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Bustijn’s suittes were obviously known beyond the Low Countries. Johann Gottfried Walther mentioned the collection in his Musicalisches Lexicon (1732) and included suite no. 8 in a manuscript anthology of keyboard music. The scribe of the piece in this compilation was Walther’s and Johann Sebastian Bach’s pupil Johann Tobias Krebs. Although Krebs’ copy contains a few more ornaments than the printed edition, it is still plausible that the former was copied from Roger’s publication. This makes it likely that Bach himself was familiar with the pieces. His source may have been Walther’s pupil Prince Johann Ernst of Saxe-Weimar who had studied in the Netherlands and returned to Weimar with music recently printed by Roger. Bach used these publications for study purposes and arranged some of the works. Bustijn’s IX Suittes may have been part of the Prince’s luggage. This, along with the fact that Bach quoted from the works of Le Roux and Dieupart in his own suites, supports the theory that he may have also have used motives from Bustijn’s suites in several of his keyboard works: The beginning of the prelude of suite no. 6 is similar to the Praeambulum 6 of the Clavier-Büchlein for Wilhelm Friedemann (BWV 784); the prelude of suite no. 2 has a motif reminiscent of Fantasia 1 of the Clavier-Büchlein (BWV 787); a further motivic relationship may be detected between the ‘Tempo di Borée’ of suite no. 8 and the opening of Bourée 1 of Bach’s second ‘English’ Suite (BWV 807). It should be noted, however, that these resemblances are of a casual nature and may be coincidental.
The IX suittes pour le Clavessin are the only works by Bustijn that have survived.
Since 2007 Steven has been the harpsichordist with London Baroque in addition to his position as Co-Principal keyboard player with the Orchestra of the Age of Enlightenment. He is also the principal keyboard player for The Gonzaga Band, Apollo and Pan, The Classical Opera Company and performs regularly with many other groups around Europe. He has recorded over thirty discs with other artists and ensembles and made three solo recordings. His latest recording of Bach's Goldberg Variations has been receiving critical acclaim.
One of Steven's proudest (and longest) associations is with the Finchcocks Musical Museum in Kent where holds the post of Director of Development.
This cd was made possible with the support of Von Brucken Fock Fonds, Provincie Zeeland and the Koninklijk Zeeuws Genootschap der Wetenschappen werkgroep Muziek.
The design of this CD is made by the artists Paul en Menno de Nooijer.
Watch a short tv item by Omroep Zeeland (Dutch)
Visit the website of Steven Devine
Visit the website of Paul en Menno de Nooijer (artwork, photography & design)
Visit the website of Von Brucken Fock Fonds
Visit the website of Koninklijk Zeeuwsch Genootschap der Wetenschappen
VOLKSKRANT Who could have guessed three centuries back that there was composed such beatiful music in Middelburg? Frits van der Waa
read the full review (Dutch)VOLKSKRANT - delicious basstrings
PZC Within the repertoire we're looking for new ways, for things that are not known. Each project is filled with passion. Rolf Bosboom
read the full review (Dutch)PZC - each zefir cd is created with passion
TOM Steven Devine performs these suites very lively. Henk Dekker
read the full article (Dutch)TOM - lively
PZC A recording of works Zeeland can be proud of. Jeanette Vergouwen
read the full article (Dutch)PZC - recording zeeland can be proud of
ZEEUWS TIJDSCHRIFT Meanwhile it is known that in Zeeland as well there was a worldfamous composer and organplayer. Albert Clement
read the full article (Dutch)ZEEUWS TIJDSCHRIFT - worldfamous composer and organplayer
KlASSIEKE ZAKEN Unforgettable. Andrew van Parijs
read the full article (Dutch)KLASSIEKE ZAKEN - unforgettable
|1||Suitte I: Preludio|
|6||Suitte II: Preludio|
|11||Suitte III: Preludio|
|16||Suitte IV: Preludio|
|22||Suitte V: Preludio|
|26||Tempo di Gavotta|
|27||Suitte VI: Preludio|
|34||Suitte VII: Preludio|
|39||Suitte VIII: Preludio|
|47||Suitte IX: Preludio|
|51||Tempo di Borťe|