The Möller manuscript, which originally belonged
to Johann Gottfried Möller, a student of Johann Christian Kittel,
who studied with Bach, contains about fifty pieces, and dates back
to the period 1703-1708. It was copied by someone close to Johann
Sebastian Bach, most likely one of his cousins. What is interesting
about this manuscript is that it contains several early works by
Bach, but also pieces that he played. This gives an idea of the
type of works he was familiar with and which influenced him. The
Metronome recording features a selection of the music in this manuscript:
four works by Bach and seven by other composers.
The disc opens with a bang. Bach's Toccata in D
major BWV 912a (an early version of this toccata) begins with a
flourish up and down the keyboard, and moves into a lively exposition.
Cerasi uses this to show her stuff: sprightly, dynamic, inspired
playing that dives head-first into the music and flows with it through
all its changes. This toccata covers the full range of styles that
Bach uses in his keyboard music: from the florid to the lyrical,
from fantasy to counterpoint. It can be seen as a stylistic catalogue
of the music of the period. Cerasi's performance gets my foot tapping
in the final fast section, and has me entranced during the slower
sections.
Framed by two extroverted works by Bach is a selection
of pieces from Bach's time, all of which are included in the Moller
manuscript. These works cover a wide range of styles, and, while
most are German, there is one French work by Lully, and many others
clearly influenced by the French style.
Not all the works are as virtuosic as the Toccata;
some are more melodic, as are many of Bach's keyboard movements.
One example is the fine Suite in B minor by Friedrich Wilhelm Zachow.
This suite's movements alternate between slow and sinuous and more
lively movements. The saraband is written very much like some of
Bach's sarabands.
The G major Chaconne by Jean-Baptiste Lully is
a fine example of French variation sets of the period. This attractive,
catchy melody is embellished and ornamented in a variety of ways
in this short piece.
Cerais plays this music on two different harpsichords,
a Zell copy and a Fleischer copy. Both instruments are excellent;
the Zell has a sparkling high end, which fits well with the highly
ornamented French music and with the Bach toccata. The Fleischer
has a richer, deeper sound, with more resonance, and sounds as though
it is strung with brass strings. It is very fitting for the works
in minor keys, since it brings out their melancholic tone (especially
the Ritter and the Bach Capriccio).
Cerasi plays this closing work with great sensitivity.
With exuberant Bach to open proceedings and introspective Bach to
close them, this recording contains a florilegium of the styles
and forms that influenced Bach, as well as a few examples of his
early works. This is a beautiful disc, and one that any lover of
Bach's keyboard music will want to own, both for the three Bach
works and the examples of his influences.
Kirk McElhearn
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Toccata
in D Major BWV 912a
Suite
in B Minor:
Allemand
Courant
Saraband
Fuga
Finalis
Capriccio
in D Major
Suite
in A Major BWV 832:
Allemand
Aire
pour les Trompettes
Suite
in D Minor:
Allemanda
Courante
Sarabanda
Gig
Sonata
in A Minor BWV 967
Suite
in G Major:
Allemande
Courande
Sarabande
Gique
Chaconne
in G Major
Suite
in C Minor:
Allemanda
in discessum
Courande
Sarabanda
Gique
Gique
belle in C Minor
Capriccio
Sopra il Lontananza de il Fratro BWV 992:
Arioso.
Adagio
Adagississimo
Arie
de il Postilione. Allegro poco
Fuga
al Imitatione di Posta
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