Tuesday August 6, 2019 | 1:00PM (Pre-concert talk at 12:45PM)
Christ Church Cathedral | Map
Alexander Weimann, organ
Clavier-Übung is the German word for “keyboard practice”. In late 17th and early 18th centuries this was a common title for keyboard music collections, although today it is usually associated with J.S. Bach’s comprehensive and jaw-dropping achievement in four parts. The Clavier-Übung III, is the third part of J.S. Bach’s collection and is often referred to as the German Organ Mass. It is a collection of compositions for organ started in 1735–36 and published in 1739 that is considered Bach’s most significant and extensive work for organ, containing some of his most musically complex and technically demanding compositions for that instrument. For the first organ recital ever programme as part of the Vancouver Bach Festival, Vancouver’s organ virtuoso Alexander Weimann plays excerpts from this collection including the Prelude and Fugue in E♭ major, BWV 552.
This concert is generously supported by Fran Watters
Johann Sebastian Bach
Excerpts from “Clavierübung III”
Praeludium (pro Organo pleno) BWV 552/1
Kyrie! Gott Vater in Ewigkeit (Canto fermo in Soprano à 2 Clav. et Ped.) BWV 669
Christe, aller Welt Trost (Canto fermo in Tenore à 2 Clav. et Ped.) BWV 670
Kyrie! Gott heiliger Geist (à 5, Canto fermo in Basso Cum Organo pleno) BWV 671
Allein Gott in der Höh’ sei Ehr’ (à 3, Canto fermo in Alto) BWV 676
Wir glauben all’ an einen Gott (in Organo pleno con Pedale) BWV 680
Vater unser im Himmelreich (à 2 Clav. et Pedal & Canto fermo in Canone) BWV 682
Improvisation on “Dona nobis pacem”
Fuga (à 5, con pedale, pro Organo pleno) BWV 552/2
Alexander Weimann, organ
Alexander Weimann is one of the most sought-after ensemble directors, soloists, and chamber music partners of his generation. After traveling the world with ensembles like Tragicomedia, and as frequent guest with Cantus Cölln, the Freiburger Barockorchester, Gesualdo Consort and Tafelmusik, he now focuses on his activities as conductor of the Pacific Baroque Orchestra in Vancouver, Music Director of the Seattle Baroque Orchestra and regular guest conductor of ensembles including the Montreal Symphony, Symphony Nova Scotia, Arion Baroque Orchestra in Montreal and the Portland Baroque Orchestra.
Weimann was born in 1965 in Munich, where he studied the organ, church music, musicology (with a summa con laude thesis on Bach’s secco recitatives), theatre, mediæval Latin, and jazz piano, supported by a variety of federal scholarships. From 1990 to 1995, Weimann taught music theory, improvisation, and Jazz at the Munich Musikhochschule. Since 1998, he has been giving master classes in harpsichord and historical performance practice at institutions such as Lunds University in Malmö and the Bremen Musikhochschule, and at North American universities such as The University of California in Berkeley, Dartmouth College in New Hampshire, McGill in Montreal, and Mount Allison in New Brunswick. Since 2007, he has conducted several acclaimed opera productions at the Amherst Early Music Festival. He now teaches at the University of British Columbia and directs the Baroque Orchestra Mentorship Programme there.
A multiple Juno and Grammy nominee, Weimann can be heard on some 100 CDs. Recent highlights include an Opus and Juno award winning CD of Handel oratorio arias with soprano Karina Gauvin, a recording of Bach’s St. John’s Passion with Les Voix Baroques/Arion Baroque Orchestra, and a Juno nominated recording of Handel’s Orlando with the Pacific Baroque Orchestra that was also awarded a Gramophone Editor’s Choice award.
Alex lives with his wife, three children and pets in Ladner BC, and tries to spend as much time as possible in his garden.