Description
Johann Sebastian Bach’s (1685-1750) seven “clavier” toccatas may be characterized as brilliant works dating from the composer’s “Sturm und Drang” period. As the original manuscripts of none of these compositions are known, its exact date of origin is a matter for conjecture. It is a fact that the toccatas were composed at the time that Bach was employed at Arnstadt, Mühlhausen and Weimar. The toccatas are marked by an unbridled imagination and an abundance of daring harmonic turns. The pieces take a central position between the organ works and the harpsichord oeuvre. The early toccatas rather tend towards the organ whereas the later ones present themselves more as harpsichord works. The fact that in most manuscripts the indication manualiter is given, no doubt points in the direction of the organ. Such an indication would obviously be pointless in a work exclusively meant for the harpsichord. The form of the Toccata in D, BWV 912 comes very close to that of the North German Prelude and Fugue: toccata-like episodes of a dialoguing and expressive-recitative character are the framework for a pair of fugues. With its dramatic alternatives of the most distinctive affects the whole might be compared with an act from a Baroque opera.
“Wie stark ist nicht dein Zauberton”(Die Zauberflöte KV 620) may well be said of the splendid flutestops which are part of the Middelburg Duyschot organ. They are undoubtedly an ideal vehicle for the rendering of Tamino’s flute aria from the final part of the first act of Wolfgang Amadeus Mozart’s (1756-1791) “Die Zauberflöte”.
During Beethoven’s lifetime the aria “Nel cor più non mi sento” from Paiseiello’s opera “La Molinara” was a very popular tune. It also was a favourite of the coloratura singers to demonstrate their amazing virtuosity in embellishing the melody. Although Ludwig van Beethoven (1770-1827) definitely kept his distance from the prevailing Italian taste he still composed six variations on Paisiello’s aria. With its languishing Suefzer the fourth variation is the cycle’s expressive culmination point.
Leen de Broekert (1949-2009) studied Piano and Organ at the Royal Academy of Music in The Hague. He graduated in both subjects. He also qualified as a harpsichord player and fortepianist with Jos van Immerseel. In 1979 he was one of the laureates of the International Contest for Organ in Bruges, with an honourable citation for his Interpretation of Bach. As a fortepianist and organist he was frequently asked for concerts in Germany as well as in Holland. He also performed in England, France, Belgium, Sweden, Austria, Italy and Switzerland and recorded several CDs both on pianoforte and organ. Leen de Broekert was the organist of the Koorkerk (Abbey church) in Middelburg and a well-known teacher of pianoforte, harpsichord and organ. He died, at the age of sixty, after a short illness, in Middelburg on 29 July 2009.
