Johann Sebastian Bach – Six Sonatas For Violin And Harpsichord

Johann Sebastian Bach – Six Sonatas For Violin And Harpsichord

About the work:
Missing Bach’s sonatas and partitas is like missing the Art of Fugue or the Passions:  it means loosing one of the pillars of the whole classical music. Bach is ground to all his successors in all fields: he wrote everything for any instrument and one can find Bachian fugues in Beethoven and Rachmaninov, the Bach’s Ciaccona, BWV 1004, in Mendelssohn’s violin concerto, Bach’s contrapunctum in Schumann’s symphonies… Bach is everywhere at any time, but unfortunately not many music lovers are aware of that!. These six sonatas are part of a huge set of sonatas and partitas for any kind of instrument: they summarise well all that work and therefore must be known entirely. Their “standard” structure can be described as follow: 1.A slow graceful first movement; 2.A fast movement; 3.A slow, deep and sweet piece; 4.A bursting out and lively fast movement. There is however an evident exception in the last sonata, further considered. Please do not think these pieces are minor, just because they have been written for a few instruments (there are pieces of Bach played by a single violin, cello or flute): instead they are soaked of Bach’s magnitude and the monumentality of a Passion is “concentrated” in these pieces. On the contrary, it seems that the less instruments he composed for, the higher the accuracy of his compositions: the typical example is in the partitas for solo violin, in which a single melodic line entirely describes the deep sensitivity of the greatest composer of all times.
Generally speaking, in all sonatas defined as “for harpsichord and…”, the harpsichord is dominant; this does not amaze, because Bach was the first great composer to give the keyboard instrument a solo part, where the piece is for more than one instrument (the 5th Brandenburg Concerto is the solo-keyboard christening in an orchestral work). Up to then, the harpsichord had been used only as a “complementary” instrument, leading the rhythmical part of the bass or accompanying (through simple chords) another instrument which led the melodic part. There are a lot of examples for it in Bach’s sonatas for Flute (violin) and figured bass.

Track List:
01. moll BWV 1014, 1. Satz Adagio (3:22)
02. moll BWV 1014, 2. Satz Allegro (3:15)
03. moll BWV 1014, 3. Satz Andante (2:20)
04. moll BWV 1014, 4. Satz Allegro (3:38)
05. Dur BWV 1015, 1. Satz Dolce (2:27)
06. Dur BWV 1015, 2. Satz Allegro (3:11)
07. Dur BWV 1015, 3. Satz Andante un poco (2:30)
08. Dur BWV 1015, 4. Satz Presto (4:58)
09. Dur BWV 1016, 1. Satz Adagio (3:42)
10. Dur BWV 1016, 2. Satz Allegro (3:24)
11. Dur BWV 1016, 3. Satz Adagio ma non tanto (3:51)
12. Dur BWV 1016, 4. Satz Allegro (4:06)
13. Dur BWV 1021, 1. Satz Adagio (3:09)
14. Dur BWV 1021, 2. Satz Vivace (1:06)
15. Dur BWV 1021, 3. Satz Largo (2:01)
16. Dur BWV 1021, 4. Satz Presto (1:51)
01. moll BWV 1017, 1. Satz Alla sicililiana (4:01)
02. moll BWV 1017, 2. Satz Allegro (5:21)
03. moll BWV 1017, 3. Satz Adagio ma poco (2:49)
04. moll BWV 1017, 4. Satz Allegro assai (5:00)
05. moll BWV 1018, 1. Satz ohne Satzbezeichnung (5:56)
06. moll BWV 1018, 2. Satz ohne Satzbezeichnung (5:17)
07. moll BWV 1018, 3. Satz Adagio (2:15)
08. moll BWV 1018, 4. Satz Vivace (2:53)
09. Dur BWV 1019, 1. Satz Molto allegro (3:41)
10. Dur BWV 1019, 2. Satz Largo (1:26)
11. Dur BWV 1019, 3. Satz ohne Satzbezeichnung (5:38)
12. Dur BWV 1019, 4. Satz Adagio (2:37)
13. Dur BWV 1019, 5. Satz Allegro assai (3:50)
14. moll BMV 1023, 1. Satz ohne Satzbezeichnung (0:57)
15. moll BMV 1023, 2. Satz Adagio ma non troppo (2:43)
16. moll BMV 1023, 3. Satz Allemanda (4:06)
17. moll BMV 1023, 4. Satz Gigue (3:38)

Benjamin Schmid: violin
Anthony Spiri: harpsichord
Sebastian Hess: cello (on tracks 13-16 in cd1)

mp3, 320 kbps, cd ripping, 111:16 minutes. Covers & info included.

Part1 —–   Part2 —–   Part3


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