hands. This is something that is impossible to achieve with the harpsichord, but I dare to question the significance of playing it on the piano. The sharp and rhythmical touch of the left hand, as if cutting with a strong accent, is improvisational and jazzy, as if deviating from the formalities of each piece. This is what Fazil Sai's music is all about. This is one of the pinnacles of Fazil Say's insightful and brilliant Bach. Warner Music Japan