Fuga Magna
View record and artist detailsRecord and Artist Details
Composer or Director: Valentin Haussmann, Ludwig van Beethoven, Johann Gottlieb Goldberg, Johann Sebastian Bach, (Pietro) Alessandro (Gaspare) Scarlatti, Wolfgang Amadeus Mozart
Genre:
Chamber
Label: Avi Music
Magazine Review Date: 10/2017
Media Format: CD or Download
Media Runtime: 59
Mastering:
DDD
Catalogue Number: 8553380
Tracks:
Composition | Artist Credit |
---|---|
Fuga prima |
Valentin Haussmann, Composer
Armida Quartet Valentin Haussmann, Composer |
Fuga seconda |
Valentin Haussmann, Composer
Armida Quartet Valentin Haussmann, Composer |
(4) Sonate à 4, Movement: No 4 |
(Pietro) Alessandro (Gaspare) Scarlatti, Composer
(Pietro) Alessandro (Gaspare) Scarlatti, Composer Armida Quartet |
(Die) Kunst der Fuge, '(The) Art of Fugue', Movement: Contrapunctus 1 |
Johann Sebastian Bach, Composer
Armida Quartet Johann Sebastian Bach, Composer |
(Die) Kunst der Fuge, '(The) Art of Fugue', Movement: Contrapumctus 4 |
Johann Sebastian Bach, Composer
Armida Quartet Johann Sebastian Bach, Composer |
(Die) Kunst der Fuge, '(The) Art of Fugue', Movement: Contrapunctus 11 (a 4) |
Johann Sebastian Bach, Composer
Armida Quartet Johann Sebastian Bach, Composer |
Sonata |
Johann Gottlieb Goldberg, Composer
Armida Quartet Johann Gottlieb Goldberg, Composer Raphael Alpermann, Harpsichord |
Adagio and Fugue |
Wolfgang Amadeus Mozart, Composer
Armida Quartet Wolfgang Amadeus Mozart, Composer |
Grosse Fuge |
Ludwig van Beethoven, Composer
Armida Quartet Ludwig van Beethoven, Composer |
Author: Charlotte Gardner
As it turns out, though, the musical contents are neither academic nor desperately rough and tumble, much as the Armidas aren’t shy of sanding off some of their polish when occasion deserves. Instead what we have here is a warm, loving and perceptive advocacy of the fugue.
The programme begins with the two earliest published German fugues for instrumental ensemble, written by Valentin Haussmann in around 1600. And it must be said that, as far as programme openers go, the Fuga prima is a cracker, tiptoeing cautiously and searchingly into being, before gradually and satisfyingly flowering out yet always retaining its air of almost mystical creation. The Fuga seconda, into which we slide almost imperceptibly, is no less a beauty in its sunnier (albeit still minor) folk-song-based climes.
As this ‘seven-league-boot journey across the realm of fugue’ moves onwards through the centuries, the impression builds of one single continuous arc of musical thought, with the Armidas’ performance style subtly developing along the historical timeline, albeit always with their trademark fresh, incisive tone. So period-aware Scarlatti and Bach, then the Mozart ushering in a sweet-tinged Classical Sturm und Drang, before a new, rougher-edged human bite comes into play as their arc finally touches triumphantly down for Beethoven’s Grosse Fuge. And what a climactic performance this Beethoven is; hardly tamed in its rawness, its barely tonal confusion of voices carrying a slender, Classical beauty of thought which has the effect of linking it right back to everything that has gone before. It’s wonderful stuff. Truly one to both savour and admire.
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