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Keyboard Variations
C.P.E. Bach, Wolfgang Amadeus Mozart

Ewald Demeyere

Keyboard Variations

Price: € 20.95
Format: SACD
Label: Challenge Classics
UPC: 0608917284522
Catnr: CC 72845
Release date: 24 April 2020
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Label
Challenge Classics
UPC
0608917284522
Catalogue number
CC 72845
Release date
24 April 2020

"With good judgment, Demeyere found the contrast between one and the other interesting when programming them together. In short, a recital intelligently...."

Ritmo, 01-2-2022
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About the album

Ewald Demeyere: Carl Philipp Emanuel Bach (1714-1788) and Wolfgang Amadeus Mozart (1756-1791) are not composers whose works are regularly included in the same concert or recording program. One reason for this is probably of a stylistic nature: Bach wrote in the empfindsame Stil and in the Sturm und Drang style, while Mozart used a language that today is described as classical. For me, however, it is precisely this stylistic difference between the two composers, whose four works on this album were written between 1777 and 1782, that makes such a musical encounter so fascinating. Another reason why compositions by Bach and Mozart are not often programmed together seems to have to do with the choice of instrument. Today, in the context of historically informed performances, Bach’s solo keyboard repertoire is mainly played on the clavichord and that of Mozart on the fortepiano. Both men, however, also played the harpsichord frequently, a fact which I found so interesting as to choose precisely that keyboard instrument for this recording in works that I believe are just as convincing on that instrument as they are on their respective instrument of reference.
De gelouterde Belgische klavecinist Ewald Demeyere speelt in deze opname werken van Carl Philipp Emanuel Bach (1714-1788) en Wolfgang Amadeus Mozart (1756-1791). Bijzonder want hun muziek wordt zelden samen uitgevoerd in hetzelfde concertprogramma. Keyboard Variations is daarom een heel speciaal en fascinerend album, een genot om naar te luisteren.

Demeyere denkt dat een van de redenen dat de muziek van beide componisten nauwelijks samen geprogrammeerd wordt, waarschijnlijk een stilistische is. Bach schreef in de gevoelige stijl van de Sturm-und-Drang-periode, terwijl Mozart een taal gebruikte die nu klassiek wordt genoemd. Dit stilistische verschil maakt de muzikale ontmoeting tussen de twee componisten, die de vier werken schreven tussen 1777 en 1782, juist zo fascinerend.

Nog een reden, waarom C.P.E. Bach en Mozart zelden samen op het programma staan, lijkt samen te hangen met de keuze voor de instrumenten. Tegenwoordig wordt het solorepertoire voor klavierinstrumenten van Bach, in het kader van de historische uitvoeringspraktijk, vooral op het clavichord gespeeld, en dat van Mozart op de fortepiano. Maar beide mannen bespeelden ook vaak het klavecimbel, een feit dat Ewald Demeyere zo interessant vond dat hij precies dit klavierinstrument koos voor de werken op deze opname, die volgens hem net zo overtuigend klinken op het klavecimbel als op de andere twee klavierinstrumenten.

De Belgische klavecinist Ewald Demeyere (1974) vindt het overbrengen van de emotionele inhoud van een compositie de belangrijkste taak van een muzikant. Maar omdat elke periode zijn specifieke kenmerken heeft, wil hij emotie combineren met de historische toetsenbordtechniek en de uitvoeringspraktijk, om zo een boeiende interpretatie te realiseren.

In kamermuziekverband werkt Demeyere vaak samen met Vinciane Baudhuin (Duo Capricornus) en met Barthold, Sigiswald en Wieland Kuijken in het ensemble La Petite Bande. In 2007 richtte hij het barokorkest Bach Concentus op dat regelmatig tournees verzorgt in België, Italië en Spanje. Naast zijn werk als klavecinist en dirigent is Ewald Demeyere ook actief op het gebied van muziektheorie. Hij is in het bijzonder geïnteresseerd in de invloed van theorieën uit de Barok op de uitvoeringspraktijk, en specifiek op de interpretatie van de muziek van Johann Sebastian Bach.
Ewald Demeyere: Die Werke Carl Philipp Emanuel Bachs (1714-1788) und Wolfgang Amadeus Mozarts (1756-1791) werden nur selten in dasselbe Konzert- oder Aufnahmeprogramm gesetzt. Ein Grund dafür ist wahrscheinlich stilistischer Natur: Bach schrieb im empfindsamen Stil der Sturm-und-Drang-Zeit, während Mozart eine Sprache verwendet, die man heute als klassisch bezeichnet. Für mich ist es jedoch dieser stilistische Unterschied zwischen den beiden Komponisten, deren vier Werke auf diesem Album zwischen 1777 und 1782 entstanden, die ein musikalisches Aufeinandertreffen so faszinierend machen. Ein weiterer Grund, aus dem Bach und Mozart selten zusammen aufs Programm gesetzt werden, scheint mit der Instrumentenwahl zusammenzuhängen. Heute, im Kontext historisch informierter Aufführungen, wird Bachs Solorepertoire für Tasteninstrumente überwiegend auf dem Clavichord gespielt, Mozart auf dem Fortepiano. Beide Männer aber spielten auch häufig das Cembalo, eine Tatsache, die ich so interessant fand, dass ich genau dieses Tasteninstrument für die Werke auf dieser Aufnahme ausgewählt habe, von denen ich glaube, dass sie auf dem Cembalo genauso überzeugend sind wie auf dem jeweils anderen Referenzinstrument

Artist(s)

Ewald Demeyere

Harpsichordist Ewald Demeyere believes that conveying the emotional content of a composition is a musician’s most important task. Since each period has its specifics, however, he intends to combine emotion with historical keyboard technique and performance practice in such a way as to obtain as captivating an interpretation as possible. Demeyere’s research, which, among others, resulted in a PhD and the publication of a book Johann Sebastian Bach’s Art of Fugue—Performance Practice Based on German Eighteenth-Century Theory (2013), is never an end in itself but always has to serve the eloquence of the musical performance. Demeyere has taken part in more than 100 CD recordings, many of which with chamber and solo repertoire. As a player of chamber music, Demeyere...
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Harpsichordist Ewald Demeyere believes that conveying the emotional content of a composition is a musician’s most important task. Since each period has its specifics, however, he intends to combine emotion with historical keyboard technique and performance practice in such a way as to obtain as captivating an interpretation as possible. Demeyere’s research, which, among others, resulted in a PhD and the publication of a book Johann Sebastian Bach’s Art of Fugue—Performance Practice Based on German Eighteenth-Century Theory (2013), is never an end in itself but always has to serve the eloquence of the musical performance. Demeyere has taken part in more than 100 CD recordings, many of which with chamber and solo repertoire. As a player of chamber music, Demeyere works with, amongst others, Barthold Kuijken and Vinciane Baudhuin (Duo Capricornus) . He was a jury member for the Paola Bernardi International Harpsichord Competition in 2013 in Bologna. In 2018, he won the CPEB:CW Counterpoint Contest, with a unanimous verdict from the jury that his Ricercar a 5 per Cembalo was “the most accomplished and natural in its flow”.

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Composer(s)

Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart, whose actual name is Joannes Chrysotomus Wolfgangus Theophilus Mozart, was a composer, pianist, violinist and conductor from the classical period, born in Salzburg. Mozart was a child prodigy. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. Along with Johann Sebastian Bach and Ludwig van Beethoven, Mozart is considered to be one of the most influential composers of all of music's history. Within the classical tradition, he was able to develop new musical concepts which left an everlasting impression on all the composers that came after him. Together with Joseph Haydn and Ludwig van Beethoven he is part of the First Viennese School.  At 17, Mozart was engaged as...
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Wolfgang Amadeus Mozart, whose actual name is Joannes Chrysotomus Wolfgangus Theophilus Mozart, was a composer, pianist, violinist and conductor from the classical period, born in Salzburg. Mozart was a child prodigy. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. Along with Johann Sebastian Bach and Ludwig van Beethoven, Mozart is considered to be one of the most influential composers of all of music's history. Within the classical tradition, he was able to develop new musical concepts which left an everlasting impression on all the composers that came after him. Together with Joseph Haydn and Ludwig van Beethoven he is part of the First Viennese School. At 17, Mozart was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. From 1763 he traveled with his family through all of Europe for three years and from 1769 he traveled to Italy and France with his father Leopold after which he took residence in Paris. On July 3rd, 1778, his mother passed away and after a short stay in Munich with the Weber family, his father urged him to return to Salzburg, where he was once again hired by the Bishop. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death.


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Press

With good judgment, Demeyere found the contrast between one and the other interesting when programming them together. In short, a recital intelligently....
Ritmo, 01-2-2022

This valuable record reveals the harpsichordist Ewald Demeyere in all his skill who, although aware that the two musicians attended respectively the clavichord (the most illustrious son of the great Bach) and the fortepiano (the genius of Salzburg) deliberately chose to propose them again. and "putting them together" on harpsichord because they both knew it very well and obviously played it.
Amadeus, 01-2-2021

From a stylistic point of view, these performances have not entirely convinced me.
Music web International, 09-11-2020

A beautiful sound lecture about historical performance practice, style differences and musical influence.
De nieuwe Muze, 04-9-2020

Precise and imaginative play by Demeyere.
Luister, 17-7-2020

... you can’t wish for a better bonus than Ewald Demeyere conveying it all to you in a wealth of sound signed Bert van der Wolf.
HR audio, 02-5-2020

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Often bought together with..

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Nieuw Vocaal Amsterdam / Amsterdam Baroque Orchestra / Ton Koopman
Frédéric Chopin
The Four Ballades
Angela Brownridge
Anton Bruckner, Johannes Brahms
Brahms & Bruckner Motets
Tenebrae Choir
Various composers
Live At The St. Bavo
Jacques Van Oortmerssen

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