Silbermann Organ of Dresden Cathedral

★★★★✰

   Dresden is a city of radiating artistic culture, literature and music. Among many cultural achievements, the city on the Elbe could boast of an extraordinary organ tradition. It is worth remembering that Dresden, as the capital of Saxony, was one of the most important musical centers of its time. Heinrich Schütz spent his entire creative life in Dresden - from 1615 to 1672, educating many generations of composers who had a significant impact on the development of the musical culture of the 17th century. One who created strong base for musical culture of this city was organ builder Gottfried Silbermann, who was eminent organ masters of the late Baroque. He built in Dresden four instruments: the Sophienkirche, Hofkapelle des Residenzschlosses, Frauenkirche and unexampled organ in Katholische Hofkirche, which was the last instrument designed by the master. 
   The construction of Silberman’s last instrument was completed in 1755, two years after his death by his students and associates Zacharias Hildebrandt and his son Johann Gottfried Hildebrandt. Originally, Silbermann planned 66 registers, eventually the instrument had 47 registers on 3 manuals and pedal and 3000 pipes. In 1944, the organ was hidden in the monastery of St. Marienstern, thanks to which the pipework, the action and the console survived the British bombing of Dresden on February 13, 1945. The organ case was destroyed, carved wood prospectus and big parts of wind supply were lost. In 1963-1971, this monument of organ building has been restored by Jehmlich Company.

Herbert Tachezi an der Silbermannorgel vol.1 (1986)

   Exceptional instrument requires great artist who is able not only to present the instrument's unique features, but also can create  interpretations of the best works of the era and build a recital adequate to the quality of unique instrument. The Dresden Cathedral Silbermanorgan was recorded many times. One of most significant session took place a year before the 300th anniversary of Johann Sebastian Bach's birth. The Viennese organist Herbert Tachezi (1930-2016), who has  recorded a set of works by the great composer on the organ of the Dresden Cathedral. The session was co-produced by two labels from the western and eastern parts of the then divided Germany - Teldec and Eterna. As a result, two albums in Direct Metal Mastering technology were published: in 1985 two LPs were released under the label Teldec (BRD) and a year later under the label Eterna (GDR). Both labels also released CDs - Teldec in 1985 and Eterna in 1989.

   The program included a selection of Bach's most famous organ compositions, from the Toccata and Fugue in D Minor BWV 565 to the Passacaglia in C Minor BWV 582. Between these two pillars of the repertoire of each organist, Tachezi placed the Prelude and Fugue in E-flat Major BWV 552 and Prelude (Fantasy) and Fugue in G Minor BWV 542. This choice may seem too obvious - it contains the most appreciated, most spectacular works in organ literature, but after listening to the album, it turns out to be extremely accurate from an artistic point of view. By linking these works, Tachezi was able to demonstrate the depth and space of the sound of the instrument and the resonance interior in which it was built, while creating a philosophically and aesthetically coherent program. The majestic Prelude in E-flat Major, which, according to Schweitzer, is an image of divine power, and the corresponding triple Fugue, which is a representation of the Holy Trinity, are the only prelude and fugue for organ published by Bach during his lifetime. They form the frame for the third issue of Clavier-Übung - a collection with a clear religious and semantic plan, which is recognized by all significant musicologists writing on Bach's organ literature. As a result, this program allowed Herbert Tachezi to build a narrative presenting a close relationship between the top-class organ building achievement and the metaphysical content of Bach's work. It is hard to imagine a better tribute to the music of the great Leipzig cantor.

Christopher Wood & Lawrence Leonard – Harpsichord Concertos by Johann Sebastian Bach

★★★

   In first decades recorded music was not covering whole spectrum of musical culture. The first lineament deciding on selecting music to production was its popularity. No wonder popular music in catalogues of almost every record company was major part. Romantic music, especially opera was present seldom and early music become market career long after there was technical possibilities. In 1959 Forum label which was designed as a Division Of Roulette Records Inc. published series of LP’s with most popular historic repertoire. In this collection prominent position was music by Johann Sebastian Bach. Three albums with Bach’s seven harpsichord concertos recorded by harpsichordist Christopher Wood and Goldsborough Orchestra conducted by Lawrence Leonard were numbered as 3rd, 4th and 5th record in the catalogue: F 70003, F 70004 and F 70005. This was interesting idea to start such label by Roulette Inc. especially this was still growing market with huge potential. American label recorded material in Europe and find European artists.

   Soloist of these recordings was Christopher Wood (1911-1990) prolific composer and comprehensively educated musician active as a performer and as a teacher. His compositions were not published – the only exception was his Piano Sonata No. 3 published in 1943 by Oxford University Press in 1943. As harpsichordist he played a role in the period of early music revival. He started as chorister at St. George’s Chapel in Windsor. He studied in Magdalene College, University of Cambridge. He was studied piano with Adelina de Lara, a pupil of Clara Schumann and Johannes Brahms and harpsichord with Rudolphe Dolmetsch and Dorothy Swainson. He also studied conducting in Salzburg Mozarteum with Clemens Krauss, Bruno Walter and Herbert von Karajan. In years 1947 to 1967 he was member of the staff of Trinity College of Music where he taught piano, harpsichord, orchestration, harmony and counterpoint. Later he was involved in various forms of adult education. His recorded performances were Bach’s harpsichord concertos for Forum in 1959 and Handel’s harpsichord suites recorded for Saga label two years later.

Christopher Wood & Lawrence Leonard – Bach – Concertos (1959)

   Lawrence Leonard (1923-2001) was conductor, cellist, composer, teacher and writer, music director of Edmonton Symphony Orchestra, author of some original works as well as arrangements of Machaut's Grande Messe de Notre Dame in 1972 and Mussorgsky’s Pictures at an Exhibition for piano and orchestra in 1977. Work with Goldsborough Orchestra was his first big experience as a conductor. He was also author of Concise History of Music from 30,000 BC to the Millennium. The foundation of Goldsborough Orchestra was significant moment in evolution of postwar English culture. The ensemble was established in 1948 by conductor Lawrence Leonard and Arnold Goldsbrough (1892-1964) who was organist, harpsichordist, conductor and early advocate for history performance practice. The objective of artistic activity of the Goldsborough Orchestra was to perform baroque music in possibly reliable style. In 1960 when orchestra introduced to the repertoire some non baroque music, its name has changed and since then is known as English Chamber Orchestra. Cooperation with Benjamin Britten, playing many premieres of his compositions made this ensemble probably most famous chamber orchestra in the world.
   Three albums with seven Bach’s harpsichord concertos published in 1959 by Forum label are rare document of sound of this orchestra in period of its exclusively baroque activity. It is played with extreme attention, neatly enforced clear phrases without vibratos and with most reasonable articulation. In 1959 it was not usual sound, most popular way to play baroque music with sound means of romantic style. Although in “Billboard” journal it was rated only with two stars, professional critics were more gracious. In “Hi-Fi Stereo Review” from December 1959 Warren DeMotte described it as “an achievement of which to be proud” pointing its straightforwardness, good balance and an antique flavor. More than half century later this recording sounds clearly and surprisingly modern. And three stars look much more adequate rate for its quality.

Organ Music at the Cathedral of Oliwa

★★★✰

   Pipe organ is a specific instrument. A biggest, with one of longest presence in the history of music and relatively most expensive instrument, it certainly demands an attention. It’s dating back at least to 3rd Century B.C. no wonder historical and cultural position of organ music is a subject of continuous research. Complexity of the instrument makes insufficient our studies of composed music. We need to know technical conditions of the instrument and cultural environment of creative activity. This is what gives best organs positions of musical centers. When Johann Sebastian Bach was developing his skills, he wandered to Lübeck where Dietrich Buxtehude was organist in Marienkirche with two of most famous instruments in history. Maybe not as famous, but nevertheless significant center of religious and organ music was Cistercian Abbey of Oliwa (since 2 centuries Oliwa is a district of Gdańsk city), known for its original instrument.
   There are two instruments in Oliwa Cathedral, small organ from 1680 and great organ, with one of largest organ cases in the world constructed by Johann Wilhelm Wulff in the period between 1763 and 1788 with 83 registers and 3 manuals with mechanical tracker action. Both instruments, the small one in south wing of the transept and the great organ, were constantly being improved and reconstructed. In 1790 Friedrich Rudolf Dalitz moved console from the middle nave to north wing of matroneum, in 1863 Friedric Kaltschmidt rebuild whole instrument giving it romantic layer and in 1935 Gdańsk organ builder Joseph Goebel extended console to four manuals and rebuild traction to electro-pneumatic with wind chests. After 2nd world war, partly destroyed instrument was repaired by Fryderyk Szwarc from Kartuzy and in 1955 reconstructed by Wacław Biernacki from Cracow. Next rebuilding in years 1966-1968 was made by Zygmunt Kamiński enterprise from Warsaw.

Organ Music at the Cathedral of Oliwa (1966)

   In effect of all improvements the great organ in Oliwa has 96 registers, console with five manuals and pedalboard. Since 1935 it was connected with the choir organ and has electric tracker action. Furthermore old choir organ constructed in 1680 by Johann Georg Wulff in 2003 was exchanged with Emanuel Kemper 17-pipe organ. Now it has mechanical traction and is still connected with great organ. Jerzy Kukla replaced new choir organ putting it in 17th century organ case. This is one of the best and the biggest organs in Poland, no wonder it had so many reconstructions. Prominent position has its advantages. Organ in Oliwa Cathedral were recorded many times, and every record is a document of the sound possibilities and has historic meaning. Recordings from late 1950’s and early 1960’s show sound possibilities of great organ before its reconstruction. The collection of archival recordings published by Polskie Nagrania (XL 0299) was released in 1966, just before reconstruction of great organ.
   Program of this record has been composed probably to show the possibilities of the instrument from different points of view. Three organists play repertoire of different eras and styles from renaissance to contemporary neoromantic organ music. Bronisław Rutkowski recorded Toccata and Fugue in D Minor BWV 565 by Johann Sebastian Bach, Offertoire sur les grands jeux by François Couperin and Improvisation on the Theme of the Song “Holy God” by Mieczysław Surzyński. Feliks Rączkowski played his own Improvisation on the Theme of the Christmas Carol “In the Calm of the Night” and Polish Fantasy “Christmas Eve at Wawel Cathedral in Cracow” by Feliks Nowowiejski, postromantic composer famous in organ world for his virtuoso solo works - organ symphonies and concertos. Closing composition was Fantasia quator vocum by Polish renaissance composer Walenty Bakfark. It was recorded by Joachim Grubich. This documentary recording is still considerably interesting for artistic content and esthetic quality. The sound of great organ is clear and powerful, worth of three and half of the star.

Eugene Ormandy – The Bach Album

   Johann Sebastian Bach is the one of very few genius composers. His work and personality occupy a dominant position in the discourse about the history of music, although this recognition came after almost a century of oblivion. He was in group of many baroque composers losing their position with the change of musical esthetics in 18th century. Composer was working as the cantor of St. Thomas Church and great part of his work was connected with religious services. After his death, his oldest son Carl Philipp Emanuel, a great composer himself, was trying to do some fashionable improvements in some works looking too much out of date. He was also author of first monographic book about his father. Later Bach’s music was revised and rewritten by many and in various ways. Most popular were always transcriptions for solo instruments and for orchestra.
   Among many composers, instrumentalists and conductors were reworking Bach’s compositions. Many transcriptions were made because of lacking original repertoire for new performing meanings. Probably the first transcriber was composer himself. He made number of alternative versions for other composers and some of his own works. The long list of Bach’s rearrangements starts with Wolfgang Amadeus Mozart transcribing some Bach’s fugues for Gottfried van Swieten who was famous collector of Bach’s and Handel’s manuscripts. Later in romantic era most active transcriber was Franz Liszt, but some Bach’s works were reworked by Johannes Brahms, Charles Gounod, Ferrucio Busoni and Francisco Tarrega. Later, in modern music of 20th century, Bach’s works were transcribed by Sergei Rachmaninoff, Edward Elgar, Arnold Schoenberg, Igor Stravinsky, Anton Webern and many others.

Eugene Ormandy – The Bach Album

   Transcriptions for symphony orchestra have significant position in philharmonic repertoire. Most famous conductors transcribing Bach’s music were Leopold Stokowski and Eugene Ormandy. In 1970 Columbia Records published The Bach Album included Ormandy recordings with The Philadelphia Orchestra. The program of this album comprises set of other artists arrangements William Smith (Arioso, Fugues in G Minor – The Little and The Great, Preludium in E Major), Lucien Cailliet (Jesu, Joy of Man’s Desiring), Arthur Harris (A Mighty Fortress is Our God), William Walton (Sheep May Safely Graze), Jesse Taynton (Come, Sweet Death) and Little Suite from Anna Magdalena Notebook by Thomas Frost who was also producer of the album. One fragment Air on the G String (Air from Suite No. 3) was played in its original set.
   More advanced parts of the program are arrangements by Eugene Ormandy: Toccata and Fugue in D Minor, Passacaglia and Fugue in C Minor, Sleepers Awake and Toccata, Adagio and Fugue in C Major. Massive sound of The Philadelphia Orchestra and romantic model of emotional interpretations gave these recordings the value of documentary. The fact is these recordings are not even close to what we know about baroque esthetics, but it is still music connected with culture of late sixties. Well crafted experience in what was believed Bach did for orchestral music, but it deserves no more than three out of five stars.

Bach by Stokowski

   In the classical period baroque and earlier music was out of favor. And there were many reasons for such disgrace. Since modern concert halls had been built for philharmonic societies and institutions established as a support for symphonic orchestras, these conditions were promoting a certain type of sound. No wonder symphonic music was the main orientation of musical life since 19th century. Big orchestras had dominated the cultural life as most significant and appreciated type of performing team. In effect music of earlier historical periods was rarely played. The fact is baroque compositions were played anyway. Romantic composers and artists found in baroque music lots of close and valuable features. Especially music by Johann Sebastian Bach was extremely universal from esthetic point of view. 

   On the other hand Johann Sebastian Bach’s discipline and almost abstractive model of polyphonic construction, decided his music was perfect for transcriptions into any instrument, ensemble or orchestra. Some original works, concertos with string orchestra or orchestral suites were already in orchestral repertoire. And in last decades of 19th century number of Bach’s works in repertoire was instantly increasing. In 20th century many composers and conductors made their own orchestrations of various Bach works, primarily written for organ, chamber ensembles, various instruments or even choir. Among many were composers Bela Bartók, Arnold Schoenberg, Igor Stravinsky, cellist Pablo Casals, conductors Eugene Ormandy and Leopold Stokowski.

Bach by Stokowski (1977)

   Leopold Stokowski was one of most famous transcribers of Bach’s music. His orchestrations were widely played and recognized. One of best choices was album recorded by conductor with Czech Philharmonic Orchestra. The collection comprises examples of perfect orchestrations of Bach’s most popular works. The great opening  of the program is orchestration of organ Toccata and Fugue D Minor BWV 565, than Prelude and Fugue E-flat Minor BWV 853 from Das Wohltemperierte Klavier and orchestral version of 48th song from Schemelli’s Gesangbuch “Mein Jesu, dem die Seraphinen” BWV 486. The second side includes Chorale Prelude No. 12 “Wir glauben all’ an einen Gott” BWV 680 from Clavierübung III, Chorale from Easter Oratorio BWV 249 and Passacaglia and Fugue C Minor BWV 582.
   Recordings with Czech Philharmonic Orchestra had been made in September 1972. Leopold Stokowski was familiar with the orchestra since his performances at Prague Spring Music Festival in 1961. During his rehearsals eleven years later, hosts had organized two days of sessions on September 7 and 8 in Supraphon Studio. Material was edited and published in co-production with DECCA – first in 1976 by Supraphon under Czech title Transkripce Skladeb J. S. Bacha, and one year later in international version as Bach by Stokowski (Supraphon 1110 1953 ZA). Very fair recording although in some parts sound of violin is not enough stable and too weak. Three stars out of five.

Stokowski conducts Handel and Bach

   During the early music period conductor was not a necessary person. Some gestures needed to start and finish together were given by the leader of the ensemble, who often was also the composer of a work and musical entrepreneur. Conductor became common person in classical music, after transition from baroque orchestra to classical symphonic orchestra. Substantial difference was not in set of instruments, but in the musical texture. Since in Mannheim school musical sentences were divided into small motifs and performed by different instruments, there was someone needed for every such moment, especially in symphonic forms. The result was the emergence of further opportunities and the development of massive symphonic sound in late romantic music. Performance of romantic music without a conductor was unthinkable, and for most symphonic music since Beethoven it would be a catastrophe. And these were circumstances of raising the role of conductors in modern concert life, up to the rank of the creator equal to composer.
   Among legendary conductors of 20th century one of most respected artists was Leopold Stokowski. He was born in 19th century, most probably in 1882, but he himself was giving different dates and places of his birth – from Cracow to Pomerania. However there are documentary evidences he was born in London. He studied in Royal College of Music since he was thirteen. After receiving Bachelor of Music degree in 1903, he immigrated to New York in 1905 and three years later he started conducting Cincinnati Symphony Orchestra. He was thirty years old when in 1912 he became director and conductor of the Philadelphia Orchestra. Four years later he led Philadelphia Orchestra and Choruses during sensational American premiere of Gustav Mahler’s Symphony of a Thousand.

Leopold Stokowski conducts Handel and Bach (1977)

   Most striking feature of the Stokowski’s craft was conducting without a baton, in the choirmaster manner. He was explaining this way he is able to shape the sound more effectively. Indeed, his interpretations were famous for superior sound quality. Starting from positions of English romanticism, he was one of the most important conductors giving baroque music its modern quality. In fact he was under the strong influence of English performing tradition. In opposite to other countries, in England baroque music was alive, and compositions of Georg Frederic Handel were constantly in school teaching and in concert repertoire. This was great basis for Stokowski’s artistic development. And recordings of Handel’s most popular compositions belong to his great achievements.
   Georg Frederic Handel’s suites were always Stokowski’s showpiece. First recordings of these works he made on shellac discs in 1934. In 1962 with RCA Victor Symphony Orchestra he recorded the two Handel’s suites and album published by RCA became one of best sellers. In 1977 RCA label published double album of two baroque giants in series titled “Meister spielen Meister”. First record is Georg Friedrich Handel’s Music For The Royal Fireworks and Water Music Suite. Perfect renditions with clearly stable strings and bright brass were exemplary orchestral performance. The same with second part of 1977 album, it was 1975 recording of Johann Sebastian Bach transcriptions: Chaconne from Partita No. 2 D Minor, Preludio from Partita No. 3 E Major, Ein feste Burg ist unser Gott, Air from Orchestral Suite No. 3 D Major, Fuge G Minor (Kleine) BWV 578, Sinfonia from Kantate Ich steh’ mit einem Fuß im Grabe BWV 156, Wachet auf, ruft uns die Stimme BWV 645, Komm sel’ge Ruh BWV 478. This time perfect sound was receoived from London Symphony Orchestra. The same 1977 was the year great conductor passed by. Transcribing baroque music for symphony orchestra was one of Stokowski’s achievements, but this demands at least new post.

Albert Schweitzer spielt Bach

   Intuition tells, beauty, goodness and truth are the values that are interrelated. However, they are irreducible and specific, which makes it difficult to find the characteristics that bind them together. Connection between beauty, truth and goodness is the question of believing, not the matter of rational inquiry. However, such belief in the ethical dimension of beauty is present in the judgments of many artists, including the quotes posted on this blog. This compound was confirmed by many people. One of perfect exemplification of dedication for basic values was life of Albert Schweitzer (1875-1965), who was musician, philosopher, theologist, priest, teacher and medical missionary in Africa.
   Since he withdrawn from earlier activities, his great achievements in music, musicological books and great performances of organ music were sometimes underestimated. In fact he was still giving organ concerts and musicological readings just to collect money for the hospital in Lambarene. Many of his recordings were re-published in various choices. One of such reedited recordings was published by East Germany label Eterna in 1980. Recordings show performances on organ in Günsbach. Albert Schweitzer played program of four preludes and fugues E Minor BWV 533, A Minor BWV 543, C Minor BWV 546 and C Major BWV 547. The featured Bach’s composition is Toccata and Fugue D Minor BWV 565. Whole program was recorded with greatest respect for the natural style, the same Albert Schweitzer was known as its first proponent.

Albert Schweitzer spielt Bach (1980)

   Schweitzer’s life can be seen as the process of ultimate connection of all these values. Observing his story from intellectual positions, it is really hard to understand some of his decisions, his determination and attitude. But considering it as the process of developing complete and comprehensive personality, his vision of meaning in all possible aspects are the one worth of study. Maybe this is the only way to show there is no need to reduce or to analyze any values, maybe in the center is always human being and all values are only aspects of his attitude. In this case, different values would be just different exemplifications of choices oriented for altruistic achievements or selfish benefits.

Andrés Segovia and Edith Weiss-Mann Play Bach

   Andrés Segovia who was first master of modern guitar, was also the teacher of virtually every virtuoso in second half of 20th century. And who was not one of his students, has to be student of one of Segovia’s pupils. His significance as the artist who established position of classical guitar as the concert instrument was absolutely crucial. He created for this instrument whole space of sound and interpretative possibilities. His attitude to traditional guitar techniques, to elements of folk guitar techniques and repertoire choices paved the way for the guitar in contemporary musical culture. Segovia was guitar virtuoso continuing tradition of Spanish guitar. Pieces of Fernando Sor and Francisco Tarrega were in his repertoire as much  as other works by Isaac Albéniz and Enrique Granados whose works he transcribed for guitar himself and original works for guitar by Federico Mompou, Joaquin Rodrigo, Federico Moreno Torroba. He was also author of many transcriptions for guitar of many other composers, especially works by Johann Sebastian Bach.
   Andrés Segovia Torres, 1st Marquis of Salobreña, distinguished master of classical guitar has played many Bach recitals with works he transcribed himself. The one published by Allegro Records (ALL 750) included fragments from Lute Sonata E Major BWV 996, Lute Sonata C Major BWV 999 and Lute Sonata G Major BWV 1000, Cello Sonata No. 6 BWV 1012. After Prelude from 3rd Violin Partita E Major BWV 1006 is culminate work Chaconne from 2nd Violin Partita D Major BWV 1004. Since premiere of Bach’s Chaconne in 1935 this transcription was one of most acclaimed pieces in Segovia’s repertoire. His performances of the work were always phenomenal in its emotional suspense, motoric and yet undecided, stable and quivering. Maybe it’s temperature of public performance, maybe esthetic choice of historic moment, whatever it was, these recordings are still worth to feel and understand.

Andres Segovia and Edith Weiss-Mann Play J. S. Bach (1964)

   The record label states both sides were recorded during public performance in 1964. This false information was contained on record label, but there are no signs of presence of the audience and considering other circumstances in 1964 this recording was not possible. Both labels and cover are reliable at the level of used car sale notice. Probably the date 1964 is the year recitals were published by Allegro Records. Because these two different recitals. As it was standard for smaller record companies in sixties, great name on front cover was only first side artist, and second side was filled with recording by any other artist. It was even justified since those times musical market was just creating standards for long playing records. And on this level of recorded music expansion ideas of taking advantages of technology were sometimes very naïve. This can be seen also as the continuation of rules for customary space on posters.
   On the second side of the record, there are two Bach’s Concertos played by Edith Weiss-Mann – Italian Concerto F Major BWV 971 and Concerto No. 3 in D Major after Benedetto Marcello BWV 974. Born in Hamburg in 1885, since 1939 she was living in New York where she debuted with recital in 1949. Two years later she died in Westfield, New Jersey. Understanding her achievements in early music and period musical instruments revival, considering this is rare chance to listen her interpretations, she should be featured as the main personality of the album, and if together with Segovia, only on an equal footing. It would be reasonable. As performing artist and as the teacher she was doing for the harpsichord the same work as Segovia did for guitar. Rarities on this album have considerable value although non-professional level of the edition makes them hard to reach. Great musical stuff but in bad edition deserves two and half star only.

Baroque highlights by Maurice André and Hedwig Bilgram

   Trumpet and organ is unusual but possible connection. Especially in baroque music where setup was always result of possibilities and expected aims, one can find many unusual configurations of musical means. Even though there are not too many such compositions, artists like to play most moving works and constantly searching for highlights capable to astonish listeners. Sometimes, like in the set of trumpet with organ, repertoire is too small and insignificant and the only chance is to re-arrange some orchestral parts for organ or some other soloist part for trumpet. Interesting propositions of establishing such repertoire has been recorded twice by master of baroque trumpet Maurice André with arranger and organ player Hedwig Bilgram. Artists establish the duo already in 1968 with great results. Clear and open trumpet sound and stable base of organ voices worked together in the complementary whole. They made these projects for EMI label, first time in 1971 recorded in the St. Pierre le Jeune Kirche in Straßburg on Mühleisen-Kern-Organ, second time on May 16, 1985 in church of Ebbs in Tirol.

Maurice André and Hedwig Bilgram – Trumpet & Orgel (1989)

   Despite the many similarities, these albums are quite different collections. The program of first album was seventeenth century music of Henry Purcell and Georg Böhm baroque suites and pre-classical sonatas by Carl Philipp Emanuel Bach and Jean Baptiste Loeillet. The second album was fixed mainly on measures of late baroque concerto style. Opening the album with Concerto grosso B-flat major by Georg Frederic Handel musicians show the direction of whole program. Obligatory reference to the greatest composer Johann Sebastian Bach was arrangement of the choral Jesus bleibet meine Freunde. Central part of the program are two concertos of Italian masters, Concerto D minor Op. 9 No. 2 by Tommaso Albinoni and Concerto D minor by Alessandro Marcello and between them Sonata C major by Jean Baptiste Loeillet. And the closing part is Concerto B-flat major by Georg Philipp Telemann.
   Phenomenon of Maurice André (1933-2012) trumpet sound and virtuoso perfection is legendary from late 60’s and early 70’s when he conquered the world stages. Son of mining family thanks to his unbelievable talent and diligence, after six month won conservatory’s first prize. In 1955 he won Geneva International Music Competition. He specialized in playing baroque music on piccolo trumpet. Since the repertoire for trumpet was not enough and his virtuoso possibilities were higher than usual, Maurice André often performed and recorded transcriptions of compositions written originally for other instruments or for solo voice.

Gennadi Rozhdestvensky conducts Suites by Bach-Mahler and Janáček-Talich

   Gustav Mahler remains one of the greatest creators of symphonic cycle. He has completed development of the symphony form, and led it to the final results. In his works he was referring to folk and historical music, but one source of influences was always on top. This was work of Johann Sebastian Bach. Mahler was keen of musical output of the author of Kunst der Fuge. He was considering of connections between his own style and Bach’s creative attitude. He has to say that „in Bach, the vital cells of music are united as the world is in God”. It is interesting how much Mahler is Bach alike. The same what was Bach’s Kunst der Fuge for baroque polyphony, Mahler’s works mean for 19th century form of symphony. 

   In 1909 in New York, working on his Ninth Symphony, Mahler compiled and rearranged Suite consisting of four parts taken from two Bach’s Orchestral Suites. Some critics say this work remains one more Mahler’s sketch of symphonic cycle, but it was more his contribution to the promotion of great baroque composer in symphonic repertoire. In first decades of 20th century there were not too many baroque works in repertoire of symphonic orchestras. And what was even worst, there were virtually no orchestras specialized in playing baroque music. This was cultural background for many arrangements of baroque music, and many of this was just automatic transcriptions.

Rozhdestvensky – Suites by Bach-Mahler and Janáček-Talich (1977)

   Mahler was aware of difficulties and esthetic problems he has to solve. He wrote: “Instead of genuine Bach we are often offered a mere skeleton. Performers simply throw away the chords which make the music so rich and full of substance, as if Bach had written the bass part without any sense and purpose. But it must be played, and what a tremendous roar is produced then by the surging waves of chords!” Development of period instruments performances caused that not only pure transcriptions but also the creative developments of composers like Mahler and Busoni became rarely performed. It is worth devoting more attention to the album recorded in 1977 by Gennadi Rozhdestvensky with Leningrad Philharmonic Orchestra. In 1984 this album has been republished in US as audiocassette by Vox/Turnabout label.

J. S. Bach – Johannes-Passion BWV 245 – Nikolaus Harnoncourt

   Johann Sebastian Bach was absolute master of every musical forms already existing. At last in all these forms he has chance to deal with. And in addition to one big exception, the opera, almost every musical form known in his times was present in his output. Although he has no chance to receive a request for an opera, he put his narrative ideas into cantatas and oratorios. He used a lots of musical rhetoric means, and he did it in majority of his works. One of most comprehensive narrative works by Johann Sebastian Bach is Johannes-Passion. The Passion According to St. John and double chorus Matthäus-Passion are two survived. There were also preserved many fragments of five composed passions that gave chances for reconstructions of Lucas-Passion and Marcus-Passion. 

   Just as any other church work of Johann Sebastian Bach, Johannes-Passion is deeply religious and perfectly united with Lutheran liturgy. This was normal practice in an era of still strong religious conflicts. In first half of 18th century being part of the congregation was still the primary determinant of individual and group identity. And Bach was aware of how powerful the impact of his music is and how great responsibility rests on him. The only possible solution to this dilemma was to compose in line with Lutheran theology. Therefore, in his vision of Johannes-Passion he strictly obeyed the order of worship. No wonder Passion according to St. John has been performed frequently during a quarter-century Leipzig period. Between premiere in 1724 and last acting in 1749 the work was presented at least four times under Bach’s direction.

Harnoncourt – Bach's Johannes-Passion (republished 1984) 

   In second half of 20th century Johannes-Passion was performed by almost every choir capable to perform this work. It was also interpreted by probably every successful conductor, not even necessary focused on baroque music. It was the era of phonograph, so St. John Passion has been recorded in dozens of renditions in both traditions of romantic symphonizm and modern stylization for original baroque sound. Second option based on original instruments and tuning principles gives wide possibilities for creating modern vision of baroque sensitivity. Probably the first recording on period instruments was 1965 performance of Concentus musicus Wien, and two connected choirs: Chorus Viennensis and Wiener Sängerknaben lead by choir master Hans Gillesberger. Conductor of this rendition was Nikolaus Harnoncourt, great artist and author of seminal books about musical aesthetics. First in the series of his texts was published in 1983 groundbreaking Musik als Klangrede: Wege zu einem neuen Musikverständnis, translated in next decade to many languages. A must read for any who wants to know and understand language of musical discourse.
   The Harnoncourt’s recording of Johannes-Passion was reissued several times in the seventies and eighties, becoming progressively one of the best known renditions of this work. Almost 50 years later, it is still great piece of art and document of moderately radical attitude to Bach’s music in sixties. It shows early stage of restoring the baroque music original sound. Nikolaus Harnoncourt with Concentus musicus Wien created different intellectual attitude and listener sensitivity opposite to previous performings. Closer to natural tune with pure, non-tempered intervals, for romantic long phrasing accustomed ears it sounded rough and only after the years listeners were able to notice how soft and vibrant these phrases are. Kurt Equiluz as Evangelist and Max van Egmond as Jesus are featuring soloists, some solo voices came from chorus members, just the same way Bach did with members of Tomanerchor. Organ parties have been played by Gustav Leonhardt and Herbert Tachezi – both great Bach interpreters on their own. On viola da gamba conductor played himself. The list of phenomenal musicians is long but it’s normal. Great musicians are always main power of any performance. Bach’s music demands the best, but effect is unforgettable.

Albert Schweitzer – Bach Organ Music

Writing or speaking about Johann Sebastian Bach is never just a particular problem of identifying the ideas and meanings in work of one individual baroque composer, even considering he was the genius one. Understanding he was someone who is far beyond the other, we have to place his music and whole figure in many socio-cultural, religious and musical contexts. This is always a controversial question why Bach’s ideas take the center position in most important areas of music determining almost every dilemma of various styles after him. A great part of Bach’s music is his output for organ. The quantity and qualities of these works makes it possible to be regarded as a reference for many other compositions.
Bach was primarily an organist, trained in traditional way as a versatile musician, a virtuoso performer, efficient composer aware of the rules and consciously shaping his own style, organ master maintaining instrument and choirmaster training voices and teaching music. The core competencies of organist and cantor included the awareness of theological knowledge allowing interpreting the biblical text and prayers. The rich repertoire of hymns, familiar to every believer, was a source of themes used in numerous choral preludes and fantasies. Thus almost every work he composed for organ, was more or less embedded in religious context. And there were no mistake the best Bach’s interpreter was Albert Schweitzer, organist combining high skills in musicology with philosophical knowledge and theological competences.

Albert Schweitzer – Bach Organ Music (1955)

In Albert Schweitzer’s intellectual biography Bach meant far more than any other composer and Schweitzer is the one who probably did for Bach’s heritage more than any other author. He was raised in village of Gunsbach in Alsace, where his father was protestant pastor. The church in Gunsbach was shared in compromise by Protestant and Catholic communities since the thirty years war. And in this atmosphere of religious tolerance and a kind of Christian unity father teach him organ music, basics of religion and humanism. In 1899 he played for Charles-Marie Widor in Paris, who was impressed with his mature interpretations of Bach’s works and encouraged him to write his magnum opus J. S. Bach. Le Musicien-Poète (Leipzig 1905). For German edition he prepared an expanded version with shorter title and in two volumes J. S. Bach (Leipzig 1908). As in was said in preface by C. M. Widor, Schweitzer’s way of understanding Bach can help understand music as a whole. This recommendation has nothing to with courtesy compliment and soon the book became the basic interpretation for Bach studies in 20th century.
Albert Schweitzer recorded only organ works. For Columbia and Phillips labels he recorded Johann Sebastian Bach and César Franck’s music. In thirties he recorded in London on organs of old Queen's Hall and in the church All Hallows-by-the-Tower and then on Johann Andreas Silbermann organ in the church Ste Aurélie in Strasbourg. Late recordings were made on the instrument he was learning as a child in Gunsbach parish church. In mid-fifties Columbia Masterworks label published series of Schweitzer’s performances in boxed set and as separate volumes. Volume V includes four works: Toccata and Fugue in D Minor (Dorian) BWV 538, Prelude and Fugue in A Major BWV 536, Prelude and Fugue in F Minor BWV 534 and Prelude and Fugue in B Minor BWV 544. Once again great philosopher shows there is no such thing as area of pure instrumental Bach’s music. Timing is perfectly concordant with the style. And style came from protestant songs. This music is vocal as it always was. Cover art is interesting piece of art. It was designed by Ben Shahn (1898-1969), painter born in Kaunas Lithuania and educated in New York University, who was highly valued artist in USA, widely known for his social realism as well as left-wing political views. His graphic printed on covers of Schweitzer’s recordings series shows organist as a mighty person with angel wings, playing organ and glancing at the sky. It’s perfectly aphoristic frame for Albert Schweitzer’s intellectual and artistic approach.

J. S. Bach – Cantatas BWV 4 & 134 – Hans-Joachim Rotzsch

Construction of the Cantata is exceptional in details and in formal idea. Bach has retained strophic form of Luther’s choral. He set the seven choral verses as seven parts of cantata, and the whole cycle is preceded by Sinfonia – short, 16 bars orchestral introduction. Consecutive verses has been set as the cycle of variations on main theme. Bach and giving every versus its own form and character corresponding with the text. At the end of every versus Bach placed Halleluyah passage according to Luther’s chant. Composing this cantata Johann Sebastian Bach used variational form basing on theme of Martin Luter’s chorale for Easter. 

The melody has in fact much longer history. In oldest known version it is wide recognized sequenze for Easter Sunday Catholic liturgy Victimae paschali laudes and is mostly attributed to monk, poet and composer Wipo of Burgundy, but sometimes also to other authors, Notker Balbulus, Adam of St. Victor and even king of France, Robert II. Martin Luter modifying this popular melody wrote his own choral  in seven verses. This chant was adopted by Johann Walter ans in 1524 published in Wittembergish Geistlich Gesangbuch. Many Reformations composers wrote artistic versions of this Easter choral. Best known are cantatas by Johann Herman Schein, Andreas Hammerschmidt, Johann Pachelbel and Johann Sebastian Bach. Choral preludes to Christ lag in Todesbanden were almost mandatory.

J. S. Bach – Cantates BWV 4 & 134 – Hans Joachim Rotzsch

Among many Bach’s cantata recordings these personally connected to the places and memorabilia of Johann Sebastian Bach look more reliably. The 1981 recording was made by East Germany label Eterna Edition in cooperation with Ariola Eurodisc and is straingtforwardly linked with great history of music. Cantata Christ lag in Todesbanden was most probably composed in 1707 and later in Leipzig Bach copied voices for performance in Leipzig in 1724. This performance was repeated in 1725. On opposite side of the album publisher placed Cantate for third day of Easter Ein Herz, das seinen Jesum lebend weiß BWV 134. This cantata was written for Thomanerchor and performed in Leipzig in 1924.

Recorded in Studio-Paul-Gerhardt-Kirche in 1981 performance was based on musicians form Lepizig, Neues Bachisches Collegium musicum zu Leipzig (selected musicians of famous Gewandhausorchester) and Thomanerchor Leipzig. This performance was conducted by Hans-Joachim Rotzsch, in 1972-1991 fifteenth chormaster on the post of Thomaskantor after Johann Sebastian Bach. In performance of Cantata Ein Herz, das seinen Jesum lebend weiß BWV 134 participated vocalists Ortrun Wenkel – alto and Peter Schreier – tenor, these times best voices of the country, though not from Leipzig.

J. S. Bach – Motett BWV 227 & Cantate BWV 4 – Robert Shaw

In the collection of cantatas by Johann Sebastian Bach there is quite a challenge to find weaker or just poor works. Of course it’s possible to find some which are not as good as the best ones. It is even not possible to determine what was the real number of cantatas Bach composed. In Wolfgang Schmieder’s catalogue (Bach Werke Verzeichnis - BWV) first 200 numbers are sacred cantatas, numbers 201-216 are secular cantatas and 217-224 are cantatas of doubtful authorship. Religious compositions are quantitative and qualitative dominant of this set. Among many church cantatas only ten are following the texts of church hymns without changes. One of them is Cantata Christ lag in Todesbanden BWV 4, based on short instrumental introduction and seven verses following original hymn by Martin Luther. It is also a unique work for it is perfectly implementing some ideas of musical semantics in young composers work.
The assignment of Cantata No 4 was the Easter Sunday and considering its style it was composed in period 1707-1713. It is also possible Bach composed this cantata as a part of his application for the post of organist in Mühlhausen. In this case the year would be 1707 and this could explain the reasons for radical aspirations, ambitious artistic assumptions, as well as following framework of some previous compositions, particularly Pachelbel’s cantata based on the same chant. Luther’s choral based on melody of mediaeval sequence Victimae paschali laudes became one of most popular chants in protestant church long before Johnn Sebastian Bach was born. Moving around the circle of German barock church and organ composers it’s realy hard to find the one who didn’t set up or at least cite Christ lag in Todes Banden choral melody. It is present rarely in vocal music, more likely in organ music and instrumental compositions, for examples in choral preludes.

Robert Shaw - Bach's Cantate BWV 4 and Motette No. 3 (1958)

What is specially meaningful, all instrumental citations or musical setups were always associated directly to the words of Luther’s religious poetry. This fact is widely known and understood in Germany and in Lutherans communities anywhere. This gives Cantata BWV 4 special position. Outstanding composers work and perfectly known choral give this music special attention. This resulted with dozens of great recordings. The oldest one is in arrangement by Francesco Pujol was recorded in Catalan in March 20 & 22, 1931 in Barcelona Palau de la Musica Catalana. Then in 1937 in Paris and in 1938 in Boston two recordings of this cantata made Nadia Boulanger. First recording after the war has been done in 1946 by Robert Shaw with RCA Victor Chorale and Orchestra. Published 3 years later started whole series of performances in fifties.
In 1958 Robert Shaw repeated recording sessions aiming the edition of better technical conditions. He conducted Robert-Shaw-Chor and RCA-Victor-Orchestra. This recordings were published one year later in RCA Red Seal series (LM-2273) and Living Stereo series (LSC-2273). Programm of this album featured two works by Johann Sebastian Bach: Motette No. 3 Jesu, meine Freunde BWV 227 and Cantate Christ lag in Todesbanden BWV 4. Some editions list countertenor Russell Oberlin while others say cantata was performed by choir. On cover and on record label were the names of basso continuo players Hugh Porter – organ, Harvey Shapiro – cello, Alvin Brehm – double bass. This album is very interesting document of past sensibility. And of course the performance is determined by the historical aesthetic criteria. The Robert-Shaw-Chor sounds perfectly, performing this cantata with concentration and tonal precision. Profound emotionalism kept under control gives effect of great powers and then metaphysical tranquility.

Harnoncourt and Leonhardt conduct Bach’s Osterkantaten

There are no doubts Johann Sebastian Bach was greatest composer of European music ever known. Building his output almost exclusively on demand, he made synthesis of all genres and techniques used before. Only one form of music was beyond his reach. He never received an order for dramma per musica. And in 17th and early 18th century works, especially operas were composed only on request. Nevertheless Bach shifted his operatic ambitions into his oratorios and cantata works, carrying dramatic action with pure musical agents. Using only church music resources he created highly legible and clear language based on musical rhetorical means and measures strengthening the emotional expression.

Since his music was rediscovered in romantic era, Johann Sebastian Bach for more than a century was the composer who was increasingly recognized as genius who made the formal synthesis of all achievements of the previous music. In 1985 many record labels seized the opportunity of 300 anniversary of the birth of the great cantor from St. Thomas church in Leipzig and made special editions of his works. One of panoramic projects for Bach’s birthday celebration was Teldec Special Edition 1985 „300 Jahre J. S. Bach”. The fifth volume of the series was double album with set of five cantatas for Easter – numbers 4, 6, 31, 66 and 134 in Schmieder’s Bach Werke Verzeichnis. As signed two great personalities, Nicolaus Harnoncourt and Gustav Leonhardt – conductors famous for performing music of the baroque period on original instruments.

Harnoncourt and Leonhardt - Bach's Easter Cantatas

Published by Teldec in Direct Metal Mastering technology album is mostly some kind of collection of older recordings from seventies. There is one newly recorded Cantata 134. Double album is divided between two conductors. First LP featuring Gustav Leonhardt conducting instrumental group Leonhardt-Consort, choirs Collegium Vocale working under direction of Philippe Herreweghe and Knabenchor Hannover leaded by Heinz Hennig includes two cantatas BWV 66 and 134. Second LP contains three cantatas BWV 4, 6 and 31 conducted by Nicolaus Harnoncourt with baroque orchestra Concentus musicus Wien, choirs Wiener Sängerknaben and Chorus Vienensis working under direction of Hans Gillesberger. The core group of soloists is mutual for both records – Paul Esswood (alt), Kurt Equiluz (tenor) and Max van Egmond (bass). In Cantata BWV 134 this group was augmented by soloist of Knabenchor Hannover Sebastian Hennig (sopran) and René Jacobs (alt). The same happened in Cantata BWV 31 with soloists of Wiener Sängerknaben and Siegmund Nimsgern (bass). Beautiful, perfectly tuned up voices, forced in timbre and pitch and totally new sound of baroque music.

This recordings were a part of quiet revolution in art of performing the old music. The top indication of new style was use of original instruments tuned in one of original tempering systems. But this was only surface of deeper changes. When whole sound and metric system has changed, ideas of reading and constructing the work need to be redefining. This is why conductors were the most important artists in these recording sessions. Of course there is always a personal imprint in such complex work as cantata. And obviously these conductors and bands are different. Leonhardt aims to the vision of ancient, raw, so much emotionally clear as sometimes rude musical seting of Bach’s work. Harnoncourt creates equilibrium of historical aesthetics and contemporary sensitivity. While Leonhardt goes towards reconstruction of historical music, Harnoncourt builds more readable parallel of old music for today’s listener. Both represent highest level of musical artistry due to the nature of composers creativity. Different personalities and one ideology to make old music alive, sounding the way it sounded 300 years before and agitate as strongly as it was in Bach’s in early 18th century.

Isaac Stern – Bach Violin Concerti

   Isaac Stern is one of very few greatest violinists of XX century. He started very early as 15 years old, debuted with San Francisco Symphony Orchestra under Pierre Monteux playing Saint-Saëns’ 3rd Violin Concerto. As world known virtuoso he confess in his style he was follower of Nathan Milstein and Arthur Grumiaux to whom he owed his sublime phrase, both elegant and emotional. He is well known as performer of main works of classical and romantic repertoire, but he was also known for his visionary renditions of contemporary works by Barber, Bartók, Bernstein, Dutilleux and Stravinsky.
   He is not only virtuoso and groundbreaking interpreter of most advanced violin literature. After he made an entrance in some movie and television projects he became popular among people who did not attend to listen professional music. One of his highly recognizable showing in popular culture was recording of violin music for the movie Fiddler on the roof. In fact in this and other movies he was only dubbing actors playing the role of violinist. He show himself in 1999 movie by Wes Craven Music of the Heart where also Itzhak Perlman and Guarneri Quartet can bee seen. Naturally he was featured in numerous documentaries and concert recordings. In 1997 main hall of Carnegie Hall was named Isaac Stern Auditorium to commemorate the leading role of violinist in rescuing this institution from demolition.

Isaac Stern in Bach's Concerti

   Concerti by Johann Sebastian Bach recorded in February and June 1966 are Concerto for Violin and Strings A Minor BWV 1041, Concerto for Violin and Strings E Major BWV 1042 and Concerto for Violin, Oboe and Strings C Minor BWV 1060. The double concerto was played both by violinist Isaac Stern and oboist Harold Gomberg. The A Minor Concerto Stern played with strings of London Symphony Orchestra conducted by soloist himself. In the next two concerti soloists were accompanied by musicians of New York Philharmonic Orchestra conducted by Leonard Bernstein, who was also playing the basso continuo parts on harpsichord.
   Published by CBS, record with three Bach’s concerti shortly became the milestone in traditional way of reading the greatest works of baroque era. Rooted in romantic esthetics, widely vibrant phrases and strong dynamics made this music more intention of twentieth century vision than eighteenth century representation. The question of difference between Stern’s renditions and later models of reading baroque music is baseless. And even if one can ask how much these interpretations made possible the revolution of original instruments and new technical attitude of seventies and beyond, there are no controversy between the opposites. Decades after performances we can admit all were wrong as well as all have right for their mistakes. Creating work of art can’t be safe or easy. Especially if it looks like that.

Concert of the Century at Carnegie Hall

Maybe the worst moments in the history of Carnegie Hall came in the 1970s. Since first decades of 20th century many things were changed – cinema, radio, television, popular culture and mechanical reproduction of sound made many forms of social activities obsolete. Many were convinced Carnegie Hall waits for the fate of many similar institutions and its bankruptcy is inevitable. The idea of collecting founds for help to the most remarkable musical institution in New York came from Isaac Stern. Great violinist called together his friends, the best musicians of this time, to commemorate the past and to help revitalizing the Carnegie Hall by giving special presentation in its auditorium.

Celebrating the 85th Anniversary of Carnegie Hall on May 18, 1976, musical society with Carnegie Hall Endowment Found produced great concert event with participation of great musicians. Artists invited to this project were in close relations with the place and its history. In program of this concert listeners can hear and see Leonard Bernstein with the Members of the New York Philharmonic, Dietrich Fischer-Dieskau, Vladimir Horovitz, Yehudi Menuhin, Mstislav Rostropovich, Issac Stern and The Oratorio Society directed by Lyndon Woodside. Also Martina Arroyo has been invited, but the star had to cancel her appearance due to accident. 

Celebrating The 85th Anniversary of Carnegie Hall

This special event, advertised The Concert of the Century, was recorded live and published in CBS Masterworks series (79 200). Two records, leaflet with lyrics of Schumann’s Dichterliebe and poster in red gatefold cover were the hit in following season of 1977. There was also a special edition of this album, printed in limited issue of 1000 numbered copies with large photos signed by artists and biography of every soloist, the program of the concert and essay on history of Carnegie Hall – all in red calf portfolio and marbled slipcase. In 1978 this album won the Grammy Award as Best Classical Album of the year. It was the third prize in this category in the career of Thomas Frost, producer of this album.
Special program assorted for this celebration include a number of works that became the base for individual and collective exposition. And everyone can find here something enjoying to himself. Beethoven’s „Leonore” Overture No. 3 in solid sound and natural expression of New York Philharmonic Orchestra conducted by Leonard Bernstein was the single symphonic piece in this program. Strong and emotional Pezzo Elegiaco from Piano Trio A Minor op. 50 by Peter Tchaikovsky was performed by Vladimir Horowitz, Isaac Stern and Mstislav Rostropovich. Also Rachmaninoff's Andante from Cello Sonata G Minor Op. 19 (Rostropovich and Horowitz) was example of perfect playing.
The cycle of songs Dichterliebe Op. 48 Robert Schumann composed for the lyrics by Heinrich Heine. This is one of most exacting romantic song cycles. And Dietrich Fisher-Dieskau maintains it with purity and lightness. His conception is clear and his voice sounds perfect in pair with accompanying him Vladimir Horowitz. Also Bach’s Concerto D Minor for Two Violins BWV 1043 with Yehudi Menuhin, Issac Stern and Leonard Bernstein playing harpsichord and conducting orchestra can satisfied the connoisseur. But what gives the listener the vision of the whole evening? When after Tchaikovsky’s Pater Noster sung by The Oratorio Society directed by Lyndon Woodside, in performance of Alleluia from Handel's oratorio The Messiah the whole collective of soloists engaged in this evening joined the choir. And even if it looks like an occasion to listen to Horowitz, Bernstein and Stern singing along, it is worthy to remember this recording as an perfect example of promoting a social activity.