Label: Challenge Classics
Format: CD
Barcode: 0608917286625
Catalog number: CC 72866
Releasedate: 14-01-22
Format: CD
Barcode: 0608917286625
Releasedate: 14-01-22
- We at Challenge are proud to release a new account of Bach’s Sonatas for violin and obbligato harpsichord
- This set of Six Sonatas (here we present the first part) is a milestone in Bach’s catalogue and it can be compared for its relevance to the Cello Suites and to the Violin Sonatas and Partitas.
- We have entrusted this project to two great musicians who don’t belong to the latest generation of Baroque music performers: Ryo Terakado and Fabio Bonizzoni.
- This means the listeners will not find any taste for flamboyance, for eccentricity, for idiosyncracy, but a solid experience, the study of serious scholars, the technical mastery of expert musicians.
- Moreover, there is no hint of the academic stiffness usually associated to these Sonatas. Everything flows warm and friendly like in a smooth conversation.
- The respect for the score, a certain modesty, personal views always connected to musicological evidences are the main traits of this noble recording.
- Some may find this attitude as ‘old-fashion’, others – like us – consider it the way to approach the great repertoire.
- This set of Six Sonatas (here we present the first part) is a milestone in Bach’s catalogue and it can be compared for its relevance to the Cello Suites and to the Violin Sonatas and Partitas.
- We have entrusted this project to two great musicians who don’t belong to the latest generation of Baroque music performers: Ryo Terakado and Fabio Bonizzoni.
- This means the listeners will not find any taste for flamboyance, for eccentricity, for idiosyncracy, but a solid experience, the study of serious scholars, the technical mastery of expert musicians.
- Moreover, there is no hint of the academic stiffness usually associated to these Sonatas. Everything flows warm and friendly like in a smooth conversation.
- The respect for the score, a certain modesty, personal views always connected to musicological evidences are the main traits of this noble recording.
- Some may find this attitude as ‘old-fashion’, others – like us – consider it the way to approach the great repertoire.
Johann Sebastian Bach developed a new style, cembalo obbligato, where the right hand of the keyboard plays as a melody instrument and is given the same importance as the violin, flute or other solo instrument. His sonatas for melody instrument and keyboard instrument include works for flute, violin, and viola da gamba. It seems that the obbligato style interested him more than the traditional continuo role for the keyboard. As for the violin, there are two sonatas written with basso continuo and six with harpsichord obbligato. Among these works, the six sonatas in particular were conceived as a set, with a consistent style and a well-considered key distribution. This set is one of the highlights in the catalog of Bach’s chamber music. Bach’s son Carl Philippe Emmanuel Bach writes to Bach’s first biographer, Johann Nikolaus Forkel, in 1774: “The 6 clavier [and violin] trios...are amongst the best works of my dearly beloved father. Even now they sound very good and give me many delights, regardless of the fact that they are over fifty years old.”
The key distribution is somewhat symmetric and this suggests that Bach intended these as a set of pieces for violin, comparable to his unaccompanied sonatas and partitas for violin. Additionally, with the exception of Sonata No. 6, this set of works all follow the church sonata style.
Ryo Terakado: My first performance with Fabio was in 2019. We had been colleagues at the Royal Conservatoire in The Hague for a long time, but we had never actually performed together in concert. We discovered immediately that we shared a common musical language and approached our music similarly, and the collaboration was tremendously successful and rewarding. We now feel that our ensemble as a duo is sufficiently mature that it is our pleasure to present to you these fruits of our collaboration. Bach is a delight in our life.
The key distribution is somewhat symmetric and this suggests that Bach intended these as a set of pieces for violin, comparable to his unaccompanied sonatas and partitas for violin. Additionally, with the exception of Sonata No. 6, this set of works all follow the church sonata style.
Ryo Terakado: My first performance with Fabio was in 2019. We had been colleagues at the Royal Conservatoire in The Hague for a long time, but we had never actually performed together in concert. We discovered immediately that we shared a common musical language and approached our music similarly, and the collaboration was tremendously successful and rewarding. We now feel that our ensemble as a duo is sufficiently mature that it is our pleasure to present to you these fruits of our collaboration. Bach is a delight in our life.
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1Sonata No. 1, BWV 1014, in B MinorAdagio03:12
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2Sonata No. 1, BWV 1014, in B MinorAllegro02:58
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3Sonata No. 1, BWV 1014, in B MinorAndante03:07
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4Sonata No. 1, BWV 1014, in B MinorAllegro03:36
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5Sonata No. 2, BWV 1015, in A Major[Dolce]02:51
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6Sonata No. 2, BWV 1015, in A MajorAllegro Assai03:14
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7Sonata No. 2, BWV 1015, in A MajorAndante un poco02:54
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8Sonata No. 2, BWV 1015, in A MajorPresto04:34
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9Sonata No. 3, BWV 1016, in E MajorAdagio03:41
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10Sonata No. 3, BWV 1016, in E MajorAllegro03:14
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11Sonata No. 3, BWV 1016, in E MajorAdagio ma non tanto04:32
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12Sonata No. 3, BWV 1016, in E MajorAllegro04:03