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7:30 PM TUESDAY, JULY 3, 2018
MARTIN THEATRE
KSENIJA SIDOROVA,
accordion
“Russian Accordion”
BACH
Overture in the French Style
Ouverture [Partita]
Courante
Gavotte I—Gavotte II
Passepied I—Passepied II
Sarabande
Bourrée I—Bourrée II
Gigue
Echo
KUSYAKOV
Autumnal Sceneries
*
Autumnal Reveries
Autumnal Leaf-Fall
Soiree Mood
Forgotten Chimes
Cranes
Wind Dance
–
–
ARKHIPOVSKY
Cinderella
*
(arr. Poeluev)
STRAVINSKY
Tango
*
VOITENKO
Revelation
*
SCHNITTKE
Revis Fairy Tale
*
(tr. Shishkin et al.)
Chichikov’s Childhood
O cials
Waltz
Polka
*
First performance at Ravinia
JOHANN SEBASTIAN BACH (1685–1750)
Overture in the French Style
,
Bach self-designated and self-published his rst
opus number, the six keyboard partitas issued as
the rst volume of his
Clavier-Übung
(
Keyboard
Study
), in
at the mature age of . e title
owes its origins to two volumes of seven key-
board partitas each—the
Neue Clavier-Übung
—
published by Johann Kuhnau, his predecessor as
Leipzig cantor, in
and
. With his own
collections of popular dances and “other gallant-
ries,” Bach extended his impeccable reputation
as a skilled contrapuntist to the popular market
of “connoisseurs and amateurs.”
A second
Clavier-Übung
volume (there were ul-
timately four) was issued in
by Christoph
Weigel Jr., a little-known Nuremberg printer.
Careless engraving resulted in an inconsistent,
awed score. Fortunately, Bach’s proof sheets
have survived, allowing for easy correction of
the errors. Its contents di ered radically from
the rst volume—two diametrically opposed,
large-scale keyboard pieces modeled on orches-
tral forms.
e rst half is the three-movement
Concerto in
the Italian Manner
, commonly known simpl as
the
Italian Concerto
, which pays homage to the
Vivaldian form, and the other is the
Overture in
the French Style
, a multi-movement dance suite
(
ouverture
in French nomencature). ese works
not only operate in completely distinct national
styles, but also employ keys/modes at the widest
possible distance—F major and B minor.
e
Overture in the French Style
,
, be-
gins with a spacious French overture in two sec-
tions. Dotted rhythms and elaborate ornaments
dominate the slow portion, while the fast seg-
ment treats a gigue theme in imitative fashion.
ree movements—
Courante
,
Sarabande
, and
Gigue
—belong to the typical French dance suite.
(Bach regularly omits the other suite member,
the
Allemande
.) Popular-style dances—
Gavotte
,
Passepied
, and
Bourrée
—come in pairs, but are
performed with an added reprise of the rst
version.
e concluding
Echo
contains built-in
Johann Sebastian Bach by Elias Gottlob Haussmann
RAVINIA MAGAZINE | JUNE 2 – JULY 8, 2018
114