About this Recording
8.572379 - Takako Nishizaki Plays Suzuki Evergreens, Vol. 2

Takako Nishizaki plays
Suzuki Evergreens • Volume 2


The second volume of Takako Nishizaki Plays Suzuki Evergreens starts with the famous Gavotte by Padre Giovanni Battista Martini, a leading figure in Italian music of the eighteenth century, a writer on music, composer and teacher, with pupils including the young Mozart and Johann Christian Bach, youngest son of Johann Sebastian.

The two Minuets of Bach, taken from the collection put together for his second wife, Anna Magdalena, in 1725, take the G minor Minuet, BWV Anh. 115 as a trio section, framed by the repeated G major Minuet, BWV Anh. 114. The keyboard version includes some ornamentation and a more staccato style of performance. The Gavotte en Rondeau from the Ouverture in G minor, BWV 822, is generally considered to be an arrangement of a work by another composer. The dance movement is in rondo form, with two contrasting sections, framed by the principal theme.

In 1894 the Czech composer Antonín Dvorˇák published a set of Humoresques, Op. 101, for the piano. The seventh of these, originally in the key of G flat major, has become also a favourite among violinists. Here the violin arrangement is in G major, and the piano version in the original key of G flat major, although more modest pianists have been content with a less demanding version in Gmajor.

The G minor Gavotte by Jean Becker, which keeps the traditional form of the dance, is a reminder of the work of the nineteenth-century violinist, once famous as ‘the German Paganini’. Born in 1833 in Mannheim, where he died in 1884, he was distinguished not only as a virtuoso but also for his advocacy of chamber music.

It has been plausibly suggested that two of Bach’s four Orchestral Suites were written during the final period of his life, the 27 years when he worked in Leipzig, works presumably intended for the Collegium Musicum, the instrumental ensemble that he had assembled there. Suite No. 3 in D major, BWV 1068, is scored for three trumpets, timpani, two oboes, strings and harpsichord and the orchestral version is taken at a faster pace than the arrangement for violin and piano, a speed well suited to the triumphal nature of the original, with its prominent trumpets and drums. The Bourrée that follows is a transposed version of a movement from Bach’s Suite No. 3 for Solo Cello, BWV 1009.

Keith Anderson

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