More Than Enough (Musician Solos)
More Than Enough (Musician Solos) ===== https://urlin.us/2tlGrF
More Than Enough (Musician Solos)
C. P. E. Bach's Sonata in F Major, H. 183 for keyboard (A Major in the present arrangement) was published as part of a collection of "Easy" (Leichte) sonatas in 1766. The relatively thin texture of the sonata poses few technical problems for amateur keyboardists, but the work is far from commonplace in its form and harmonic sophistication. Unlike the other sonatas in the collection, which follow simpler two-part structures, the Sonata in F Major opens with a through-composed form more common to the first movement of concertos and symphonies than the solo keyboard repertoire. To conclude this already remarkable movement, in the final seven measures, Bach forsakes the cheerful F major tonality for F minor. This sudden shift is startling, but Bach uses it to prepare the listener for the second movement. The Andantino demonstrates Bach's mastery of the sensitive style (emfindsamer Stil). Expressive gestures abound in the middle movement as Bach employs dissonant harmonies, unexpected modulations, and affective chains of suspensions. The Andantino concludes, albeit hesitantly, on a C major triad, again anticipating the next movement. Eighteenth-century audiences desired variety in their music, and Bach offers more than enough for any taste in the Presto. Eschewing smooth transitions, the abrupt juxtaposition of several contrasting styles exposes an ironic tone in Bach's conclusion. This finale just does not sound conclusive, and the short phrases and frequent rests may lead one to believe that the composer himself did not know where or how the sonata would end. Certainly both the Kenner and the Liebhaber could appreciate some humor in their music.
Two other transcriptions from keyboard sonatas present more characteristics of the younger Bach's genius. The Poco Adagio from the Sonata in A Major, H. 186 (G Major in the present arrangement) is also an example of the empfindsamer Stil. Although C.P.E. Bach's music is considered by many to be a bridge between the baroque and classical eras, a distinct, romantic longing is evident throughout the movement. The principal feature of the piece is a florid melody that showcases a catalog of expressive gestures and ornaments. The deceptive cadences, accented chromatic tones, and dynamic contrasts all add to the rhetorical flavor of the adagio movement. The stormy conclusion of Bach's Sonata in B Minor, H. 182 (A Minor in the present arrangement) is a more conventional finale than the Presto from the Sonata in F Major. The persistent gigue rhythm propels the music through balanced periods and four-measure phrases. Overall, the style of the movement recalls the many gigue-finales of Bach's godfather Georg Philipp Telemann. An intentionally awkward measure of silence, however, is Bach's reminder that conventions are established to be broken.
Towner was, in the 1970s and early '80s, the consummate ECM artist. His classical six-string and 12-string guitar playing lent itself well to Manfred Eicher's aesthetic. This abum is an odd collection of solos and trios, all played with the members of his band, Oregon (which included the late Colin Walcott of Codona). The album features Towner with Glen Moore and Walcott on the opener "Brujo," a driving piece for 12-string and tabla with Moore's bass forging the bridge between rhythm and melody. Towner is still full of verve and ambition here, still trying to prove to himself that it is possible to touch the infinite with music. A number of these tracks are taken from Oregon's Vanguard albums, and some of them are new originals. Also included is a stunningly beautiful cover of Bill Evans' "Re: Person I Knew," with Towner doubling on guitar and piano, and Moore playing a pizzicato bassline worthy of Scott LaFaro. If anything, Towner overly sweetens the piece with his piano playing -- it seems he lacks Evan's gift for understatement -- but he more than compensates in the harmonic changes in the middle section of 16 meas