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COMPOSERBACH, SCARLATTI, DEBUSSY, LISZ
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PERFORMERHelene Schuetz
Saitenwechsel: Works for Solo Harp / Schutz
- Haenssler Classic
- February 8, 2019
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RELEASE DATEFebruary 08, 2019
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UPC881488190083
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CATALOG NUMBERHC19008
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LABELHaenssler Classic
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NUMBER OF DISCS1
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GENRE
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I. Praeludium
Composer: Johann Sebastian Bach
Performer: Helene Schütz
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II. Allemande
Composer: Johann Sebastian Bach
Performer: Helene Schütz
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III. Corrente
Composer: Johann Sebastian Bach
Performer: Helene Schütz
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IV. Sarabande
Composer: Johann Sebastian Bach
Performer: Helene Schütz
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V. Menuett I and II
Composer: Johann Sebastian Bach
Performer: Helene Schütz
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VI. Giga
Composer: Johann Sebastian Bach
Performer: Helene Schütz
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Keyboard Sonata in B Minor, K.27/L.449/P.83 (arr. H. Schütz for harp)
Composer: Domenico Scarlatti
Performer: Helene Schütz
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Children's Corner: V. The Little Shepherd (arr. H. Schütz for harp)
Composer: Claude Debussy
Performer: Helene Schütz
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Keyboard Sonata in A Major, K.208/L.238/P.315 (arr. H. Schütz for harp)
Composer: Domenico Scarlatti
Performer: Helene Schütz
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Preludes, Book 1: No. 8. La fille aux cheveux de lin (arr. H. Schütz for harp)
Composer: Claude Debussy
Performer: Helene Schütz
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Années de pèlerinage, 1st year, Switzerland, S160/R10: No. 9. Les cloches de Genève (The Bells of Geneva) (arr. H. Schütz for harp)
Composer: Franz Liszt
Performer: Helene Schütz
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Keyboard Sonata in E Major, K.380/L.23/P.483 (arr. H. Schütz for harp)
Composer: Domenico Scarlatti
Performer: Helene Schütz
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Pieces de clavecin: Suite in E Minor: IX. La villageoise (arr. H. Schütz for harp)
Composer: Jean-Philippe Rameau
Performer: Helene Schütz
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Nouvelles suites de Pieces de clavecin: Suite in A Minor - Major: L'Egyptienne (arr. H. Schütz for harp)
Composer: Jean-Philippe Rameau
Performer: Helene Schütz
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Suite bergamasque: III. Clair de lune (arr. H. Schütz for harp)
Composer: Claude Debussy
Performer: Helene Schütz
Featuring ⌄
Product Details ⌄
Works ⌄
Helene Schuetz writes of this new release: “The inspiration for this recording and the choice of works came from the Gigue that ends J.S. Bach’s Partita in B flat major. When I first heard it in concert I knew immediately that this composition would work wonderfully for the harp. With the Gigue as my starting point, I began to arrange the Partita for harp. Of course, the instrument does have other tonal qualities than the piano – and, like any instrument, it has its technical limits when it comes to performance practice. When it comes to chromaticism, the mechanics of the harp are more limited than those of the piano, and one only has eight rather than ten fingers to play with. But it was precisely that challenge that fascinated me in the process of arranging the works: you first need to have a clear idea of the work's intention and to have formed your own view of its interpretation. The task then is to find ways and means to develop one's ideas and perhaps to achieve an even clearer interpretation than would have been possible on the original instrument. In this way, arranging the work for another instrument intensifies the performance, because the use of a new instrument allows other, new facets in the compositions to be illustrated and new tonal nuances achieved…”
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