Fantasia baroque Aleksandra Grychtolik & Alexander Grychtolik
- Antonio Bertali (1605-1669)
- 1Ciaccona improvvisata per la Madonna di Grodowiec05:19
- Bernardo Pasquini (1673-1710): Sonate d-Moll fur zwei bezifferte Basse:
- Sonate e-Moll fur zwei bezifferte Basse
- Sonate C-Dur fur zwei bezifferte Basse
- Sonate c-Moll fur zwei bezifferte Basse
- Alexander Grychtolik (1980): Partita-Improvisation
- 17Al tempo di sarabanda02:36
- Carl Philipp Emanuel Bach (1714-1788): Freye Fantasie furs Clavier fis-Moll
- 19Free Invention for Harpsichord in F-Sharp Minor, Wq. 6711:46
- Aleksandra & Alexander Grychtolik (1980): Concerto-Improvisation fur 2 Cembali
- 20I. Allegro05:12
- 21II. Grave02:43
- 22III. Allegro assai02:43
Info for Fantasia baroque
Until the 18th century, the boundaries between improvisation and interpretation were fluent. Soloists were able to make out the musical material of the intermediate and transition parts of a composition free off the cuff.
On this recording, Aleksandra and Alexander Grychtolik play the music in their own way, based partly on figured bass and partly on harmonic structures.
Aleksandra Grychtolik, harpsichord
Alexander Grychtolik, harpsichord
After the fall of the Iron Curtain, Aleksandra Grychtolik belonged to the first generation of Polish harpsichord players who specialised in period performance.
Following her education as an organist, Aleksandra Grychtolik studied harpsichord at the Academy of Music in Łódz. She travelled throughout Europe with her ensemble La Grande Langue de la Musique, and was influenced by such renowned early music specialists as Ketil Haugsand, Jaap ter Linden and Lucy van Dael. Recording sessions on Polish radio and concert tours in Western Europe followed. She further explored early music and the art of historically informed performance on harpsichord in her studies with Bernhard Klapprott.
Aleksandra Grychtolik gives concerts Europe-wide as soloist, together with her partner Alexander Grychtolik (harpsichord duo) and together wit the ensemble Deutsche Hofmusik. Als an "artist couple with magic hands" (SHZ) together with Alexander Grychtolik she has her focus on virtuosic keyboard music of the 17th and 18th century and on the integration of improvisation elements in concert performan-ces. In this way she treads new paths and surprises with exceptional points of view.
The experience of ancient music as a creative process is the main artistic vision of Alexander Grychtolik. His concert performances are dedicated to the revival of the art of improvisation by Johann Sebastian Bach and his contemporaries, also in order to further the understanding of what is called "historically informed performance".
With this goal in mind, the harpsichord player – who was born in Berlin and who studied with Bernhard Klapprott and Frédérick Haas – taught the practice of Baroque improvisation at the Liszt School of Music in Weimar, the first such position in a German conservatory. He also taught for instance at the Frankfurt music academy.
Alexander Grychtolik spent many years exploring the art of Baroque composition, an endeavour that culminated in a number of inter-nationally renowned reconstructions of Bach vocal works, broadcast on German and other European public radio networks. Critics praised the reconstructions as a "delightful experience" (NMZ online 3/2010), as "conclusive" (Concerto 232/2010) and as a reconstruction reflecting an "intimate understanding of Bach's style" (Tibia 3/2008). Together with the publisher Edition Peters he also brought out a first reconstruction of the late version of Bach's St. Mark Passion BWV 247 from 1744 - a version that was only authenticated in 2009 - and a first publication of the so called "Köthener Trauermusik" BWV 244a from 1729.
Alexander Grychtolik founded the ensemble Deutsche Hofmusik in 2008. In elected projects the ensemble devotes to reviving the musical tradition of Baroque courts in Middle Germany, especially occasional works.