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Méditation
Méditation in Bloomington, MN
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The title
Méditation
makes this release by harpsichordist
Andreas Staier
sound like a crossover outing, but instead, it is typical of the carefully argued programs this keyboardist has offered in the past, in his characteristic muscular style.
Staier
meditates on two short motifs that date back to before the Baroque; one is the second line of the
Pange lingua
chant, the other the bell-like octave-fifth-sixth-third that shows up in countless compositions, and he shows how these motifs were tied into the style of the High Baroque as it developed.
Bach
appears only at the end, with a pair of preludes and fugues; in
's words, he is at the "vanishing point" of the program. Prior to that are various pieces of the Baroque puzzle, including selections from the preludes and fugues of
J.C.F. Fischer
's
Ariadne Musica
, a likely model for
's own. A fugue from
Fux
Gradus ad Parnassum
, the most influential counterpoint text of the day, is also included.
also contributes some of his own compositions, devised during the COVID-19 lockdowns, that recognizably refer to the other ideas on the album but may, for some, break the mood. A highly thoughtful exegesis on Baroque style that is beautifully recorded at Berlin's Teldex studio and is, despite all the deep thinking, appealing in a visceral way. ~ James Manheim
Méditation
makes this release by harpsichordist
Andreas Staier
sound like a crossover outing, but instead, it is typical of the carefully argued programs this keyboardist has offered in the past, in his characteristic muscular style.
Staier
meditates on two short motifs that date back to before the Baroque; one is the second line of the
Pange lingua
chant, the other the bell-like octave-fifth-sixth-third that shows up in countless compositions, and he shows how these motifs were tied into the style of the High Baroque as it developed.
Bach
appears only at the end, with a pair of preludes and fugues; in
's words, he is at the "vanishing point" of the program. Prior to that are various pieces of the Baroque puzzle, including selections from the preludes and fugues of
J.C.F. Fischer
's
Ariadne Musica
, a likely model for
's own. A fugue from
Fux
Gradus ad Parnassum
, the most influential counterpoint text of the day, is also included.
also contributes some of his own compositions, devised during the COVID-19 lockdowns, that recognizably refer to the other ideas on the album but may, for some, break the mood. A highly thoughtful exegesis on Baroque style that is beautifully recorded at Berlin's Teldex studio and is, despite all the deep thinking, appealing in a visceral way. ~ James Manheim
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