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BURGESS, Anthony (1917-1993)

THE BAD-TEMPERED ELECTRONIC KEYBOARD: 24 PRELUDES AND FUGUES


  • Stephane Ginsburgh, piano

During a prolific period in his artistic life, both musically and as an author—he often referred to himself principally as a composer who had drifted into authorship – Anthony Burgess composed a set of 24 Preludes and Fugues called The Bad-Tempered Electronic Keyboard, written to celebrate the 300th anniversary of the birth of Johann Sebastian Bach. This ingenious and inventive piece, with its brief romantic and music hall elements, oscillates between the classicism of Bach and the modernity of Shostakovich, whose own set of Preludes and Fugues had been written in 1950–51.

Tracklist

 
The Bad-Tempered Electronic Keyboard (1985) (00:14:00 )
1
Prelude No. 1 in C Major * (00:00:43)
2
Fugue No. 1 in C Major * (00:01:50)
3
Prelude No. 2 in D-Flat Major * (00:00:43)
4
Fugue No. 2 in D-Flat Major * (00:01:12)
5
Prelude No. 3 in D Major * (00:01:33)
6
Fugue No. 3 in D Major * (00:01:04)
7
Prelude No. 4 in E-Flat Major * (00:01:02)
8
Fugue No. 4 in E-Flat Major * (00:01:32)
9
Prelude No. 5 in E Major * (00:01:22)
10
Fugue No. 5 in E Major * (00:01:19)
11
Prelude No. 6 in F Major * (00:00:47)
12
Fugue No. 6 in F Major * (00:01:35)
13
Prelude No. 7 in G-Flat Major * (00:00:54)
14
Fugue No. 7 in G-Flat Major * (00:02:05)
15
Prelude No. 8 in G Major * (00:01:50)
16
Fugue No. 8 in G Major * (00:01:55)
17
Prelude No. 9 in A-Flat Major * (00:01:26)
18
Fugue No. 9 in A-Flat Major * (00:02:28)
19
Prelude No. 10 in A Major * (00:00:45)
20
Fugue No. 10 in A Major * (00:01:51)
21
Prelude No. 11 in B-Flat Major * (00:00:33)
22
Fugue No. 11 in B-Flat Major * (00:01:57)
23
Prelude No. 12 in B Major * (00:03:31)
24
Fugue No. 12 in B Major * (00:02:37)
25
Prelude No. 13 in C Minor * (00:02:17)
26
Fugue No. 13 in C Minor * (00:01:26)
27
Prelude No. 14 in C-Sharp Minor * (00:01:12)
28
Fugue No. 14 in C-Sharp Minor * (00:02:35)
29
Prelude No. 15 in D Minor * (00:01:31)
30
Fugue No. 15 in D Minor * (00:01:13)
31
Prelude No. 16 in E-Flat Minor * (00:02:31)
32
Fugue No. 16 in E-Flat Minor * (00:02:22)
33
Prelude No. 17 in E Minor * (00:01:39)
34
Fugue No. 17 in E Minor * (00:01:04)
35
Prelude No. 18 in F Minor * (00:01:39)
36
Fugue No. 18 in F Minor * (00:01:38)
37
Prelude No. 19 in F-Sharp Minor * (00:00:29)
38
Fugue No. 19 in F-Sharp Minor * (00:00:55)
39
Prelude No. 20 in G Minor * (00:02:17)
40
Fugue No. 20 in G Minor * (00:02:46)
41
Prelude No. 21 in G-Sharp Minor * (00:02:06)
42
Fugue No. 21 in G-Sharp Minor * (00:01:46)
43
Prelude No. 22 in A Minor * (00:01:08)
44
Fugue No. 22 in A Minor * (00:02:12)
45
Prelude No. 23 in B-Flat Minor, "Fantasia on B.A.C.H." * (00:03:03)
46
Fugue No. 23 in B-Flat Minor * (00:01:20)
47
Prelude No. 24 in B Minor * (00:02:15)
48
Fugue No. 24 in B Minor * (00:03:33)
49
Finale: Natale 1985 (1985) * (00:02:04)
World Première Recording
Total Time: 01:23:35

The Artist(s)

photo of Stephane Ginsburgh Stephane Ginsburgh has performed concerts worldwide in numerous festivals such as the Agora Ircam, Ars Musica, Bach Academie Brugge, Festival van Vlaanderen, Transit, Tzlil Meudcan, Festival de Marseille, Quincena Musical, Imatronic/ZKM, Darmstadt Ferienkurse, Gaida Festival, and the Ultima Oslo. He explores an extensive repertoire and is also known for experimenting with new configurations including voice, percussion, acting and electronics. He regularly plays with the Ictus Ensemble.

The Composer(s)

photo of Anthony Burgess From 1975 until his death in 1993, Burgess wrote concertos for piano, violin, oboe, cor anglais, solo guitar, and guitar quartet, a piano concertino, a rhapsody for tuba and orchestra, a string quartet, and a set of twenty-four preludes and fugues. He turned Joyce’s Ulysses into the operetta Blooms of Dublin, wrote the words and music for a musical titled Trotsky’s in New York!, and composed the score for a stage version of A Clockwork Orange. He penned overtures for Glasgow and his native Manchester, sinfoniettas celebrating Strasbourg and his second wife Liana Macellari, cantatas on texts by John Dryden and Gerard Manley Hopkins, and chamber settings of verse by T.S. Eliot, D.H. Lawrence, A.E. Housman, and his own fictional poet F.X. Enderby. He wrote a film score, music for brass band, two quartets for winds and strings, an elegy for string orchestra on the death of Princess Grace, sonatas for recorder, studies and concert pieces for oboe and English horn, pieces for harmonica, and choral works and songs to verse by Shakespeare, Nashe, Hardy, D’Annunzio, Pound, and Joyce.

Reviews

“The work of an interpreter in full maturity, perfectly master of his … keyboard.” – Crescendo (France)