Ewa Mrowca / fot. archiwum artystki
Ewa Mrowca / fot. archiwum artystki
Chamber concerts
Feast of the Masters
01.12.2022
Thu.
7:00 PM
NFM, Chamber Hall
Programme:

L. Marchand Suite en ré mineur (1702); Suite en sol mineur (1703); La Venitienne (1707)
J.S. Bach French Suite in G major  BWV 816; French Suite in E flat major  BWV 815

Performers:

Ewa Mrowca – harpsichord

Venue:
NFM, Chamber Hall
plac Wolności 1, 50-071 Wrocław
Tickets:
from 20 to 55 zł

At the Dresden court, in the fall of 1717 two great harpsichordists were to play in a “duel” – the French composer and virtuoso of keyboard instruments, Louis Marchand, and the undisputed master of Baroque polyphony, considered by many to be the best composer of all time – Johann Sebastian Bach. During the concert, their works will be performed by harpsichordist Ewa Mrowca, serving us a real feast of Baroque sounds. 

Though the anecdote of Marchand’s meeting with Bach led to rumours fuelling the scandalous overtones of this peculiar event, the facts are far less enticing to sensation seekers. Although Marchand was supposed to sneak out of Dresden just before the arrival of the Weimar organist for fear of failure, this information is provided only by German sources, including writings by Friedrich Wilhelm Marpurg – one of the first critics favouring Bach’s work. In fact, the composer appreciated Marchand’s output by playing his harpsichord suites from memory. The soloist will perform two of them tonight: the Suite en ré mineur and Suite en sol mineur, dating back to the beginning of the 18th century, delighting with their virtuoso character and exquisite melody. Marchand’s repertoire will be completed with the miniature of La Venitienne.

 The French Suite in E flat major BWV 815 and the French Suite in G major BWV 816 by Johann Sebastian Bach belong to the collection of six suites written between 1722 and 1725. The title French does not come from Bach and was given to distinguish them from the previously composed English Suites. The name was also popularized by the Bach’s first biographer, Johann Nikolaus Forkel. It should be noted, however, that the suites contain a synthesis of various styles, not only French. Imbued with the danceable, yet elegant character, they remain in the canon of Bach’s more eagerly played pieces.

 

 

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