Just So Bach by Anne-Marie O'Farrell
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The
development in recent decades of the semitone mechanism on
the lever harp has made it possible to play works previously
unplayable on the instrument, among them certain compositions
by Johann Sebastian Bach. And although it might not seem
likely at first glance, the music of Bach is especially suited
to the modern Irish or lever harp for several reasons. The
size of the instrument and string thickness is similar to
that of baroque harps,giving it a brightness of tone uncharacteristic
of the heavier modern pedal harp. Also, Bach's modulations
are frequently effected in just one octave, so that consideration
of damping and pedal noise associated with the pedal harp
do not arise.
1. Prelude from Lute Suite 1006a
2. Prelude from Cello Suite no.1
3. Ave Maria
4. Prelude no.21 from Das Wohltemperirte Clavier, bk. 1
5. Italian Concerto, 2nd movt Andante
6. Prelude from Cello Suite no.6
7. Sicilienne from Flute Sonata no.2
8. Chorale Variations on Take My Life and Let It Be
9. Prelude from Cello Suite no.4
10. Prelude no.2 from Das Wohltemperirte Clavier, bk.1
11. Jesus, Joy of Man's Desiring from Cantata no. 174
12. Prelude no.22 from Das Wohltemperirte Clavier, bk.1
13. Gigue from Partita no.1 in Bb major
14. Chorale Variations on Blessed Are the Pure in Heart
Sleeve Notes
The development in recent decades of the semitone mechanism on the lever harp has made it possible to play works previously unplayable on the instrument, among them certain compositions by Johann Sebastian Bach. And although it might not seem likely at first glance, the music of Bach is especially suited to the modern Irish or lever harp for several reasons. The size of the instrument and string thickness is similar to that of baroque harps,giving it a brightness of tone uncharacteristic of the heavier modern pedal harp. Also, Bach's modulations are frequently effected in just one octave, so that consideration of damping and pedal noise associated with the pedal harp do not arise.
Playing this music on the modern Irish harp is not problem-free. The left hand has to execute lever changes at great speed while the right hand takes over any notes which a keyboard player would play with both hands; this is why the development of the semitone mechanism on the instrument has been cruical. Moreover, the resonance during characteristic harmonic changes require certain speeds most suited to the Irish harp, although this might vary where other instruments are concerned. Not only are some of Bach's manuscripts unspecified about speeds, but he himself was sometimes open-ended about which instrument might be used.
A variety of preludes are therefore featured on this recording because their textures, colours and patterns lend themselves so successfully to the Irish harp. Since contrapuntal writing is less suited to the instrument, these preludes have been chosen to highlight the harp's timbres, as reflected in the different instrumental range of pieces conceived originally for cello, lute or baroque keyboard. This recording also features two sets of chorale variations by Ann-Marie O'Farrell,which are structurally in Bach's musical theological lineage.
1. Prelude from Lute Suite 1006a - J.S.Bach,
arr O'Farrell
This lively opening to Bach's Lute Suite in E is derived from his Violin
Partita in E for solo violin. To achive the best resonances on the harp,
it has been transposed down to the key of Eb. Interestingly, the harp
has occasionally been suggested by scholars as a possible original instrument
for Bach's keyboard manuscript of this piece.
2. Prelude from Cello Suite no.
1 BWV 1007 - J.S. Bach, arr. O'Farrell
Like so much of Bach's writing for cello, this piece is both chordal
and melodic while highlighting the seldom-heard depth of the Irish harp.
To maximise the bass clarity, this movement has been transposed up a
semitone to Ab major.
3. Ave Maria (Meditation sur le
ler Prelude) - J.S.Bach/Charles Gounod arr. O'Farrell
Bach's first prelude of the 48 Preludes and Fugues forms the accompaniment
to a lyrical melody which was later added by Charles Gounod (1818-1893).
This was first published as an instrumental piece in 1853 for cello or
violin withpiano or organ, and only one year later emerged as the well-known
vocal work it is today.
4. Prelude no.21 from Das Wohltemperirte
Clavier bk.I - J.S. Bach, arr.O'Farrell
Written for keyboard instruments of the baroque era, this toccata uses
the typical range of the Irish harp, showing its depth as well as the
brighter timbre at the top of the instrument. It is from Bach's most
famous keyboard collection in two volumes, Das Wohltemperirte Clavier,
which remained unpublished during his lifetime, and was not available
in complete editions until the early 1800s.
5. Italian Concerto, 2nd movement
Andante BWV 971 - J.S.Bach, arr.O'Farrell
This is from a set of two works illustrating the French and Italian styles,
published in the Clavier-Ubung Part 2 in 1735. Its beautifully shaped
melody resembles an arioso in the florid Italianate style, typical of
solo concertos of the time.
6. Prelude from Cello Suite no
6 BWV 1012 - J.S.Bach, arr. O'Farrell
Bach loved to write for the newest instruments of his time and wrote
the last of his cello suites for a five-string instrument. The addition
of a higher E string brings the range of this movement towards the middle
of the Irish harp's register. Like much of his other cello writing, the
chordal elements transcribe most characteristically to the Irish harp
and the use of harmonics for repeated notes exploit the harp's possibilities.
For optimal resonance, the piece has been transposed down a semitone
to Eb major.
7. Sicilienne from Flute Sonata
no.2 BWV 1031 attrib. J.S.Bach
The recurring dotted rhythm in 6/8 time gives this, gentle movement its
character. The work is possibly derived from a trio sonata by flautist
J.J.Quantz (1697-1773), who is believed to have met Bach at the royal
court in Dresden.
8. Choral Variations on Take My
Life and Let It Be (2006) - O'Farrell
The hymn tune used here is attributed to Mozart and is set to a most
attractive text by Frances Ridley Havergal,published in the Church of
Ireland Hymnal. These variations are in Mozartian style and commemorate
the 250th anniversary of his birth. They explore colourful and textural
possibilities on the Irish Harp within a classical style.
9. Prelude from Cello Suite no.
4 BWV 1010 - J.S.Bach, arr. O'Farrell
The original key of Eb major for this arpeggio prelude is ideally suited
to the Irish harp, while many enharmonics are used later in the movement
to accommodate more remote change of key.
10. Prelude no.2 from Das Wohltemperirte
Clavier, bk.I - J.S.Bach,arr.O'Farrell
The sustained semiquaver movement in both hands combine with key change
makes considerable demands on the harp's lever mechanism. An earlier,
shorter version in Bach's Clavierbuchlein was used by him in the musical
instruction of his son, Wilhelm Friedmann.
11. Jesus, Joy of Man's Desiring from
Cantata no. 174 - J.S.Bach, arr. O'Farrell
This is a setting of the chorale movement in the cantata, Herz und Mund
und Tat und Leben. Much of Bach's music was inspired by Lutheran theology
and the original German text of this piece expresses Bach's Lutheran
emphasis on faith.
12. Prelude no.22 from Das Wohltemperirte
Clavier, bk.I - J.S.Bach, arr. O'Farrell
The key of Bb minor is an example of Bach's innovative inclusion of keys
avoided by his predecessors. In Das Wohltemperirte Clavier he sets out
to establish an instrumental tuning which would allow for the equal use
of all 24 keys. It is appropriate to mark the development of the Irish
harp's semitone lever by performing such movements here.
13. Gigue from Partita no. 1 in Bb major
BWV 825 - J.S.Bach, arr. O'Farrell
This lively dance in 6/8 was published as part of a suite of dances in
1726 and is from the first of his four Clavier-Ubung collections.
14. Chorale Variations on Blessed Are
the Pure in Heart (2007) - O'Farrell
This was written as a gift for Rev. Ted Woods to celebrate 40 years of
ordained ministry and explores harmonies and scales used by Gavin Bryars
and Oliver Messaien. The simplicitiy of the original 18th century hymn
tune by J.B. Konig (and later adapted by W.H.Havergal) gave much scope
for variation. Both the melody and text are published in the Church of
Ireland Hymnal.
Anne-Marie O'Farrell
Anne-Marie O'Farrell is the leading exponent of the Irish harp as a recital instrument. Her development of the Irish harp as a concert instrument and her commitment to the expansion of its repertoire has led to performances and recordings for TV and radio throughout Europe, the USA, Scandinavia, Japan and Africa. As a soloist and accompanist she has toured extensively in Europe and the United States, and has performed at numerous international harp festivals including several World Harp Congresses. She is regularly invited to give lecture recitals, workshops and masterclasses at international conferences and festivals. A prolific recording artist, she has previously released several albums, including Heads&Harps, Harping Bach to Carolan, The Jig's Up,My Langan Love and Double Strung with Cormac De Barra. She has also recorded with, among others, The Chieftains,Anuna, Meav Ni Mhaolcatha, Ellen Cranitch and numerous orchestras. In addition to her interpretation of Irish music, Anne-Marie is especially noted for her transcriptions of keyboard, lute and pedal harp repertoire for the Irish harp, and also for her unique levering techniques. As a result of her innovations,she was consultant to Salvi harpmakers on the design of their Irish harp, the Livia. She holds professional diplomas in many instruments along with national awards for original compositions. An honours graduate of UCD, she has been awarded a first class honours MA in composition from the National University of Ireland, Maynooth. In 2006 she was presented with the O'Carolan award by the Vocal Heritage Society of Ireland for her achievements to date. She lectures in stylistic composition at the DIT Conservatory of Music and Drama and teaches the harp at Kylemore College Music Centre (CDVEC) where she has founded a thriving harp department and harp ensemble. As a composer she is represented by Ireland's Contemporary Music Centre.Credits
Producer :Anne Marie O'Farrell
Recording engineer :Fionan De Barra
Recorded and Mastered at : Studio of Moya Brennan, Co Dublin
Cello : Aisling Drury Byrne on traks 3 & 11
Flute : Karin Letner on track 7
Sleeve notes : Anne-Marie O'Farrell
Manufacture & Printing : Mid-Atlantic Digital
Photographer : Barry Regan of Icon Photography
Sleeve Design : Abigail Bolt of Snap Printing
Warmest thanks to:
Ray Comiskey, Fionan De Barra, Aisling Drury Byrne, Karin Leitner, Moya
Brennan, Barry Regan, Aisling Jarvis, The Victor Salvi Foundation and
all at Salvi harps, Ray Hickey, Jonathan Grimes, Eve O'Kelly and all
at the Contemporary Music Centre, Helen Davies, Mercedes Garvey and
all who have inspired and supported me in any way. A.M.D.G.
| Instruments: | Harp |
| Genre: | Classical / Contemporary Irish |
| Format: | CD |
| Our Ref: | A0233 |
| MCPS: | CMCD 1906 |
| Label: | Anne-Marie O'Farrell |
| Year: | 2008 |
| Origin: | Ireland |