Aglais, Sonata in A-minor, Partita in D-minor, by Maya Homburger

Aglais, Sonata in A-minor, Partita in D-minor

by Maya Homburger

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Includes PDF booklet with extensive liner notes in English, French and German.

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Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of So It Goes..., Acanthis, J S BACH soprano arias & Swedish Folk Chorales, Syllogistic Moments, Sidereus Nuncius — The Starry Messenger, Time Passing …, Slip Slide and Collide, A Moment’s Liberty, and 33 more. , and , .

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1.	Sonata No. 2: Grave (BWV 1003 · in A-minor) 03:53
2.	Sonata No. 2: Fuga (BWV 1003 · in A-minor) 09:16	buy track
3.	Sonata No. 2: Andante (BWV 1003 · in A-minor) 05:09	buy track
4.	Sonata No. 2: Allegro (BWV 1003 · in A-minor) 06:01	buy track
5.	Aglais 16:26	buy track
6.	Partita No. 2: Allemanda (BWV 1004 · in D-minor) 04:46	buy track
7.	Partita No. 2: Corrente (BWV 1004 · in D-minor) 02:42	buy track
8.	Partita No. 2: Sarabanda (BWV 1004 · in D-minor) 03:47	buy track
9.	Partita No. 2: Giga (BWV 1004 · in D-minor) 04:44	buy track
10.	Partita No. 2: Ciaccona (BWV 1004 · in D-minor) 12:51	buy track

about

Inachis – Aglais – Lysandra are the compositions by Barry Guy which will exist between Bach’s Sonatas and Partitas on our three CD project. They are all named after butterflies which for me represent the ultimate symbol for the mysteries and spirituality in nature, for colour, lightness of touch, intensity.

I am pleased to have found a writer in Elisabeth Binder who agreed to compose an essay for this CD, not necessarily based on J.S.Bach and his music but on nature, depicted by one of the world’s greatest artists Albrecht Dürer inhispainting “DasgrosseRasenstück”.

For me, the magical world opening up by letting yourself be drawn into Dürer’s painting is very similar to the excitement and wonderment when- ever one starts the day with yet another attempt at getting closer to Bach’s solo Sonatas and Partitas. In the intro to my first Bach/Guy Solo CD, I wrote about “the lifelong search to transform the violin into a singing voice”. Ha- ving come as far as the second recording with the juxtaposition of Old and New, the search intensifies and the wish for accuracy is stronger than ever: this longing to be able to work on the tiniest of details in a totally naturalistic way in the hope to transcend into the bigger picture. This recording captures one moment in time during this never ending journey.

— Maya Homburger

AGLAIS

In contrast to the first piece “Inachis”, “Aglais” researches a lighter more ethereal, transparent musical world inhabited by discoloured unison pit- ches and floating harmonics, contrasting more conventional violin techni- ques such as barriolage. The piece is through composed, using ideas from an earlier, purely graphically notated version to create an almost improvisational character but maintaining a degree of control, balance and perspective in respect of Bach’s masterpieces and the final set of three works.

— Barry Guy

credits

released June 1, 2008

Maya Homburger: baroque violin, Barockvioline, violon baroque (Antonio dalla Costa, Treviso 1740)
Bow: early 18th-century model by Luis Emilio Rodriguez Carrington

Recorded by Peter Laenger 15. – 19. February ’07 Stadtkirche Böblingen, Germany · Produced by Peter Laenger and Barry Guy · Cover painting “Carving the Blue” by Fred Hellier, photographed by Charly Fülscher Photo: Eugene Langan · Graphic design: Jonas Schoder · Text: Elisabeth Binder · Translations: Peter Jankowski and Brian Lynch (English), Etienne Barilier (French) · Grant aided by the Arts Council of Ireland and the Steo Stiftung, Zürich

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Maya Recordings Oberstammheim, Switzerland

Barry Guy and Maya Homburger founded Maya Recordings in 1991 to take care of their desires to document the various projects that occupy their musical lives. So unusually
you will find Jazz and improvised musics alongside baroque masterpieces. ... more

mayarecordings.com

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