The SWINGLE SINGERS

Going Baroque
de Bach aux baroques

(1964)

1. Badinerie 1'21
Johann Sebastian BACH
(Suite No. 2 in B minor, BWV 1067)
2. Aria And Variations: "The Harmonious Blacksmith" 2'26
George Fridrich HAENDEL
(Suite for Harpsichord in E major)
3. Giga 1'22
Johann Sebastian BACH
(Cello Suite No. 1 in C major, BWV 1009)
4. Largo 3'03
Johann Sebastian BACH
(Harpsichord Concerto in F minor, BWV 1056)
5. Prelude No. 19 in A major 1'11
Johann Sebastian BACH
(The Well-tempered Clavier, Book 1, BWV 864)
6. Praeambulum 2'28
Johann Sebastian BACH
(Partita No. 5 in G major, BWV 829)
7. Fugue 2'24
Antonio VIVALDI,
Transcriotion Johann Sebastian BACH
(Concerto op.3 "I'Estro Armonico" No. 11 in D minor)
8. Allegro 3'17
George Friedrich HAENDEL
(Concerto Grosso, op.6 No. 4 in A minor)
9. Prelude No. 7 in E flat major 2'42
Johann Sebastian BACH
(The Well-tempered Clavier, Book 2, BWV 876)
10. Solfegietto in C minor 0'57
Carl Philipp Emanuel BACH
(Wq. 117/2)
11. Der Fruehling (Spring) 1'36
Wilhelm Friedemann BACH
12. Prelude No. 24 in B minor 1'56
Johann Sebastian BACH
(The Well-tempered Clavier, Book 2, BWV 893)

Total Time: 24:43

  • Ward Swingle - Arrangements and Adaptation
  • Guy Pedersen - Double Bass
  • Gus Wallez - Drums

    It is widely known that Johann Sebastian BACH (1685-1750) was the Cantor at LEIPZIG, and had nineteen children. It is, however, less well-known that he contributed greatly to the reputation of The SWINGLE SINGERS.
    This astonishing vocal group, which came to light towards the middle of the XX-th century (in 1962, to be exact) could do no less than again render homage to its Master after the success of the first album, which had been entirely devoted to the works of Johann Sebastian BACH. This is why we find a majority of works by J.S. BACH himself on this second record. The SWINGLE SINGERS, however thought that this homage would only be complete if BACH was surrounded by his family and friends. Thus was born this second album, composed of the works of composers who admired J.S. BACH, or who recognised BACH as their Master.
    One can again discover with pleasure the joy and respect which are features of The SWINGLE SINGERS performances. But one can also observe how the vocal qualities of this group have been perfected. Even so, the majority of works performed here presented even greater difficulty. If the first record consisted only of works for the keyboard, in this recording The SWINGLE SINGERS sing works written for an orchestra, and the scores have been respected with as much care as those composed for the keyboard.
    This, for example, is the case with J.S. BACH's "Badinerie", which so brilliantly and joyfully starts this record. One can follow each and every voice of the orchestra, originally scored for a string quartet, and the flute solo (where one can again hear the lovely soprano voice of the "Sinfonia" in the first album) and the harpsichord part, which is sung also.
    Even more striking is the orchestral feeling in the "Allegro" of the Concerto Grosso by HAENDEL, in which several of the singers have short solo parts. There is also a very faithful reproduction of the pizzicati accorapanying the solo of the "Largo" by J.S. BACH. The solo itself is treated almost in the style of Miles DAVIS, wouldn't you say ? But the difficulty of performance reaches its maximum in the "Solfegietto" by C.P.E. BACH, which has a stupefying velocity. Although it takes barely a minute to play, fifteen days of rehearsals were necessary before tfce recording took place.
    We even, have here works which were composed by the sons of J.S. BACH, but nowhere does the paternity of the compositions appear more evident than in the "Fugue" from the ESTRO ARMONICO by VIVALDI. This piece was so much m the spirit of J.S. BACH that he transcribed it for the organ, and signed it with his own name.
    This work had a destiny that was decidedly quite complicated, since at the death of J.S. BACH, his son W. Friedmann found it in the papers inherited from his father; he found it to his tastefeigned it himself, and for a very long time it was called the Concerto by W.F. BACH. Only much later was it discovered that W. Friedemann was only five years old when this work was composed, and therefore he could not have written it himaelf.

    Getting Romantic

    (1965)

    1. Scherzo (Sonata for Violin and Piano op. 24 No. 5 in F major "Spring") 1'14
    Ludwig van BEETHOVEN
    2. Allegro (Piano Sonata op. 26 No. 12 in A Flat major) 2'35
    Ludwig van BEETHOVEN
    3. Etude op.10 No. 6 in E flat major 3'29
    Frederic CHOPIN
    4. Etude op.25 No. 2 in F minor 1'31
    Frederic CHOPIN
    5. Waltz op.64 No. 2 in C sharp minor 3'16
    Frederic CHOPIN
    6. Short Fugue (Album For The Young op.68) 2'13
    Robert SCHUMANN
    7. Spinning Song (Songs Without Words op. 67 No. 4) 2'03
    Felix MENDELSSOHN-BARTHOLDY
    8. Limoges, The Market (Pictures At An Exhibition) 1'26
    Modest MUSSORGSKY
    10. Andante (String Quartet op.44 No. 1 in D major) 3'32
    Felix MENDELSSOHN-BARTHOLDY
    11. Zortzico 2'08
    Isaac ALBENIZ
    12. Andante (String Quartet op.29 No. 13 in A minor D.804 "Rosamunde") 5'13
    Franz SCHUBERT

    Total Time: 28:40

  • Ward Swingle - Arrangements and Adaptation
  • Guy Pedersen - Double Bass
  • Daniel Humair - Drums