<< -- 2 -- Jennifer Paull A BORN MUSICIAN
The Partita ex F [listen -- track 4, 0:00-0:50]
by Christian Pezold (1677-1733) is a set of charming dances by a composer
little known today, although two of his minuets were included anonymously
in the Notebook for Anna Magdalena Bach. This Partita opens
the sound pages, and there is a second, the Partita ex A by the same
composer. They are played with equal subtlety, conjuring up enough proof
in the pair to underscore the words and opinion of Leopold Mozart's
Between these two Pezold Partitas, is placed the superb Partita
in A BWV 1013 (originally for transverse flute), by J S Bach (1685-1750).
This work has been arranged by Thomas Georgi himself for viola d'amore.
It is simply a jewel not to miss [listen -- track
9, 3:01-4:11]. Many were the instruments and singers interchanging scores
and vocal lines during the Baroque Era. As mentioned above, Bach himself
quoted and used themes from Pezold (just as he did from Alessandro Marcello
and others), and used them within his own music. Bach reconstructions also
form the basis of many solo works for oboe d'amore and bassoon. Other
instruments too would be sadly under-nourished without this possibility
of expression from the Great Master. If Bach himself saw 'borrowing'
as flattery, how could I see a possible reason for contradiction? That we
know, Bach intended four works for the viola d'amore, the St John
Passion alone being responsible for keeping this beautiful instrument
inside the pages of musical history books.
Copyright © 16 June 2002
Jennifer Paull, Vouvry, Switzerland