The harpsichord sounds light and airy when Tatjana Vorobjova plays the " Sechs Musicalischen Partien " by Johann Krieger. Apart from the stupendous playing technique of the virtuoso with Latvian roots, this is of course due to Krieger's compositional style, which conjures up filigree character pieces of deep content from the standardised dance movements of the suites. In addition to the printed collection of the six suites, the finely balanced Super Audio CD also contains handwritten individual pieces that round off the high baroque listening pleasure in a refreshing way.
Krieger copied the "style brisé" from the lutenists of his time: artful, sometimes excitingly fanned-out chordal decompositions that seem to lift all the earthly heaviness out of the polyphonic music into heavenly spheres - to be heard particularly beautifully in the Partita in D. Before that, however, there is a prelude that deserves its name, for what better way to get acquainted with instrument and space on the podium at the beginning of a concert than with the virtuoso arpeggios of this piece?
Krieger often confines himself to the two- to three-voice writing, which gives the works a luminous transparency. At times, a four-part texture is simulated, when in fact only three voices are playing. And when it does become full-bodied, the tonal richness is all the more opulent in contrast.
Krieger's mastery of counterpoint is demonstrated in the Praeludium in e (from: Anmuthige Clavierstücke), while in the Praeludium in g the listener encounters a veritable aria with a flatly accompanied upper voice. Tatjana Vorobjova presents this littleknown music in historical Werckmeister tuning on a two-manual harpsichord after Ruckers, which seems to float unearthly especially in the three-dimensional reproduction.