Bob Van Asperen

Bob Van Asperen – François Dieupart: Suittes de Clavessin (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 01:09:21 minutes | 1,53 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Aeolus

Bach model Dieupart completely redefined. Bob van Asperen dispels false facts in Dieupart’s biography and does away with inadequate editions of music.

After intensive research, he presents for the first time sensational evidence about the life of Dieupart, who did not die impoverished in London as previously assumed, but rather enjoyed a peaceful retirement in France. Even more important are the insights about the genesis of the original scores and the conclusions Bob van Asperen draws from them with regard to a proper performance of the works.

J.S. Bach was obviously an admirer, quoted an exceptional amount from the suites in a number of his own works, and wrote out copies of them himself unequivocal proof of the quality of this music, which can possibly now be heard for the first time on a recording as it was originally conceived.

Also to be heard, in addition to the well-known cycle of six suites, are two newly discovered works. In the very extensive booklet text, the world-famous harpsichordist himself elucidates the biography and work of the important Frenchman.

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Bob Van Asperen – J.S. Bach: Die Kunst der Fuga – The Art of Fugue (2018)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:16:45 minutes | 1,57 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Aeolus

No need to dwell on the The Art of Fugue’s one thousand and one secrets, whether real or presumed: let’s just play it, pure and simple. For too long, many considered it had been created more so for the eyes and mind than for the ears, and what a mistake that was! Bob van Asperen proves it once again with his incredibly deep 1741 Christian Zell harpsichord. Van Asperen only plays fourteen of the definite, finalised manuscript’s “contrapuntus”, adding a canon found annotated on the same manuscript, which was itself finalised. The other contrapuntus and canons in The Art of Fugue are drafts at various degrees of revision, and it is known that a monumental triple fugue remained unfinished. As a complement, the harpsichordist had the surprising yet outstanding idea to combine Berhard Klapprott and a second harpsichord to play two mirror fugues from other manuscripts, which require a large number of playing fingers. The sound disparities between both harpsichords help the listener follow Bach’s titanic contrapuntal inventions. It’s clear this music wasn’t intended for the eyes alone…
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