J.S. BACH COMPLETE EDITION Liner - nawa.ir · Emanuel) and cantatas. Of the latter the best known...

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94940 J.S. Bach Complete Edition 1 J.S. BACH COMPLETE EDITION Liner notes, sung texts (p.61), full tracklist (p.153) Liner notes JOHANN SEBASTIAN BACH: FORGOTTEN AND REDISCOVERED After Bach was almost completely forgotten in the 19th century, save for a small group of Bach scholars, much was made up for in the 20th century, with the 250th anniversary of his death in 2000 sparking an array of commemoration events, focussing more attention on the composer than ever before. In 1899 the famous conductor Willem Mengelberg initiated the now traditional annual Palm Sunday performance of the St Matthew Passion by the Concertgebouw Orchestra in Amsterdam. In 1900 the Neue Bachgesellschaft was founded, embarking on a new complete edition and propagating Bach and his music in Germany through festivals and the establishment of the Bach Museum in Eisenach, Bach’s birthplace. The first Bach festival took place in Berlin in 1901. In 1904 publication of the Bach‐ Jahrbuch commenced, a series of books containing studies and articles that still appears annually. A year later a study of the performance of Bach’s music was published by Wanda Landowska, the first pianist to play Bach in public on a harpsichord. In the same year the celebrated doctor, theologian and organist Albert Schweitzer published his authoritative work on Bach and his music. And precisely 200 years after Bach’s death (1950), Wolfgang Schmieder’s catalogue of Bach’s works appeared. The classification and numbering of Bach’s music that he introduced half a century ago is still internationally current: the so‐called BWV numbers (Bach’s Werke Verzeichnis, or index of Bach’s works). Bach and the European styles Though considered old‐fashioned and severe in his later years, as a young man Bach was highly conscious of the musical fashions of his time. He was fond of all those strange sounds and colours, approaching and imitating them with his typically German solidity. In the course of his life he gathered together an enormous library, including not only countless works from bygone centuries but also the newest fashionable pieces by French, Italian and German composers. Thus we know today what he studied and arranged: Frescobaldi, Froberger, Lully, Corelli, Albinoni, Marcello, Couperin, Dieupart, Kuhnau and Vivaldi. And Bach had the ability to absorb all these different fashions and styles, to adapt them to his own purpose, and even to far surpass his examples. Youth Bach probably underwent his very first musical experience in 1685 in the womb of his mother Elisabeth, who came from a musical family. His father too, like generations of the Bach family before him, was employed as a town piper, violinist and trumpeter in Eisenach, the small town in east‐ German Thuringia where Bach was born on 21 March 1685. There the young Sebastian attended the same school as the church reformer Martin Luther 190 years earlier. Hardly ten years old, Bach lost both parents within a short time and was taken in by his eldest brother Johann Christoph, organist in Ohrdruf and probably Bach’s first organ and harpsichord teacher. About five years later Johann Christoph was no longer able to support his young brother, and in 1700 Sebastian, with his school friend Georg Erdmann, set out for Lüneburg. There they attended the ‘Gymnasium’ free of charge, in return for which they were obliged to sing daily in the choir of the Michaeliskirche. Like an insatiable sponge, the young Bach absorbed the great musical tradition of St Michael’s school in Lüneburg, making his way through the contents of its celebrated library of church music. The French style and The Netherlands’ art of variation In Lüneburg Bach became acquainted not only with German choral music, but also with the French language, French culture and French music: St. Michael’s school also boasted a ‘Ritteracademie’, a school for the sons of wealthy nobility where French was spoken, French customs and etiquette were practised, and concerts of French music were frequently given by the duke’s French orchestra from nearby Celle. Bach was probably taught in Lüneburg by the organist Georg Böhm, a French‐orientated composer who, like Bach, originated from Thuringia. In the summer holidays he sometimes walked 48 kilometres northwards to hear the celebrated organist Reincken play in Hamburg. At the age of 78 this Deventer‐born organist and representative of the Amsterdam organ school of Jan Pieterszoon Sweelinck was still filling St Catherine’s church in Hamburg with his breathtaking improvisations. Bach absorbed all these impressions and brought them to fruition in his own organ playing and compositions. Organist in Arnstadt and Mühlhausen In 1703 Bach accepted his first real appointment, as organist of the New Church in Arnstadt on his native Thuringian ground. Bach was truly obsessed by the organ at the time, resolutely refusing to rehearse with the boys’ choir. The conflict with his employers escalated in 1705, when Bach walked 200 kilometres to Lübeck and stayed there two months longer than agreed in order to listen to the organ playing and church music of the organist Dieterich Buxtehude. Upon his return to Arnstadt Bach demonstrated his new virtuosic playing during the service, throwing the entire congregation into confusion and making his position in Arnstadt untenable. Moreover, he was accused of creeping into the wine cellar during sermons and making music in the church with ‘a strange maiden’, probably his niece Maria Barbara. After his departure from Arnstadt Bach became organist of the Blasiuskirche in Mühlhausen in 1707, where he composed organ works and cantatas, married his niece Maria Barbara and set off again after only one year; it is clear that in this year Bach, with his quickly growing reputation as an organ virtuoso and self‐willed composer, had outgrown the limited scope of this Thuringian city. The world‐famous Toccata and Fugue in D minor BWV565 was written during the Mühlhausen period. The piece seems to begin with a flash of lightning, followed by a terrific burst of thunder in the full organ chords; this and further excitement late on in the work has ensured that it has become and remains Bach’s most famous organ piece. In the year 1708 the composer’s career planning took an important step forwards: in both financial and artistic terms he doubled his prospects by accepting a post in Weimar as court organist, chamber musician and concertmaster at the court of Duke Wilhelm Ernst of Sachsen‐Weimar. The Vivaldi fashion We now know that the duke’s nephew Prince Johann Ernst, who studied in Utrecht, purchased large quantities of new music in Amsterdam, particularly concertos by Vivaldi, and unleashed a veritable Vivaldi rage upon his return to Weimar. Thus it was here that Bach made his first acquaintance with the new Italian concertos by Vivaldi and others: without ever setting foot in Italy, he allowed himself to be carried along by this fashion, arranging Vivaldi’s concertos for harpsichord solo and composing his own concertos according to the Italian’s example. The well‐known Brandenburg Concertos owe their existence largely to Bach’s familiarity with Vivaldi’s music; and the Violin Concerto in E major bears witness not only to his fascination with Vivaldi, whose example he leaves far behind him, but also to his love of the violin, an instrument that he played himself (in addition to the organ, harpsichord and clavichord). As well as organ works, Bach also composed cantatas and concertos in the Italian style in Weimar. From his marriage to Maria Barbara two sons were born in this city, both of whom were later to become composers: Wilhelm

Transcript of J.S. BACH COMPLETE EDITION Liner - nawa.ir · Emanuel) and cantatas. Of the latter the best known...

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J.S.BACHCOMPLETEEDITIONLinernotes,sungtexts(p.61),fulltracklist(p.153)

LinernotesJOHANNSEBASTIANBACH:FORGOTTENANDREDISCOVEREDAfterBachwasalmostcompletelyforgotteninthe19thcentury,saveforasmallgroupofBachscholars,muchwasmadeupfor inthe20thcentury,with the 250th anniversary of his death in 2000 sparking an array ofcommemorationevents, focussingmoreattentionon thecomposer thaneverbefore. In1899 the famous conductorWillemMengelberg initiatedthenow traditionalannualPalmSundayperformanceof theStMatthewPassionbytheConcertgebouwOrchestrainAmsterdam.In1900theNeueBachgesellschaftwasfounded,embarkingonanewcompleteeditionandpropagating Bach and his music in Germany through festivals and theestablishmentoftheBachMuseuminEisenach,Bachsbirthplace.ThefirstBachfestivaltookplaceinBerlinin1901.In1904publicationoftheBachJahrbuchcommenced,aseriesofbookscontainingstudiesandarticlesthatstillappearsannually.A year latera studyof theperformanceofBachsmusicwaspublishedbyWandaLandowska,thefirstpianisttoplayBachinpublic on a harpsichord. In the same year the celebrated doctor,theologianandorganistAlbertSchweitzerpublishedhisauthoritativeworkonBachandhismusic.Andprecisely200yearsafterBachsdeath(1950),Wolfgang Schmieders catalogue of Bachs works appeared. Theclassification and numbering of Bachsmusic that he introduced half acentury ago is still internationally current: the socalled BWV numbers(BachsWerkeVerzeichnis,orindexofBachsworks).BachandtheEuropeanstylesThoughconsideredoldfashionedandsevereinhislateryears,asayoungmanBachwashighlyconsciousofthemusicalfashionsofhistime.Hewasfondof all those strange sounds and colours, approaching and imitatingthem with his typically German solidity. In the course of his life hegatheredtogetheranenormouslibrary,includingnotonlycountlessworksfrombygonecenturiesbutalsothenewest fashionablepiecesbyFrench,ItalianandGermancomposers.Thusweknowtodaywhathestudiedandarranged: Frescobaldi, Froberger, Lully, Corelli, Albinoni, Marcello,Couperin,Dieupart,KuhnauandVivaldi.AndBachhadtheabilitytoabsorballthesedifferentfashionsandstyles,toadaptthemtohisownpurpose,andeventofarsurpasshisexamples.YouthBachprobablyunderwenthisvery firstmusicalexperience in1685 inthewombofhismotherElisabeth,whocamefromamusicalfamily.Hisfathertoo, like generations of theBach familybefore him,was employed as atown piper, violinist and trumpeter in Eisenach, the small town in eastGerman Thuringiawhere Bachwas born on 21March 1685. There theyoungSebastianattendedthesameschoolasthechurchreformerMartinLuther 190 years earlier. Hardly ten years old, Bach lost both parentswithin a short time and was taken in by his eldest brother JohannChristoph, organist in Ohrdruf and probably Bachs first organ andharpsichordteacher.AboutfiveyearslaterJohannChristophwasnolongerabletosupporthisyoungbrother,and in1700Sebastian,withhisschoolfriend Georg Erdmann, set out for Lneburg. There they attended theGymnasiumfreeofcharge,inreturnforwhichtheywereobligedtosingdaily in the choir of theMichaeliskirche. Like an insatiable sponge, theyoungBachabsorbedthegreatmusicaltraditionofStMichaelsschool inLneburg,makinghiswaythroughthecontentsofitscelebratedlibraryofchurchmusic.TheFrenchstyleandTheNetherlandsartofvariationInLneburgBachbecameacquaintednotonlywithGermanchoralmusic,butalsowiththeFrenchlanguage,FrenchcultureandFrenchmusic:St.Michaelsschoolalsoboasteda Ritteracademie,aschoolforthesonsofwealthynobilitywhereFrenchwasspoken,Frenchcustomsandetiquette

werepractised,andconcertsofFrenchmusicwerefrequentlygivenbythedukesFrenchorchestrafromnearbyCelle.Bach was probably taught in Lneburg by the organist Georg Bhm, aFrenchorientatedcomposerwho, likeBach,originatedfromThuringia. Inthe summerholidayshe sometimeswalked48kilometresnorthwards tohear thecelebratedorganistReinckenplay inHamburg.At theageof78thisDeventerbornorganist and representative of theAmsterdam organschoolofJanPieterszoonSweelinckwasstillfillingStCatherineschurchinHamburgwithhisbreathtakingimprovisations.Bachabsorbedallthese impressionsandbroughtthemtofruitioninhisownorganplayingandcompositions.OrganistinArnstadtandMhlhausenIn1703Bachacceptedhis first realappointment,asorganistof theNewChurch in Arnstadt on his native Thuringian ground. Bach was trulyobsessedbytheorganatthetime,resolutelyrefusingtorehearsewiththeboyschoir.Theconflictwithhisemployersescalated in1705,whenBachwalked200kilometrestoLbeckandstayedtheretwomonthslongerthanagreed in order to listen to the organ playing and churchmusic of theorganist Dieterich Buxtehude. Upon his return to Arnstadt Bachdemonstrated his new virtuosic playing during the service, throwing theentire congregation into confusion andmaking his position in Arnstadtuntenable.Moreover, he was accused of creeping into the wine cellarduringsermonsandmakingmusic in thechurchwith astrangemaiden,probablyhisnieceMariaBarbara.AfterhisdeparturefromArnstadtBachbecame organist of the Blasiuskirche inMhlhausen in 1707,where hecomposedorganworksandcantatas,marriedhisnieceMariaBarbaraandsetoffagainafteronlyoneyear; it isclearthat inthisyearBach,withhisquicklygrowingreputationasanorganvirtuosoandselfwilledcomposer,hadoutgrownthelimitedscopeofthisThuringiancity.Theworldfamous Toccata and Fugue in Dminor BWV565waswrittenduring theMhlhausenperiod.Thepiece seems tobeginwitha flashoflightning, followedbya terrificburstof thunder in the fullorganchords;this and further excitement late on in thework has ensured that it hasbecomeandremainsBachsmostfamousorganpiece.Intheyear1708thecomposers career planning took an important step forwards: in bothfinancialandartistictermshedoubledhisprospectsbyacceptingapostinWeimar as court organist, chambermusician and concertmaster at thecourtofDukeWilhelmErnstofSachsenWeimar.TheVivaldifashionWenowknowthatthedukesnephewPrinceJohannErnst,whostudiedinUtrecht, purchased large quantities of new music in Amsterdam,particularly concertos by Vivaldi, and unleashed a veritable Vivaldi rageupon his return toWeimar. Thus itwas here that Bachmade his firstacquaintancewiththenewItalianconcertosbyVivaldiandothers:withoutever setting foot in Italy, he allowed himself to be carried along by thisfashion,arrangingVivaldisconcertosforharpsichordsoloandcomposinghisownconcertosaccordingtotheItaliansexample.The wellknown Brandenburg Concertos owe their existence largely toBachs familiaritywithVivaldismusic;andtheViolinConcerto inEmajorbearswitnessnotonly tohis fascinationwithVivaldi,whoseexampleheleavesfarbehindhim,butalsotohisloveoftheviolin,aninstrumentthatheplayedhimself(inadditiontotheorgan,harpsichordandclavichord).Aswell asorganworks,Bach also composed cantatas and concertos in theItalianstyleinWeimar.FromhismarriagetoMariaBarbaratwosonswereborninthiscity,bothofwhomwerelatertobecomecomposers:Wilhelm

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Friedemann (1710) and Carl Philipp Emanuel (1714). Once again Bachbecame involved in a conflict with his employer, a struggle that againconcerned Bachs artistic freedom, since he alsoworked for one of thedukes rivals and refused to stop doing so. Bach refused to be orderedaround, applied for a position as chapelmaster in Cthen, and wassubsequentlyimprisonedforamonthbytheduke.Thereafter,in1717,hewasallowedtoleaveforCthen.AndsooneofthemostcreativeepisodesinWesternmusichistorycametoanunbelievableend.CthenIn Cthen Bach achievedmore personal and artistic freedom, becomingChapelmasterofthecourtorchestraofPrinceLeopoldvonAnhaltCthen,afanaticalmusicloverofonly23yearsofage.HoweverCalvinistthecourtmayhavebeen,andhowever strongwilledLeopoldsmother, theprincereservednolessthanaquarterofthecourtsexpenditureforhisorchestra.He frequently joined in on the violin, viola da gamba or harpsichord,playingalongwiththebestvirtuosiwhomhehadbribedawayfromBerlinorelsewhere.AndnowhehadevenmanagedtocontractthephenomenonBach!Theprincewouldprobablybe completely forgottenbynow,were itnotthat in Cthen Bach wrote unforgettable works that include theBrandenburg Concertos, theWellTempered Clavier Part 1, the SonatasandPartitasforsoloviolin,theSuitesforsolocello,theFrenchandEnglishSuites for the harpsichord, lute works andmany other chambermusicpieces.HisfirstwifeMariaBarbaradiedtherein1720,leavingthe35yearold Bach with four children: Catharina Dorothea (aged 12), WilhelmFriedemann(10),CarlPhilippEmanuel(6)andJohannGottfriedBernhard(5). Justoverayear laterBachmarried the talented20yearoldsopranoAnna Magdalena Wlcken, with whom he had often made music.Meanwhile he applied for other positions as organist in Hamburg,chapelmaster inBerlin and, as third choice, cantor in Leipzig.While thisdecision of Bachs tomove on is often explained by the cooledmusicalpassion of Prince Leopold after hismarriage to the unmusical PrincessFriederike Henriette von AnhaltBernburg, it ismore likely is that Bachlongedforthebigtown,foryetmoremusicalchallengeandprestige,andforgoodschoolsanduniversitiesforhisintelligentandmusicalsons.LeipzigOurmostfamiliarimpressionofBachisthatoftheThomaskirchecantorinLeipzig. For no less than 27 years hewas responsible for themusic onSundaysandFeastdaysinthefourmainchurchesofLeipzig:StThomas,StNicholas, St Peters and theNew Church.Here he composed hismanycantatas,hisnowworldfamousStJohnandStMatthewPassions,andthemotets.Toperformthem,BachselectedstudentsofLeipzigUniversityaswellasthebestchoristersfromthepupilsoftheneighbouringStThomasschool.ChoirpracticeswereheldonMondays,Tuesdays,WednesdaysandFridays,whileon Saturdays therewere rehearsals for choir, soloists andorchestraforthecantataservicesonSundays.Often,however,therewashardly time to rehearse,andmuch toBachsexasperationperformancesleftmuchtobedesired.The enormous number of cantatas that Bachwrote in Leipzig (probablyabout 250) and their outstanding quality forms one of the mostremarkablecreativeoutburstsinthehistoryofmusic.In1729,theyearinwhichtheStMatthewPassionwasfirstperformed,BachbecamedirectoroftheLeipzigCollegiumMusicum,acompanyofstudentsandprofessionalmusicians founded byGeorg Philipp Telemann in 1702.With this groupBach gaveweekly concerts on Friday evenings in Zimmermanns coffeeshop, performingmuch chambermusic (sadly now lost) aswell as theharpsichord concertos (often with his eldest sons Friedemann andEmanuel)andcantatas.OfthelatterthebestknownistheCoffeeCantata,asortofmusicaladvertisementforZimmermannscoffeeshop.Moreover,Bachwas appointed composer to the courtof the Electorof Sachsen inDresden, for which he composed parts of the B Minor Mass. In themeantime he became the focal point of a growing number of pupils,including Mizler, Kirnberger and Agricola, who devoted themselves totheoreticalandhistoricalaspectsofmusic.HisworkwiththesepupilsandwithhistwoeldestsonsexercisedastronginfluenceonlaterworkssuchastheGoldbergVariations,theMusicalOffering,theWellTemperedClavierPart2andtheArtofFuguesevereandoldfashionedcompositions,butat

thesametimefree,fantasticalandmodern. In1749theLutheranchurchmusician Bach completed his impressive BMinorMass, aMass in theRomanCatholictradition.Atthattimehewasprobablynolongeractiveascantor,sincetheLeipzigauthoritieswerealreadymakingmovestoappointasuccessor.Bachwasverynearlyblind,probablyasaresultofcataracts,andwasunsuccessfullytreatedbytheEnglisheyesurgeonTaylor.Hediedon28July1750afterastroke.WorldwonderIn themeantime complete libraries have been filled with books aboutBach,andmanywillfollowonthisgreatestofmusicalgeniusesofWesternculture. For we now know: without Bach, history would have told anentirelydifferentstory.Indeed,nocomposerofname inthe19thor20thcenturiesdidnotdevotehimselftoBachorfeelthepressureofhisgeniuswhencomposing:his twoeldestsons, for instance,knew that theycouldhardlyequalthetalentoftheirfather,andHaydnslatestringquartetsandMozarts last symphonies and Requiem would have sounded quitedifferent without his influence. Beethoven, Mendelssohn, Schumann,Chopin, Liszt, Brahms, Debussy, Reger and Hindemith, too, played andunravelled Bachsworks, nourishing their own stylewith his,while CarlMariavonWeberconsideredBachsmusictobesonewandperfectthateverythingbeforehimlostitssignificance.AsforBrahms,heclaimedthat,ifhehadhadtocomposeBachsChaconneforsoloviolin,hewouldhavebecome so shockedandwoundup thathewouldhavegonemad,whilethe pianist and conductor Hans von Blow believed that if all classicalmusicwere tobe lostexcept forBachsWellTemperedClavier,allmusiccould surelybebuiltupagain from it: theWellTemperedClavier is theOld Testament and the Piano Sonatas of Beethoven theNew,wemustbelieve inboth.Now,more than250yearsafterhisdeath,Bachhasanaudienceofmillions;inHollandalone,thousandsofsingersandmusiciansareinvolvedindozensofperformancesoftheStMatthewPassioninHolyWeek,withhundredsofthousandslisteninginchurchesandconcerthalls,or gathered around the radio, to what has been called the Gospelaccording toBach.These142CDsoffera resounding impressionof thisgreat spirit of ourWestern culture: Johann Sebastian Bach, the severeBaroquecraftsmanandtheexpressiveRomantic.ClemensRomijnBRANDENBURGCONCERTOS(CD12)ThesurvivingorchestralworksofJohannSebastianBachprovideexamplesofconcertosandsuites,thetwomost importantorchestralgenres inthelate Baroque. Bach dedicated his final versions of the six BrandenburgConcertos (BWV10461051)onMarch24,1721 toChristian Ludwig, theMargrave of Brandenburg. Probably each concerto had had earlierperformances(atleasttwoNos.1and5indifferentversions)inWeimarorCthen.TheBrandenburgConcertosarenotsoloconcertosinthesenseinwhichweunderstandconcertostoday,butexamplesofearlierformsofconcertedmusic.Eachof thesix featuresadifferentcombinationofsoloand tutti instruments, combinations that are highly unusual for the lateBaroque. In three of these concertos (Nos. 1, 3 and 6) the orchestra isdivided intowellbalanced instrumental groupswhich pass themes fromone to another in a livelymusical dialogue, comparable to a series ofquestionsandanswers.Fromtimetotimeasoloinstrumenttakescontroloftheconversation.Thethreeotherconcertos(Nos.2,4,and5)aretypicalof the concerto grosso,with threeor four solo instruments (concertino)competingwithanaccompanyinggroupofstrings(theripieno).However,one solo instrument in each of these concertos stands out above theothersintheconcertino(thetrumpet,violin,andharpsichordinNos.2,4,and 5, respectively), thereby creating in effect three solo concertos.Althoughnot conceivedasagroup, these sixworks seem tobebroughttogether todemonstratedifferentwaysofwriting `concertos for severalinstruments,astheautographtitlepagecallsthem.The first concerto, in F major, is scored for two horns, three oboes,bassoon,violin(asmallviolin,calledviolinopiccolo),stringsandcontinuo.Thisseems tobeanunusualensemble,butonewhichVivaldiused (withtwooboesinsteadofthree)infourconcertos.Moreunusualistheworksstructure. At first glance itmight appear that Bach hasmerely added aFrenchstyleminuettotheusualthreemovementconcerto.Butinfactthegenesisoftheworkismorecomplicatedthanthat.Anearlierversion(BWV

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1046a)without theviolinopiccoloandcalled `sinfoniahasonly the firsttwo movements and the minuet (lacking the second trio, the stringpolonaise).Bachcouldhaveusedthispieceforanintroductiontoalongerwork, toCantata208,ashasbeen suggested.ThenewAllegro, the thirdmovement of the concerto in its wellknown version, makes the workmuch more of a concerto. But even the style and structure of thismovement point to Bachs secular vocalmusic rather than to his otherorchestralworks.Bachdid, indeed,use itagainas theopeningchorusofthesecularcantataBWV207.Themusicsoundsmoreathomethere,withtrumpets, drums and four part chorus. The famous Bach scholar AlfredDrrcalledthisunbelievablyskilledadaptationofaconcertomovementasadacapochorus`oneofBachsmostremarkableachievements.IfthefirstconcertowasdesignedmoreintheFrenchtaste,theotherfivearemore Italianate instructure.Thesecondconcerto, inFmajor likethefirst,hasasologroupconsistingof trumpet, recorder,oboeandviolin,avery heterogeneous collection of instruments. In its perfect proportionsthis concerto seems tobe the veryprototypeof a concerto grosso. Thetrumpet,with itshighclarinoregister, istreatedwithsuchvirtuositythattheworkgives the impressionofa realsoloconcerto. In themelancholymiddlemovementthetrumpet iskeptsilent,but intheFinale it isputtotheforefrontagain.Itannouncesthejollymainsubjectandalsoconcludesthisdashingpiece.TheThirdBrandenburgConcerto isarranged for three groupsof strings,each of which is divided in turn into three parts. The majestic firstmovement, with its contending melodic forces and the occasionalemergence of sombre harmonies in the minor, is full of drama. Bachdispensedwith thecustomaryslowsecondmovement.Asimplecadenceof only two chords provide the performers with an opportunity toimprovise a cadenza. The breathtaking Finale sounds like a wild chaseamongtheninestringparts.The titlepageof theautographscoreof theBrandenburgConcertosandBachsdedication(accordingtotheNewBachReader)readsasfollows:Six Concertoswith several instruments dedicated toHis RoyalHighness,MonsieurChristian Ludwig,MargraveofBrandenburg&c.&c.&c,byHisvery humble and very obedient servant Johann Sebastian Bach,CapellmeisterofHisMostSereneHighness,theReigningPrinceofAnhaltCthen.YourRoyalHighness,AsIhadacoupleofyearsagothepleasureofappearingbeforeYourRoyalHighness, by virtueof YourHighnesss commands, and as Inoticed thenthatYourHighnesstooksomepleasureinthesmalltalentsthatHeavenhasgivenme forMusic,andas in taking leaveofYourRoyalHighness,YourHighnessdeignedtohonormewith the command to send YourHighness some pieces ofmycomposition:IhavetheninaccordancewithYourHighnesssmostgraciousorders taken the libertyof renderingmymosthumbleduty toYourRoyalHighness with the present concertos, which I have adapted to severalinstruments; begging Your Highness most humbly not to judge theirimperfectionwiththerigorandfineanddelicatetastethatthewholeworldknowsYourHighnesshasformusicalpieces;butrathertoinferfromthemin benign consideration the profound respect and the most humbleobediencethatItrytoshowYourHighnesstherewith.Fortherest,Sir,IbegyourRoyalHighness veryhumbly tohave thegoodness to continueYourHighnesssgraciousfavortowardme,andtobeassuredthatnothingissoclosetomyheartasthewishthat Imaybeemployedonoccasionsmoreworthy of Your Royal Highness and of Your Highnesss service I, whowithoutanequalinzealam,Sire,YourRoyalHighnesssmosthumbleandobedientservantCoethen,March24,1721 JEANSEBASTIANBACHAlthoughBrandenburgConcertosNo.4and5stillowealottotheconcertogrosso,ineachoftheseworksoneinstrumenttakestheleadassoloist.InNo.4aconcertinoofviolinandtworecordersissetagainstthestrings.The

second movement, with the violin preeminent, has an unmistakableconcertantecharacter.Technically, the Brandenburg Concerto No.5 is a concerto grosso withthree soloists: flute, violin and harpsichord. It is obvious however, fromBachs treatment of the three solo instruments, that hewas thinking intermsof thekeyboardconcerto.Notonly is thereabrilliantharpsichordcadenzaofnolessthan65barstowardstheendofthefirstmovement,butthroughoutthisAllegroand intheFinaletoo,theharpsichordemergesasthemostprominentofthethreesoloists.Thehumbleharpsichord,whoserole inensembleshadmostlybeen thatofsupportingother instruments,assumestheproudroleofleader.Obviouslythisworkwasfromtheoutsetintended fortheharpsichordandmustbeconsideredasthe firstoriginalclavierconcertoeverwritten.ProbablyBach,whoplayedtheparthimself,was inspiredtocompose itbytheexquisiteharpsichordhehadbought in1719 forhisPrince inBerlin.Thethrillinganddramatic firstmovement isfollowed by a melancholic `Affettuoso, played by the three soloinstrumentsonly.TheFinalehasacompletelydifferentmood,shakingoffthe strong introspectionof the first and secondmovement.Elementsofthe fugue,concerto,gigueanddacapoariahavebeenbrought togetherhere in a skilful combination. A sense of bucolic humor prevails in thislightweightgiguelikepiece.BrandenburgConcertoNo.6hasthemostunusualandthinnestscoringoftheset,writtenfortwoviolas,twovioledagamba,celloandcontinuo.Oneof the gamba parts may have been intended for Prince Leopold, anenthousiasticamateurontheinstrument,becausethispartoffersvirtuallynotechnicaldifficulties.Bachhimselfmostlikelyplayedthefirstviolapart.After a brilliant firstmovement full of polyphonic intricacies the Adagioomitsthevioledagambaandgivesanexpressiveandnostalgicmelodytotheviolas.Thefinalehasthesameoptimisticmoodandrhythmicdriveasthefirstmovement.ClemensRomijnORCHESTRALSUITES14(CD3)After the six Italianate Brandenburg Concertos this and the followingcompactdiskofferexamplesoftheotherimportantmusicalgenrein18thcentury Europe: the suite. The great composers of the 17th and 18thcentury likePurcell, Telemann,Bach andHandel were internationallyorientedpioneersandveryawareofthemusicalfashionsoftheirday,themost important being the Italian concerto and the French suite. TheBrandenburgConcertosarebrilliantexamplesofItalianatecompositionsbya German composer, who, like Telemann, never set a foot on Italianground. While France itself was the scene of heated debate betweenadherents of the French style against those of the Italian, composers inneighbouringAustria,GermanyandEnglandswitchedwithoutanyproblemfromtheonestyletotheotherandbackagain,oreventriedtocombine the two, following theexampleofFranoisCouperinsGotsRunis.Telemann,likeBacharealcosmopolitan,producedfinespecimensof this `gemischteGeschmack [mixed taste], as itwas called inGermanspeaking countries. Tragically for France, around 1750 the musicalcontroversybroughtondramatic changesofdirection inFrenchart.ThefinaltriumphoftheItalianstyleovertheFrenchwaslatermadeevenmorecompletebythemusical invasionfromtheEast ledbycomposerssuchasSchobertandMannheimsStamitz.BachreferredtohisFourOrchestralSuitesas `Ouvertren,whichstrictlyapplies only to the firstmovements. `Suite or `Partie [partita], thoughperfectlyappropriateforthesepieces,wasthenusuallyappliedtosimilarworksfor individual instruments, like lute,harpsichord,violadagambaorviolin.EachoftheFourOrchestralSuitesbeginswithaFrenchoverture,aslow,serioussectionwithadottedrhythmfollowedbyafaster,fugalone,which leads back to the first section. The othermovements are usuallydanceformslikesarabandes,gavottes,courantes,bourresetc.The Four Orchestral Suites or Overtures (BWV 10661069) most likelyorginated inCthen (Nos.1and4)andLeipzig (Nos.2and3).These lasttwoaremorerichlyorchestratedanddateprobablyfromtheyears1729to1736 in Bachs Leipzig years. Each of the Suites has a differentinstrumentation and a different combination of dances following an

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openingFrenchoverture.Number2featuressoloflutethroughout;Nos.3and 4 have amore festive character,with three trumpets and timpani.Verylittleisknownabouttheoriginofthesepieces.Thisislargelyduetothefactthattheoriginalmanuscriptshavebeenlostandwe are only leftwith later copies.Rather than being based on oneoriginalsource,theSuitesasweknowthemtodayaretheresultofdiligentresearchanddetectivework,especiallyinthepreviouscentury.Incontrasttothesonata,thesuite isanentirelysecularform,consistingusuallyofanumber of danceswith orwithout an introduction prelude or overture.AlthoughonecanfindastrongFrenchinfluenceinthesesuites,theorderof the dances cannot be changed without doing damage to Bachsintentions, this incontrast to themorearbitraryordering insuites in theFrenchstyle.Just as in the Brandenburg Concertos in each of the suites certaininstruments come to the foreground, taking full advantage of theirpossibilities, especially in the openingmovements (the actual overture).SuiteNo.1isfortwooboes,bassoonandstrings.Itisstrikinghowoftenthemovements are arranged in pairs. Four of the dances are paired withdances of the same form. Bach seems to have had a preference forcombining theoboes andbassoon to contrastwith the tutti sections. Inthisoverture,thispreferenceisobviousrightfromthestart.ThevirtuosityoftheflutepartinSuiteNo.2isoneofthemostconvincingargumentsfordatingthispieceafterBachsCthenperiod,whenhewroterelativelyeasyfluteparts.Thevirtuositydemonstratedheregivestheworktheallureofasolo concerto. Especially the lastmovement belongs to the best showpieceseverwrittenfortheflute.In1723BachmovedfromCthentoLeipzigandbecamewhatheismostlyrememberedfor:cantorofthechurchofSt.Thomas.In1729healsotookovertheuniversitymusicsocietyfoundedbyTelemannin1702,theLeipzigCollegiumMusicum. If, in becoming cantor, Bachsmain attentions hadbeendirectedawayfromtheconcertos,sonatasandsuitesoftheCthenperiod andmore towards churchmusic, hewas now at least presentedwith a new opportunity of regularly performing secular works. Bachprobably performed his Four Orchestral Suites like his harpsichordconcertos and secular cantatas at the concerts of this CollegiumMusicum. The style and instrumentation of these dazzling pieces fororchestrasuggestthattheywereconceivedinCthenandplayedinLeipzigin somenewer version.The French titles to the Suitesand their variousdancemovements followexamplesoftheFrench (Italianborn)composerJeanBaptiste Lully,who put together the dances of his `ballets and hisopraballetstoformsuites.Theyfoundtheircounterpart intherefinedartofthe17thcenturyFrenchluteandtheharpsichordplayers,andfoundtheirwaytoGermanythroughJohannJakobFroberger,whosesmusicwasfamiliar toBach.Thedevelopment leading to thesuitesofBachpresentsan interesting picture of international cooperation. Briefly stated, Italycontributed the early development (16th century), England the Gigue,Francethegreatwealthofdancetypes(early17thcentury),andGermanytheconceptionofthesuiteasaunifiedanddefinitemusicalform. Inthisway,anewformdevelopedwithabasicschemeofAllemande,Courante,Sarabande and Gigue and was taken over by numerous Germancomposers. Theywroteorchestral suites consistingof a Frenchoverturefollowed by a series of `modern dances, such as rigaudon, marche,chaconne,bourreandmanyothers.Suchsuites,brieflycalledOuvertureafterthe initialmovement,werewrittenbyJohannKusser,GeorgMuffat,Johann Kaspar Ferdinand Fischer, Johann Joseph Fux, Georg PhilippTelemannandBach.BachalsotransferredthistypeoforchestralsuitetotheharpsichordinhisFranzsischeOuvertre(FrenchOverture)containedinhisClavierbung III,asdidGeorgBhmbeforehim.BachsOrchestralSuitesNos.3and4areinthesamekey(Dmajor)andscoredfornearlythesamegroupofinstruments.Throughtheadditionoftrumpetsandtimpanitothebasicinstrumentationof two oboes and strings, SuiteNo.3 takes on a festive character. SuiteNo.4alsomakesuseoftrumpets,inadditiontothreeoboes,bassoonandtimpani.WhenyoungFelixMendelssohnBartholdyplayedthemagnificentinitialmovementofNo.3on thepiano toGoethe inMay1830, thepoetremarked: `There issuchpompandceremonyherethatonecanactuallysee aprocessionof elegantlydressedpeopledescending a vast flightof

stairs.Bachhimselfusedthe joyous introductorymovementofthisSuitefortheinitialchorusofhisChristmasCantata110,basedonPsalm126,v.2withthewords:`Thenwasourmouthfilledwith laughterandourtonguewithsinging.Perhaps thebestknownmovementofall foursuites is thebeautifulAirofNo.3.The twoGavottes following theAirhaveanearthysense of humour and the Finale is a turbulentGigue. InNo.4 the threeoboes form an independent trio,which takeson a kindof solo functionfrom the first movement to the last. Is is frequently expanded into aquartetbytheadditionofthebassoonwhichgivestheworkawittycharm.AcharacterpiecewiththeappropriateFrenchtitleRjouissane(Rejoicing)servesasafinalmovement.ClemensRomijnVIOLINCONCERTOS(CD4)JohannSebastianBachgrewupwiththeviolin;hearinghisfatherplaytheinstrumentwashisfirstmusicalexperience,anditwasasaviolinistoftheWeimar Hofkapelle that he gained his first public appointment. Thisexplainswhyhewroteasizeablenumberofsoloandensemblepiecesforthis instrument, including several concertos for solo violin, strings andcontinuo, two of which (BWV 1041 and 1042) have survived in theiroriginalshape.For these works Bach chose a musical form which exerted a greatfascinationonallBaroquecomposers: the ItalianconcertoasestablishedbyAntonioVivaldi intheearly18thcentury.Vivaldi introducedthethreemovement solo concertowith its regular alternation of ritornelli for fullorchestraandsolopassages,themusicalproceedingsfollowingarelativelyfixed harmonious pattern: the ritornello keeps the whole structuretogether,withthemotivicmaterialbeingpresentedinadifferentkeyeachtime it recurs,and themodulations takeplace in thesolosectionswhichgive the soloistwide scope for virtuosodisplay. ItwasmainlyduringhisWeimarperiodthatBachtookaprofoundinterestinthistypeofconcerto,arrangingsevenofVivaldisviolinconcertos for thekeyboard. In fact,hedid not just retain the original form, butmodified it considerably. Forexample,herelievedthesharpcontrastbetweenstaticritornellopassagesand dynamic solo episodes by linking the two through interconnectingthematicwork. Bach added richness to themusical texture, turning theconcertointoaspaceforcomplexpolyphonicstructures.Yetheremainedtruetothebasicconceptofopposingmusicalforces.The twoviolinconcertos,BWV1041 inAminorandBWV1042 inE (earlyexamplesofBachs contribution to the genre),werepresumablywrittenaround 1720. At that time Bach held the post of Director of PrincelyChamberMusic at Cthen. He felt so comfortable at the court of themusiclovingPrinceLeopoldthathestated:Imaywellstayherefortherestof my life. As a kapellmeister he was mainly entrusted with thecomposition and performance of secular chamber and orchestralmusic,includingtheBrandenburgConcertosandtheWellTemperedClavier.ThetwoViolinConcertosinAminorandEmajorprovidedirectevidenceoftheway inwhich Bach expanded and upgraded the concerto form. Thesolo violin is contrastedwith a groupmade up of two violins, viola andcontinuo,andinbothworksthesequenceofmovementsfollowsthesamepattern: fastslowfast.While theAminor concertos firstmovement isstill largely indebtedtothemodelofthe Italianconcerto informalterms,intermsofthematicdevelopmentthemovementisalmostchamberlikeincharacter; Bach derives virtually the entiremelodicmaterial of the firstmovement from the germinal idea of the first four bars, and here theorchestra states the energetic opening motive which the soloistimmediatelysetsouttovaryandelaborate.Tuttiandsoloepisodesensue in rapidsuccession,withbothsidesparticipating in theprocessofthematicdevelopmentbutwith thesoloviolinstillgivensufficientscopeforvirtuosoplayfulness.The slow movements of both concertos, meanwhile, are testimony toBachspowersof lyricalexpression.Atfirstweheartheelegiaccantilenasof the solo violinover anostinatobass theme in the relative key, thereensuingadialoguebetweentheouterpartswhichrespondtoeachotherinecholikefashion,movingawayanddrawingcloseragain.Thethemeofthe lastmovementoftheAminorconcertomaybeseenasavariationof

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the openingmotif in the firstmovement,whichmeans that themotivicconnections are not confined to individual movements. For the finalmovementBachchoosesthepopularand lively formoftheGigue,whichbringstheconcertotoavirtuosicandexuberantconclusion.BWV1042issimilarindesign,butitslighterandmorebrilliantflavourputsitnearertotheBrandenburgConcertos.Hereagain,BachmakesfulluseofthepotentialinherentinhisgerminalmotiveanascendingEmajortriadwhichhe then subjects to intensivedevelopment inboth the tuttiandsolo episodes. A deeply expressive Adagio is followed by the finalmovement where five unchanged tutti sections and four solo passagesalternateinasimplerondopattern.Bachwrotefurtherconcertosforsoloviolin,butsadlytheoriginalmaterialhas been lost.However, as scholars discovered earlyon, virtually all hisconcertos for harpsichord are arrangements of earlier instrumentalconcertos. The harpsichord concertos BWV1052 and BWV1056 containnumerousfiguresclearlywrittenwiththetechnicalresourcesoftheviolininmind. It is quite obvious thatBach used violin concertos, presumablyfromhisWeimarperiod,asabasis,simplytransformingtheviolinpartintotheupperpartofhisharpsichordwriting,andindeedtheautographscoresofthearrangementsmake itpossibletoreconstructtheoriginal formoftheconcertos.WhethertheoriginalconcertosarereallyfromBachspen,however,hasagainbecomeamatterofcontroversyinrecentyears.ChristianeKrautscheid(TranslatedbyBerndZllner,INTERTEXT)HARPSICHORDCONCERTOS(CD57)In1717JohannSebastianBachenteredtheserviceofthePrinceofAnhaltCthen,anappointmentthatwastolastsixfruitfulyearsandduringwhichthecomposerproducedmanyofhisinstrumentalworks.Indeed,freefromecclesiastical duties at this Calvinistic court, and with an instrumentalensembleofaboutseventeenmusicianstodirect,Bachwasencouragedtowriteacollectionofviolinconcertosallofwhichdatefromthistenure.TheHarpsichordConcertos,ontheotherhand,weretheproductofBachsassociation with the Telemann Musical Society (the Leipzig UniversityCollegiumMusicum),acollaborationthatbeganinthe1720sandspannedalmost twodecades. It is thesecompleteworks that form the subjectofthisengagingrelease.Just as the organ concerto was Handels personal innovation, theharpsichord concerto owes its origins to Bach, andwhile Corelli, Vivaldianda fewother Italiansare creditedwithhelping to forge the concertogrosso and solo concerto for violin, Bach took over and, as always,transformedtheseformsintosomethingnew.Indeed,inrequiringmusicforboth theCollegiumMusicumandhis sons tuition,he transcribedhisownandothers,includingVivaldis,violinconcertosforkeyboard,therebyinitiatinganew formofmusicalart.Thekeyboardversionsareusuallyatone lowerthantheoriginals,andwhile itmaybethatthetranspositionsweredeterminedbydifferences inCthenandLeipzig tunings, it ismorelikelythattheywerenecessarytocompensatefortheharpsichordslackofhigheprominentintheviolinversions.Bachwasaninveterateborrowerfromhimselfandevenusedanumberoftheseconcertomovementsinhiscantatas.Asthecanonnowstands,therearesevenharpsichordconcertos(including BWV1052, see below)which are thought to derive from preexistingBachviolinconcertos.WhileNo.2 inEsmovements (BWV1053s)areusedagain in twochurchcantatas,No.3inDBWV1054isatranspositionoftheViolinConcertoinE,andbothNo.4inABWV1055andNo.5inFminorBWV1056areprobablytranscriptionsofviolinconcertos.No.6BWV1057,meanwhile, is identicalto the Fourth Brandenburg Concerto BWV1049, and No.7 in G minorBWW1058 isatranscriptionoftheAminorViolinConcerto.Ofthethreeconcertos for twoharpsichords,No.3 inCminorBWV1062 is identical tothe Double Violin Concerto in D minor BWV1043, No.2 in C majorBWV1061 isanoriginalwork for twoharpsichords,andNo.1 inCminorBWV1060 is regarded as a transcription of a lost original for violin andoboe. There are two concertos for threeharpsichords one inDminorBWV1063 and one in C major BWV1064 as well as one for fourharpsichords inAminorBWV1065,a transcriptionofaconcerto for fourviolinsbyVivaldi.Bachs lackofconsiderationforposterityasregardsthe

editorial issueswhichsurround theseworkscomparesboth toDvok, inthenumberingofhissymphonies,andtoMussorgsky, intheconfusionofhisoperaBorisGodunov.Ofthelostviolinconcertos,threehavesurvivedintheformofharpsichordtranscriptions, and these include CD1s Concerto No.1 in D minorBWV1052 (taken fromeitherBachsoranothersconcerto,wecannotbesure)whosesolofigurationsareoftencitedasevidenceofitstrueorigins.With its vigorous unison theme, the demonic firstmovementwas laterused by Bach as an organ prelude, and the slowmovement as the firstchorusoftheCantataNo.146WirmssendurchvielTrbsal.Thesolemnandspaciousslowmovement isalsoworthnotingasregards ituseoftheminor mode (G), something which is exceptional in the composersconcertosandsonatas,andtheconstructionofthefinaleisverysimilartothatofthefirstmovement: it isbuiltonaritornello lasting12bars,afterwhichthesoloisttakesupatoccatalikefigureinthefirstmainsolo.The first CD also features the Emajor Concerto (BWV1053),whichmaypreservea lostviolin inDoranoboeconcertoalthoughsomescholarsthinkthatitwasoriginallyconceivedfortheharpsichordandtheAmajorConcerto(BWV1055)which,too,mayderivefromalostviolinconcertoora concerto foroboedamore.One scholar,W.Mohr,has suggested thattheoriginalversionwasforastringinstrumentandnotanoboeprobablyaviola,sincetherangeistoolowfortheviolin.ConcertosBWV10561058,1060&1065TheConcerto inFminor forharpsichordandstrings (BWV1056)probablyoriginated from aViolinConcerto inG awork that, although lost,hasbeen twice reconstructed in the last few decades.With its Largo alsosurviving as a Sinfonia to Cantata No.156, Ich stehmit einem Fuss imGrabe, the F minor Concerto is perhaps more lightweight than themajestic,evendramatic,oneinDminor(BWV1052)thatlastsalmosttwiceas long, and its firstmovement isbasedon a ritornellowhose first fourbars effectively supply all the material for the following development.Whiletheslowmovement,inAflatmajor,isalongarabesquewithalightandregularaccompanimentonthestrings,thefinaletakestheformofavigorousallegromovement,fullofechoeffectslikethefirstmovementbutinamoreflowingtripletime. It isremarkablehowmuchwitandhumourcanbeexpressedinthesombrekeyofFminor.The F major Concerto (BWV1057) is Bachs arrangement of hisBrandenburg Concerto No.4 (BWV1049), dated c.1719, and the onlyharpsichordconcerto touse two recorders in theaccompaniment.TheGminor Concerto (BWV1058),meanwhile, was constructed out of BachsViolinConcerto inAminor (BWV1041)andwas composedaround1720.HereBachusestheVivaldianritornelloformfortheouterfastmovements,and,bydevelopingVivaldis simpleprinciplewithhisownoriginal ideas,transforms it into a richer and more diversified structure. In the firstmovement,theclearcontrastbetweensoloandtuttiisabandonedsothatthewholemightbe flowingandmoreunified; commencingwitha livelytempo inwhich ritornellos and solo episodes alternate in a regular andsymmetricalway,iteventuallyleadstothesecondmovementabeautifulcantilenawithostinatobass,a simpleharmonicbacking that is repeatedoverandoveragain.The fastAllegroassai,whichdisplaysgigue rhythm,providesanexuberantconclusiontothework.Bach did not confine himself to simplywriting concertos for single soloharpsichord,andhealsocomposedconcertosfortwo,threeandevenfourharpsichords accompanied by string orchestra. Theseworks seem onceagain to be derived from earlier versions; among theConcertos for twoharpsichordsand strings, theone inCminor (BWV1062, see thirdCD) isbased on the composers own Concerto in D minor for two violins(BWV1043). A second C minor Concerto (BWV1060) is probably thetranscription of a Concerto for oboe and violin which is no longer inexistence, and in both of theseworks the orchestra fully shares in themusical elaboration with beautiful dialogues unfolding between theharpsichords and the strings. Indeed, the soloists are not always givenleadingparts:oftenoneorbothof them fulfil theharpsichordsoriginaltask as filling/a reinforcing continuo instrument, and sometimes the lefthand of one of the players is entrustedwith amiddle part, so that themusicaltextureisenriched.

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TheConcertoinAminorforfourharpsichordsandstrings(BWV1065)is,infact, theonlyworkwhoseantecedent is clearBachhavingarranged itfromVivaldisConcertoinBminorforfourviolinsandstringsOp.3No.10.Earlier on in his career, during hisWeimar period, Bach had arrangedseveralworks from this collection into versions for soloharpsichordandsolo organ, and hemay have chosen this Vivaldi concerto as amodelbecausehewas challengedby the technicalproblemofperformingwithfourharpsichordsandpresentinghimselfwiththreeofhispupils.ConcertosBWV10611064As the above notes explain, Bach did not confine himself to writingconcertos for single solo harpsichord, but also composed concertos fortwo,threeandevenfourharpsichordsaccompaniedbystringorchestraworks that, like many of his others, tend to be derived from earlierversions.TheConcerto inCmajor(BWV1061),however,appearstobeanoriginalcomposition;while itstwokeyboardpartsexist inautograph,thestring parts, whichmainly provide reinforcement, are not preserved inBachsownwriting,and thus itseems that theworkwas initiallywrittenfortwoharpsichordsonlywiththeorchestrationbeingaddedata laterdate.Intheslowmiddlemovementthestringskeepaltogethersilent,andinthefinale,too,theyparticipateonlybriefly.Alloftheconcertosforthreeorfourharpsichordsandstringsseemtobearrangements, and it doubted that Bach even wrote the originalcompositions. The Concerto in C major (BWV1064), for example, isprobablybasedona concerto for three violinsand strings inD thathasbeen reconstructed and published recently; the D minor Concerto(BWV1063)mightbederivedfromaconcertoforflute,violinandoboeagain,probablynotbyBach.Butalthoughnotoriginallyconceivedforharpsichord,theseworksdeservemoreattentionfromharpsichordistsandotherkeyboardplayersthantheyhaveso farreceived.Theyoccupyan importantposition inthehistoryofthekeyboardconcerto,andperhapstheyhaveanevenstrongerclaimthanBrandenburg ConcertoNo.5 as the true originators of the genre. Bachseldestsons,WilhelmFriedemannandCarlPhilipEmanuel,tookpartintheperformancesat Leipzig,and theywenton to cultivate the genreof theharpsichordconcertoascomposersinDresdenandBerlin.JohannChristianwas,ofcourse,tooyoungtoassisthisfatherathisweeklymeetingsintheCollegiumMusicum, but he undoubtedly played and imitated his elderbrothers (CarlPhilippEmanuels)concertos inBerlinafter1750.Hisownconcertos for harpsichord or fortepiano, published in London, form themost important link in the development of the genre between JohannSebastianBachandMozart.ClemensRomijn,2012TRIPLECONCERTOCONCERTOFOROBOEDAMORECONCERTOFOR3VIOLINS(CD8)According to Schmieder (BWV = Bach Werke Verzeichnis) the TripleConcerto in Aminor for flute, violin and harpsichord (BWV 1044) waswrittenafter1730.Thefirstandthirdmovementsarea lengthierversionofthePreludeandFugueinAminorforsoloharpsichord(BWV894)fromc.1717. Themiddlemovement, Adagio, is the secondmovement of thethirdofsixsonatasfororgan(BWV527),composedafter1727or,possibly,after1723.Thetraditionalview isthatthisconcertowasdevelopedfromtheseworks.However,inarecentarticlebyHansEppstein,itissuggestedthatthePreludeandFugewasitselfbasedonalostkeyboardconcertoandthattheOrganSonataBWV527mayalsobeanarrangementofanearlierinstrumentaltrio,nowlost.EppsteinbelievesthatstylisticelementsintheAminor Triple Concerto point to a composition date around that ofBrandenburg Concerto No.5, c.1720, which also has a monumentalconcertante part for the harpsichord. When arranging his earlierharpsichord Prelude and Fugue into the outermovements of the TripleConcerto Bach not only broadened but also reconstructed the generalform. By reworking and enlarging the original ideas he produced astaggeringly impressive conception, dramatized further by dynamiccontrasts and (in the Finale) by the confrontation of highly intense sololineswiththeorchestrassharp impact.Yettheorchestra isnotmerelyacontrasting partner to the soloist concertino, it also produces a broadcanvas of an obbligato accompagnato. Bach alsomakes use of unique

effects, such as the combination of harpsichord passages with theorchestras pizzicato before the end of the firstmovement. The brillianteffect of inner unity in the first and lastmovements is achieved by theingeniouscombinationofconcertoformandfuge,whichBachhadalreadyexperimentedwith in someofhisBrandenburgConcertos.The crowningpointofthevirtuosoharpsichordpart isamagnificentcadence inthe lastmovement.Thesecondmovement,Adagioedolce,contrastsstronglywiththedramaticfirstand lastmovements.Despiteallcontrapuntalstrictnessthis music is in a more modern and galant style. Perhaps it is nocoincidence, that Mozart, on the suggestion of Baron Gottfried vanSwieten,transcribedtheoriginalorganversionforastringtrio.As we have seen above, most of Bachs fifteen concertos for theharpsichord(orfortwo,threeorfourharpsichords)wereproducedbyrewriting concertos composed originally for other instruments, usually theviolin.Bachtransposedtheoriginalkeydownbyasecond,sothattheworkwould fit the range of the harpsichords of Bachs time. The originalversionshavemostlybeenlost.ButastudyofBachsmethodofrewritingworkswherebothversionshavebeenpreserved(e.g.thefamousConcertoinDminorfortwoviolins,laterarrangedfortwoharpsichords)providesuswithareliablemeansofreconstructingtheoriginalversionsfromthelatertranscriptions.This is thecasewithanotherConcerto inCminor for twoharpsichords (BWV 1060). Its originalmodel, which has been lost, theConcerto in D minor for oboe and violin was offered in the Breitkopfcatalogueaslateas1764:`Bach,G(iovanni)S(ebastian)I.ConcertoaOboeconcert(ato),Violinoconcert(ato),2Violini,Viola,Basso.1thl.Themusicalcontentandcharmofthiscompositionisperhapsevenmoreconvincinginthisversion,becausethesoundoftheharpsichordinthelaterversioncanonly roughly sketch the flowing melody sung by the two melodicinstrumentsintheslowmovement.TheConcertofortwoviolins,stringsandbassocontinuo inDminor(BWV1043) is one of the most beautiful works among Bachs numerousinstrumentalmusic.Fromthepointofviewofstyle,thispieceseemstobearchaic in comparison with the two solo violin concertos. The date ofcomposition is believed to be a little earlier than the others, 1718. Thisconcerto is written with wellordered structure in each of the threemovements and with the technique of imitation skillfully employedthroughout. Bach reduced the orchestral contribution substantially inordernottodistractthelistenerstomuchfromthesoloparts.Theweightofthefirstmovementfallsuponthesoloistsintwolongepisodes,thetuttireturningonlybriefly in themiddleandat theend.Thework reaches itspeakinthesecondmovement,Largomanontanto,inasicilianrhythm,asublimeduetofbeautifullyoverlappingandimitativephrases.TheConcertoinAmajorforharpsichordandstrings(BWV1055)isbelievedtobea transcription fromanearlier version for violinoroboedamore.Onescholar,W.Mohr,suggeststhattheoriginalversionwasforastringedinstrumentandnotanoboeprobablyaviolasincetherangeistoolowforthe violin. But, in 1939Donald Tovey suggested or as some say, evenprovedthattheAmajorConcertoforharpsichordandstrings(BWV1055)wasoriginallywrittenfortheoboedamore,aninstrumentthatcameintousearound1720andremainedpopularuntiltheendofthe18thcentury.ClemensRomijn,2012SONATAS&PARTITASFORSOLOVIOLIN(CD910)Johannes Brahms almost bought it. The autograph entitled Sei solo aviolinosenzabassoaccompagnatohadsuddenlyemergedonthemarketinabout1890,butbecauseitwasveryexpensiveandalmosttoobeautifultobereal,helettheuniqueopportunityslipby.Itisafactthatevenapersonwho cannot read music would hardly escape being fascinated by theenergetic vigour of this manuscript. Brahmss scepticism regarding itsauthenticitywasaltogether justified, for the collectionalreadyexisted inothermanuscriptswhichexpertshaddeemedauthenticBachautographs.Indeed,incomparisonwithotherworksbyBach,anastonishingnumberofcopiesoftheSonatasandPartitasforsoloviolinhadcirculatedinthe18thcenturymusicalworldbefore the firstprintededitionswerepublished in1802.Thelastinginterestinthismusic,whichwasforeigntothetastesofthetime,isperhapsexplainedbythecommentofJohannNikolausForkel,the first Bach biographer, to the effect that nothing better could be

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recommended to upandcoming young violinists than precisely theseviolinsoloswithoutbass. Inmuchthesamevein,FerdinandDavid, leaderoftheGewandhausOrchestra,commendedhisowneditionwithdetailedperformance directions for use in the conservatories.Numerous otherviolinistsfollowedsuitandgenerationsofviolinstudentshaveusedthesepiecestoperfecttheirtechniqueandmusicalityeversince.So itwasthatBachsworksforsoloviolinhadanenduringreputationasvaluablestudymaterial during the 19th century. The collection moreover reveals aconceptualdimension,anintellectualdepthandaninexhaustiblewealthofmusicalideasthatplaceitasoneofthegreatestworkstohaveeverbeenwritten for solo violin. Attaining that peak of perfection remains anadventureforviolinistsandlistenersalike.The specification senza basso accompagnato (without bassaccompaniment)doesnotmeanthatBachssixworksforsoloviolinlackabass voice. As Johann Philipp Kirnberger noted, they come with theirharmoniesbuiltin.Evenamodestlyknowledgeablelistenercanhearthat.Thepolyphony isdirectlyperceptible inthestrikingaccentsofthedoubleand multiple stopping and the spectacular chordal writing. The violinseems toaccompany itselfwith itsownbassocontinuoor toplayaduetwith itselfbyalternatingbetweenahighanda low register.Yet in thesewidely varied sonata and dancemovementsBach aimed at and realisedpolyphony inamuchbroadersense.Theomnipresentharmonyseems,asitwere, tobe the rich soiloutofwhich the individual forms grow,as ifseveral voices are latently always present and could emerge any time whichtheydo,whenmonophonicwritingunexpectedlyfansout intotwoandmorevoices.Harmoniesareimpliedeveninasinglelineofnotes,withwhat is logicallysimultaneousseemingtobemerelyunfolded intimeandevenornamentalelementsplayingtheirpart intheharmoniccharge.Thehorizontalandtheverticalarecontinuallyrebalancedagainsteachother.The use of the solo instrument as such is not extraordinary since,particularly inGermanspeakingcountries,music forsoloviolinenjoyedapopularityestablished in the17th centurybymasterviolinists likeBiber,Schmeltzer,Westhoff and Johann JakobWalther. The consistency withwhichBachexploresthepotentialofpolyphonyontheviolin is,however,unprecedented.It is therefore only logical that the fugue, the most demanding of allpolyphonic disciplines, is so extensively present in the three sonatas. Inthese works, the representation of independent voices is taken to thelimitsofwhatistechnicallypossibleandmusicallyimaginable.Becausetheviolinisamelodyinstrumentandisnotabletoproduceseveralcompletefugal voices simultaneously in the manner of the organ, much of thewriting is inevitably implicative and fragmentary. By exploiting the fullpotential of the instrument, Bach succeeds in suggesting a complete,complexfugalarchitecturetothelistener.Hisgreatachievementclimaxesin the 354bar fugue in the Third Sonata,which is asmonumental as acathedral and as transparent as a castle in the air. Paradoxically, Bachwrotethishis longestfugue intermsofbarsforan instrumentwhichactually cannot play real fugues. That is probablywhy he did it! In hisviolinwriting he boldly reinterprets this richly traditional form,which isbound to the strict rules of the canon, and combines it with modernstructural elements by alternating delicate monophonic passages withpowerful, polyphonically elaborated blocks like the solo and orchestraltutti sections inan Italianviolin concerto,andbyendingwithada capothatagaintakesuptheintroductorymaterial,whichishighlyunusualforafugue.The amazing structure of that Cmajor fugue has a counterpart in theSecondPartitaintheChaconne.InBachstimethechaconnehadacareerbehinditthatwasunprecedentedinEuropeanmusicalhistory.OriginallyaSouthAmericandance,ithadeventuallymadeitswaytogetherwiththefashionable Spanish guitar to Italy, where it was found that theunderlyingbasspatternprovidedexcellentopportunitiesforimprovisation.Variations on anostinato (constantly repeated) bass became one of themostproductivecompositionalmodelsoftheBaroqueera.Itspotentialformusical invention is practically endless,with the organic context of thewholealwaysremainingevidentbecauseoftherecurrentstructureusingapredetermined bass line or harmonic scheme. In the 32 elaboratelyinterlinked variations which make up Bachs Chaconne, the underlyingsequence of notes which has already appeared in the preceding

movementsisneverheardasanunbrokenostinato,particularlybecauseit undergoes variousmodifications. But beneath the surface it is alwayspresentandnurtures the flowofvariations thatplaceextremedemandson the violinist. Accustomed aswe are to revere Bach as the absolutemasterofallkeyboard instruments,we tend to forget thathe learnt theviolin firstandwasanaccomplishedviolinist;otherwisehewouldhardlyhave become leader of the orchestra at the court of Weimar. As ithappened, when Bach arrived there, the memory of Johann Paul vonWesthoff was still fresh. Westhoff had been famous for his doublestopping and execution of chords on the violin; he also composedunaccompaniedsolosuitesfortheinstrumentwhichmayhaveservedasamodelforBach.We do not know whether Bach himself could play his own solo violinworks, nor are the circumstances and date of their compositionascertainable. Theymust have been complete by 1720 (when BachwascourtKapellmeisterinCthen),sincethatisthedateoftheautograph.Itisquitepossible that certainmovementswerewritten inWeimarandalsothat Bachs friend the violinist Johann Georg Pisendel (who himselfcomposedasonataforunaccompaniedviolinaroundthistime)influencedthe compositionofBachs soloviolinworks.Pisendelsexperience in thecosmopolitan Dresden Hofkapelle and studies in Italy enabled him toinformBachaboutdevelopmentsinItalianviolinstyle,whilehismasteryofthe instrument certainly stimulated Bachs imagination. Whatever thecase,onlysomeone intimatelyacquaintedwiththe instrumentspotentialcouldhavegivenhimmusicliketheChaconneanapotheosisofthegenreandofviolinplaying. Onasinglestaffand forasinglesmall instrument,theman conceivedawholeworldofmostprofound ideasandpowerfulfeelings,asJohannesBrahmsonceenthusiasticallywrote.HadIbeenabletowrite,toconceivethepiece,Iamsurethattheexcessofexcitementandshockwouldhavedrivenmemad.Bachs claim to conjure up a completemusic on a single violin,with asmany voices as the four strings permit, still presents an enormouschallenge to any performer. The fact that it is technically impossible tosustain as many notes as are written has in the 20th century led tofantastical speculationsaboutviolin technique inBachsageandeven tothe inventionofspecial Bachbows thatsoundedmore than twostringssimultaneously, which permitted the execution of chords consisting ofseveralnotesandweresupposedtosolvethetechnicalproblemofBachspolyphony once and for all. Yet it turns out that it is not necessarily ofmusicalbenefittobeabletoexecuteallthenotesaswritten.Thefactthatthepolyphonyisincompletehasasuggestiveeffect,feedstheimagination,stimulatesustotakepart inthecreativeact.Thattaxesus;one is indeedtemptedtosaythatwearesystematicallyovertaxed,butthatdoesusnoharm.Inourageofrecordings,weareatlastabletolistentoandexploreBachsspeaking,singinganddancingvoicesasoftenaswelike.BabetteHesse(TranslatedbyJ&MBerridge)KristfBartiswaytoBachsPartitasandSoloSonatasThewayBaroquemusichasbeeninterpretedduringthe20thcenturyhasevolved enormously. The spectrum is verywide, ranging from romantic,intuitivelyfree,selfcentredapproachestohistoricallyawarebuttomytasteoftendogmaticandinflexibleinterpretations.Thisleavestheyoungmusicianofthefirsthalfofthe21stcenturywiththefreedomtochoose.However, it is a complex task. Evenmore so, the choice has to reflectcompleteconvictioninordertoconvinceanaudience.Myway throughBachs cycle for solo violin startedwith the supposedlyeasiermovementsfromthePartitas.IplayedtheSonatasandparticularlytheCiacconaassoonasmy technicalandmusicalabilitiesallowed.AfterseveralyearsofplayingBachIbeganperformingtheentirecycle insingleconcerts. In2002 Igavemy firstperformance (recorded live)at theSallePleyel inParis,butonreflection Iwastoopreoccupiedwiththetechnicalandphysicalaspectsofthechallenge.Withtime,thischallengehasbeentransposed into spiritual and intellectual spheres; Ive spent countlesssessions reading the scoreagainandagain,analysing theemotionalandstructuralcomponentsofthesemasterpieces.When theproposal tomakeastudio recordingwas raiseda fewmonthsago I became very enthusiastic and highlymotivated to leave a picture

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representingmypresent viewpointon the cycle. First and foremost,myintentionwastofuseamoderntechniqueandacolourfulandrichsoundwiththefreshnessandstructureofahistoricallyaware interpretation.Tohaveafullcontrolofthevibrato insteadofoverplayingpartswithvibratoorneglecting it completelyhasbeenan important factor.The tempiaremuchfasterandlivelierthaninmanyofmyearlierperformances,creatinga lighter impression of the polyphonic and complex Fugas and givinggreaterlantothePartitas.Lastbutnot least, theprocessof recordingBach for solo violin involvedchallenges in the areas of spontaneity and stamina, especially incomparison with concert performances. In this aspect, the outstandingacoustics of the SiemensVilla proved to be greatly inspiring, andmostimportantly, the very creative atmosphere during the recording sessionsmade itpossible to recordentiremovementsmany timeswithout losingthe spontaneous feeling of a live performance. I believe we have keptmany first takesnearlyunmodified, thusserving tohighlight the livenessandlivelinessoftherecording.JustastheCiacconascarcelyfitsintothecategoryoflightdancesintheDminorPartita,so IcannotregardBachasapurelyBaroquecomposer.Hisgreatness elevates him beyond eras and cultures, offering perfectequilibriumbetweenthehumanandthetranscendental.Ihopethelightofthisgenius finds itswayasclearlyand truthfullyaspossible through themirrorofmyinterpretation.KristfBarti,2013CELLOSUITES(CD1112)OneofthehappiestperiodsofJohannSebastianBachslifewasthesevenyears(17171723)whenhe livedandworked inCthen.Hesubsequentlymoved to Leipzig with his wife and children, becoming cantor of theThomaskircheandwritinghisnowworldfamouspassionsandhundredsofcantatas.This isourmost familiarpictureofBach.Muchofhis chambermusic,however,wascomposed inCthen,whereBachwaschapelmasterof the court orchestra of Prince Leopold von AnhaltCthen, a fanaticalmusicloverofonly23yearsofage.Theprincespentnolessthanaquarterofhiscourtfinancesonmusicandoften joinedhisvirtuosomusiciansonthe violin, viola da gamba or harpsichord. We would probably haveforgotten the prince entirely had his court not been the setting for thecompositionofBachsBrandenburgConcertos,theWellTemperedClavierpart1,theSonatasandPartitasforviolinsolo,theSuitesforcellosoloandotherchambermusic.OneofthevirtuososemployedbyPrinceLeopoldwasthecelebratedviolplayer and cellist Christian Ferdinand Abel. Bach is presumed to havewritten his six suites for solo cello for him, since the composermakesextremedemands,ifnotrequiringtheimpossible,ofbothcelloandcellist.Many passages, particularly the many double stoppings, cannot beexecutedliterally.IntheSuitesforsolocello,asintheSonatasandPartitasfor solo violin,Bachpursuedhithertountroddenpaths.Heachieved theverygreatesteffectwiththeverysmallestmeans,turninganobstacleraceintoadisplayof grandeur.Asan instrumentalist to thebackbone,Bachpushed forward theboundariesofperformancepracticebyexploiting tothe full the specific possibilities of the cello. These Suites, with theirimprovisationaladventures, strict imitativeexcursions, rhythmic flairandforthetimeunequalledvirtuosity,are ineverysensetheequalofBachskeyboardworksofthesameperiod.Furthermore,withinhisoeuvretheyformagroupofcompositions in theirown right, inwhichhesucceeded,with all the means offered by the instrument but without theaccompanimentof abasso continuo, in creating genuinepolyphony andharmony. Bachs suites present an absolute standard, a standardwhichhad to be measured up to by composers including Reger, Hindemith,Ysae,Kdaly,Bartk,HoneggerandLigetiwhen theycomposed forsolocello.Unliketheworksforsoloviolin,allsixcellosuiteshaveasimilarstructure.Theycommencewithaprelude,followedbyanallemande,courante,twoFrenchdances(galanteries)andagigue.TheFirstSuiteinGmajorbeginswithagenuinepreludewithperpetualmotioninsemiquavers,employingarpeggioandscalemotifs.Bachbuilds the tensionupuntil theveryend,

culminating inthewidelyspreadfinalchordwithahighg.Theprelude isfollowedbyanallemande,pacingforwardregularly,andacourante,highlyvirtuosic despite its single voice. The smallscale sarabande is a fineexampleofclassicalstructure,with twophrasesofeightbarseach.Aftertwo simplemenuets,employingmaterial reminiscentof theprelude, thesuiteendswithawhirlinggigue.DarkerandmoredramaticistheSecondSuiteinDminor.ThepreludeandallemandeoffermorerhythmicvarietythanthecorrespondingmovementsintheFirstSuite.Wonderfulchordsandadarktimbrelendthesarabandegreatprofundity.Themenuetsprovideastrongcontrast.The first is inDminorandhassuchrobustchordsthatitishardlyagalanterie.ThegalantsecondmenuetisinthesunnykeyofDmajor.Thesamesturdycharacterpermeatestheconcludinggigue. IntheopeningofthemagnificentpreludetotheThirdSuite inCmajor,adescendingscaleandbrokenchordsare thebroadbrushstrokesused toestablish thekey.Theexcitingsemiquavermovementset inmotionhereculminatesinalongpedalpoint,thebassnoteGwhichisrepeatedfornolessthansevenbars.Thepreludeisfollowedbyabeautifullyornamented,nobleallemande,followedbyafastpendant intheformofthecourante,theFrenchdancewhichrunsalongsoagilelybutsurprisesuswithallsortsofriskymelodicleaps.Slowoncemoreisthedignified,stridingsarabandewithitswonderfuldoublestoppings.Perhapsthemostfamiliarmovementsare the two bourres, originally French country dances, with theirappealingandsweepingmelodies.ThesuiteendswithanEnglishjumpingdance, the gigue, lardedwith virtuosic effects and awkward handfuls ofnotes.TheFourthSuitecommenceswithamostspectacularprelude:48barsofcontinuosly tumbling arpeggios are brought to an end only by a pause,followedbyalonggarlandofsemiquavers.MorepensiveisthepreludetotheFifthSuiteinCminor.Itistheonlypreludeofthesixtocomprisetwocontrasting halves, first a dark, improvisational section and then a fugalpassagewhichconstitutesawonderofsinglepartpolyphony.Inordertoaccomodatedoublestoppingsandcreateaparticularlydarkcolour,BachrequiresthehighestAstringtobetuneddowntoG.TherecalcitrantSixthSuite inDmajorwaswrittenforan instrumentwithfivestrings,theviolapomposa. Insize this instrumentoccupiesaplacebetween thecelloandviola;abovethecustomaryhighAstring ithasanEstring. Inthe lengthyprelude the uninterrupted 12/8movementmaintains the tension frombeginningtoend.Itisfollowedbythemostrichlyornamentedandbroadlysweeping allemande of the series of six. More streamlined andstraightforward is the transparentandsinglevoicedcourante,afterwhichthe sarabande indulges once more in an ingenious chordal style. Thecustomary twomenuetsbetween the sarabande and gigue are replacedherebygavottes.ClemensRomijnTheBachcellosuitesWhatextraordinary luckypeopleweare!Notonlyarewe inthisworldtomakemusic,thismostpowerfulartform,weallareatsomepoint inourlivesconfrontedwithBach.Ishouldtellyourightnowthathismusic,morespecifically hiswork for solo violin and cello, presents a challenge quiteincomparable to any other work wemay put on our stands. Not onlybecausewearequitealonewithoutanyhelpfromanotherinstrument,butalso because in order to perform these suites, we are expected to bearchitectsandstorytellersaswell.Sometimes I try to convincemyself that, after all,Bach is just anothercomposerofbaroquemusic,albeitaverygoodone.Notverysuccessfully.BeforeIstartonthejourneyintohisworld,Iseeastructure,abuildingofgreatbeautyandharmony,practicallyindestructible,becausehedesignedit so well. To continue with this image, it is now my task to try toreconstruct it, and guide you through itwithmy storytellers skills.Andonce inawhile,tosomeextent,Isucceed.Doesthissoundoverthetop?Perhaps,butformeitiscrystalclearrealityeverytimeIenterhisworld.Letuscomedownfromthisveryinterestingphilosophicalhillandgiveyousome facts and figures about our suites. Bach probablywrote the cellosuitesbeforethesonatasandpartitasforviolin,theyoncewereaset,Part

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I cello, Part II violin.UnfortunatelyBachs autograph is lost,we have tocontent ourselves with four sources: a) AnnaMagdalena (his wife), b)Kellner(whocopiedalotofBachsworks),c)anonymous,early2ndhalfofthe 18th century (Collection Westphal), and d) anonymous, late 18thcentury. Unfortunately none of these sources are precise and crediblethroughout in theiruseofarticulations (bywhich Imean slurs, inotherwordsbowinginstructions).ItisinterestingtocompareBachsautographoftheviolinpieceswithA.M.scopyofthesame.AlthoughBachtoowasoftennotveryprecise, like inhiscantatas,theviolinpieceshemusthaveprepared for the purpose of printing because there is very little doubtabouthisintentionswhenitcomestotheuseofarticulations.Nexttohis,A.M.scopylooksverysloppyindeedanditseemsthathercopyofthecellosuitessharesthesamefate.Well, ok,what about the other sources then? In spite of the combinedeffortsofquiteanumberofesteemedmusicologists, theprovenanceoftheothersources isnotclearsothere isnowaytoestablishadegreeofcredibilityforanyofthem.And,asyoumayhaveguessedalready,theyallseem to joinA.M. inher sloppiness,although it ismy impression that incertainmovementsthetwo latersourcesseemtobeprettytidy.Whydowemakesuchafussaboutarticulations?NicolausHarnoncourtoncewroteabeautifuloneliner:BeforeMozarttherewastheword,afterhimtherewasmelody.This isnotaprecisetranslationbut itputsthefingeronanessentialpoint: thewordand itsmusical, rhetoricalexpressionwasdailybreadandbutterformusiciansandcomposersuntilMozart.Andthereforethe use of articulation was considered very important for theunderstandingofthemessageinthemusic.Sowefindourselvesinaspotof trouble, how tomake sense of the different bits of information thathave reachedus through these four sources? Firstof all,wehave tobeclearaboutone thing,wewillnever find the truth, the rightway, i.e.Bachsway.Whatthencanwedoaboutthis?ThewaythatworksformeistostartwithA.M.inspiteofhersloppinessandthentrytogetsuggestionsorperhapsevenanswers from theothersources for themanymomentsthat a question mark appears on my face. Alas!, not even these fourcombined sources give me enough clarity, so I ask Johann Sebastianhimself to come to the rescue and to some extent he does with hisautographoftheviolinworks.Therearequiteanumberofpassageswhichshow great similaritieswith the cello suites and they can give us someclues.Furthermore,Isimplyreadhisscoreandthisgivesmeanimpressionof his language. He is very clear, does not mind to articulate similarpassages insimilarways Ihope that throughdoing this Icanpresentaversionthatshowsrespecttohiswayofthinking.Asa lastcontributiontothesolutionofourpredicament,werealizethatBachdidnotliveonanisland.Heisfirmlyrootedin18thcenturyGermanyandthistoohelpsus,becauseeverybaroquepieceweplay increasesourunderstandingofthearticulationpossibilitiesofthebaroquelanguage.Thesixsuitesconsistofthreegroupsoftwo.Thefirstgroup isdeterminedbythetwoMenuetsaftertheSarabande,beingreplacedinthesecondgroup(Suitenrs.IIIandIV)byBourreIandIIwhichinturnarebeingreplacedinthe last two suites byGavotte I and II. There is a clear development inscopeandcomplexity:while inthesuites I, IIand IIIBachstaysrelativelyclosetotheoriginofthedances,beginningwiththe4thandinparticularinthe lasttwosuitestheoriginalformofsomeofthedancesbecomesevermoredistant. Idonotbelieve thatBach intendedanyofhissuites tobedancedupon,although ithasbeenan illuminatingexperience forme towork on some of his dances with the input and the movements of adancer. He used some of the characteristics of the dances as a sort offramework,whichhereleasedasheprogressed.FurtherevidenceofBachscontinuingexplorationoftheinstrumentcanbefoundinhisuseofa5stringedcelloforthe6thsuiteandofscordaturainthe5th,herethetopAstringneedstobetuneddowntoGwhichchangesthe resonance of the cello quite drastically. This tuning was not hisinvention, in the earlier days itwas used for instance byGabrielli in hisricercaresforcellosolo.JaapterLinden,2006

FLUTESONATAS(CD1314)Sonata inE flatmajorBWV1031and the Sonata inAmajorBWV1032.Solo and Trio were the most popular chamber music genres of theperiod.The Triowasespecially lovedbecause itofferedtheopportunityformusical imitation of a dialogue. The two independent upper parts,supportedbythebassocontinuo,conductamusicalconversationinwhichthey are heard to agree and disagree, sometimes in harmony andsometimesincompetition.One of Bachs contemporaries, the critic Johann Adolph Scheibe,mentionedasatraitofthetriosonatatheFugenmssige,thefuguelike,orthesocalledprincipleofimitation.Thisisrecognisableintheentriesoftheconcertatoupperpartswhichimitateoneanotherliketwovoicesinafugue.Occasionallythebassjoinsinthegame,pickingupthemelodyandcopying the others, but usually it concentrates on its own role as afoundation.InBachstimesonatasandtriosonataswerealsoexpectedtooffer an alternationof virtuosic and cantabilepassages,withall sortsoftechnicalescapades includingbrokenchordsandbrilliantpassagework inthefastmovements,andagreable,easilyflowingmelodiclinesintheslowmovements.Beside chambermusicwithanaccompanimentBach leftus somedozenotherworksforunaccompaniedmelody instruments,suchastheSonatasandPartitasforviolinsoloandtheCelloSuites.AnexampleisthePartitainAminorBWV1013,aworkusuallyheardon the flauto traversoor flute.The unreliable transmission and the idiom of this composition have ledsome scholars to doubt the authenticity of this instrumentation and tosuggest performance on a string instrument. Thismakes some passageseasier to play, such as the continuous stream of semiquavers in theAllemandewhich a flautist has to interrupt in order to breath. Despitedoubts about the correct instrumentation, the listener is treated towonderful examples of characteristic dances such as the FrenchAllemande, the Italian Corrente and the French Sarabande. The mostmagicalofallissurelythesparklingBourreanglaise.TheTrioSonatainGmajorexistsinthreeversions:oneforvioladagambaandconcertatoharpsichord (BWV1027,certainlyauthentic),one for twoflauti traversiandbassocontinuo (BWV1039,assumed tobeauthentic),and a version of the first, second and fourthmovements for organ (orharpsichordorclavichordwithpedals)BWV1027a.WhatBachexactlyhadinmind in respect to thesecondversionwedonotknow,since it isnotclearwhetheritissupposedtobeatriosonata(forthreeinstruments:twoflutes and basso continuo) or a work for one flute and concertatoharpsichord.Inthelattercasetheharpsichordplaystwoparts,oneofthetwo upper voices and the bass. Because of these differentinstrumentations thispoetic (Andante) and at the same timehappy andenergeticwork has enjoyed extra attention.Moreover, it is one of themanyexamplesofhowBachcontinuedtoreusehisownwork.Thevariousinstrumentations enabled him to give one and the same piece differentexpression and colour, so that hismusic could not fall into oblivion soquickly.ClemensRomijnAnInterpretersApologyNo composersboneshavebeen so strewnwith roses asoldBachs;nomusicians legacyhasgeneratedmore clamorousexclamations (theoohsandaahsofecstaticfanatics),normorehushedorations(thesilenttearsoffervent feeling), than old Bachs; and no funerarymonument raised togenius has been piled higherwith shields and trophies,with obsessionsandfads,withnumerology,psychology,necromancy,thanoldBachs.Theuncertaintaste,dubiouspowersofdiscrimination,and, indeed,allthetatandclutteroflesserageshaveattachedthemselvesfirmlytotheabsolute,the unquestionable, the gold standard of style, to the famous J.S. fromEisenach,fromCthen,fromLeipzig.What can I add to such a heap? I have no unknown sources nomanuscriptsfound industyarchiveorattic,noforgotten letters,memoirsor diary entries to throw new light on pieces sowellknown and oftrecordedasthosepresentedhere.Even if Idid, itwouldbeofnospecialconsequence: Bachs music, perhaps the most impervious of all toperformersperversities,canbeplayedonanyinstrumentfromsaxophone

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to steeldrum to computerized soundgenerator,and inany style (GlennGould? Violet GordonWoodhouse!) and still please. Telemann, Handel,Rameau their music crumbles without careful, loving interpretation.These composers need us, delicious bliss for the performer! Bach theIndestructible needs us not, cares notwho plays hismusic or how it isplayed: Bach, like Spinozas God, exists fully independent from theadorationofhisdevotees.What justification shall Ioffer, then, forourofferinghere?None,exceptmysincerehopethattheseperformancescanpleaseaswellasanyothers,though, undoubtedly, if at all, then in their ownway. A long, thoroughimmersion in the aesthetics, politics and gimmicks of early music hasconvincedmethatallIcansayaboutthisrecordingisthatitisatrueandhonest reflectionofhow I felt thesepieces shouldbeperformedon theday I recorded them. About some of them I have already changedmymind,asmyowntasterevolveswiththetimes:ofBachswishesIknowaslittleasanyoneelse.Not that we do not try. Historical evidence of various kinds has beenweighedandreweighedinthebalance,personaltasteandprejudicehavebeenquestioned in the lightof18thcenturysources,and inspirationhasbeensoughtintheimageryofthetimes.ButnoneofthiscantelluswhatBachswisheswerefortheperformanceofthesepieces,thoughtheycansuggestmuch.Thesesuggestionshave informedwhatyouhearhere.Butto mistake suggestion for fact would be to crown Bachs bust with ajesterscap,andadmirethetinklingofthebells.The enemies of early music may enjoy the confusion which realisticselfexaminationhasbroughtupon themovement Seehow themightyarefallen!Seehubrisitselfconfounded!Butwewholoveearlymusicneednot despair; Dr Richard Taruskins astute diagnosis of the ills of themovement has brought on a crisis which can ultimately result inrevitalization,andgiveflourishingnewhealthtotheoncefeveredpatient.For,surely,thebestresponsetotheundeniablemodernityofthequestforanauthenticexperienceof thepast is to rejoice in itsvery impossibility;afterall,aquest gains romanticpower through theelusivenatureof itsgoal.Itisthestrugglethatinforms,definesandilluminatesourrelationshiptotherepertoire:authenticity isatoolfordefiningmoreclearlythetasteofthenversusnow.That now is an ever evolving one, each revolution inviting a newperspective on the past and thus, most satisfyingly, on ourselves. Forexample, the recent and completeoverthrowof Freudianpsychologybyneurosciencehasopenedupasmoothandvelvetypathforusintotheveryheartof18thcenturymusictheory:thebelief intherawpowerofsoundoverthepassions,throughthe interactionofsensoryperceptionwiththehardwiredbody itself.And since18thcenturywritersonmusic stressedthe overriding fundamental importance of the passions to their ownmusicalexperience,wemaynow look forward toexperiencing freshandnewlyauthenticauthenticker,ifyouwillperformancesofthisbelovedrepertoire.AndGottimHimmel!beloveditdeservestobe!Whatothercomposerhasgiven the fluteworksofsuchdepthandbeauty?Thechambermusicforflute isnotmerelygreatbecauseit isbyBach: itcontainssomeoftheverybestofgreatBachsmusic.Sneerifyouwill,loversofMozartschildishwhining:ifSalzburgsgeniuscouldntbeartheinstrument,Leipzigsmusthavelovedtheflute.TheBminorSonataBWV1030,andtheMusikalischesOpferBWV1079,bothunequivocallyauthenticBachcanonereasonablyimagine that the composer brought them to perfection in spite of theintendedinstrumentation?Surelytheseworks,nomatterhowtorturoustotheplayer,werewrittenausLiebe?For torturous they are, and the instrument isused from top tobottom,taken to keys itwould rather not visit and asked to do asmany as siximpossible things before breakfast. Thependulumswings fromwhat anearly flute can comfortably do towhat it simply cannot are part of therhetoricalfabricofthesepieces:highnotesshriek,flatsaremuffledmoans,sharpspiercethemusicaltexturelikebrightthornsthroughsilk.Toflattenthings out into the equanimity of amodern flutes perfection, once thegoal of an earlymusicmovement struggling to justify the use of early

instruments berhaupt, now seems foolish tome. Tension and release,struggle alternating with ease, a players caress and the application offorce; all of this is conveyed to the listener aurally, mapping out theprogressofthepiecefromonekey,oneintent,oneaffecttothenext.Theexpressivepowerof jumps,thesoothingsmoothnessofstepwisemotion,the spiritcurdling effect of unequally tempered chromatics all meansomething in this repertoire. Bach, the great musical orator, knew histools; and like any truemaster of the art, he struck a balance betweencontentandexecution,between inventioandactio. It isoften incorrectlysaidthatBachconceivedofhismusicwithoutconcernfortheperformerscomfort;actually,likeColeridge,hesimplybidstheflautisttoseektheheatinice.Butthen,thatismyinterpretation.AnApologistsInterpretationWe have prepared this recording using three basic tools: art, facts andartefacts.Theartefactsarethepiecesthemselvesandthe instrumentsonwhich we have recorded them: I have tried to match copies of verydifferentsounding 18thcentury flutes to the differing styles of eachindividualwork.Theirresistible,smokybeautyoftheBressancopybuiltforme by Rod Cameron seems to suit perfectly the melancholy, angrypassionsoftheEminorSonataBWV1034(thoughitalsoseemedthebestchoicefortheTrioBWV1039,whichisassunnyasoldJ.S.gets!).GiovanniTardinos copy of an instrument by Oberlender seemed perfect for theobbligato sonatas BWV1030 and 1032 as well as the Solo in a minorBWV1013,thelittletrioBWV1039andtheMusikalischesOpferBWV1079.And Simon Polaks reconstruction of the Wijne from the Ehrenfeldcollection,anelegantfluteofdreamysweetness,madethenightmarishlydifficultEmajorSonataBWV1035apleasuretoplay.Usingdifferentflutesfor these pieceswas an essentialmotivation behind this recording: thepiecesthemselves,andtheflutesonwhichtheyareplayed,arepresentedwiththegreatest loveandthankfulnesswhatearlymusiciancansurvivewithoutartefacts?Andwhatjoytohavethemofsuchhighqualityastheseflutesmatchedwiththesepieces!And thoughmuchhasalreadybeen saidby somanyothersabout thesepieces, I toomust say a fewwords, though I shall limitmyself to thoseworkswhichhavereceivedunusualtreatmenthere:theAmajorobbligatoSonataBWV1032andtheSolo inAminor,BWV1013.Thefirstmovementoftheformerhasnotcomedowntouscomplete.Itisusualforperformerstochooseoneofmanyavailablereconstructions(ortoconcoctoneoftheirown) when recording this piece. These reconstructions, however, arenever entirely convincing, being either too close to, indeed mainlyrepeating, thematerial Bach has already presented, or too far from hisstylewhen introducingnewmaterial into thework.Wehave, therefore,simply chosen toplayonly thenoteswhichhave comedown tous,andwhichwe know to be Bachs own. Thismeans that the firstmovementbreaksoffabruptlywherethegapinthemanuscriptbegins;themusicthencontinues,afterapause,withBachsfinalcadence.Ourbarebonesapproach to the lacuna inBWV1032mayseem tochimepoorlywithmydecisiontoornamenttheSarabandeoftheSoloBWV1013withafloriddouble:why,afterrefusingtoaddnotestotheincompleteAmajor,wheretheyaresoobviouslyneeded,shouldIgratuitouslydosointheAminor,wherenonearemissing?Thisatfirstglancemightresembleaperverse performativewhim: deeper reflection, however,will show thatthecasesareactuallyquitedifferent.Bachneverimaginedhisperformersfilling in the gaps of the Amajor sonata, but he surely knew that noflautist in that ornamentmad age would have been able to resistdisplayinghistasteandskillbyfillingouttheplainSarabandewithhisowndecorative twirls.Thus,despiteScheibes remarksaboutadespoticBachwritingoutalltheornamentsandleavingnothingtotheperformer,Ihavedecidedtoaddsomethingpersonal,andthusundoubtedly21stcentury,tothemusic.Butthen,Ihaveneverfullyadheredtotherigoursoftheearlymusicdoctrineof composers intentionswhenapproaching themusicofsoperformerorientedanageasthe18thcentury.Fromartefactswemoveontothefacts,which,ofcourse,arethesourcesconsulted inpreparingsuchanundertaking:Kirnbergerfortempiandtheexpressionof themetre signs,Matthesononbasso continuo,KircheronthePassions,andQuantzonmattersof technique, toname justa few. Ishallsay littleofthese importantfactgivershere,simplybecauseanyone

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wishingtocensureourperformancestylewillnotbedeterredbythemerementionofhistorical sources,nomatterhowplentifulor illustrious theymight be. Frankly, if a critic doesnt like rubatos, fullvoiced continuorealizationsorfasttempi,noamountofargumentationfrom18thcenturywriterswilleffecta revolution inhis taste:wordsonpaper speak to theintellect,thehearthas itsownrules. Icanonlysaythat, inmyowncase,longterm submission to the performative perimeters imposed by thesesourceshastaughtmyhearttolovetheresultingsounds.But,afternearly25 years in this business, I have lost the taste for belabouring pointsoftaste.WhatIhavedonewillspeakforitself.Onemaylikeit;onemaynot.Andfinally,arthasstimulatedthesubjectivesideoftheseinterpretations.Through 18thcentury works of art I have sought the inspiration andfantasywithoutwhich nowinged Pegasus can ever rise above the dullearthbeneathitshooves.Inparticular,theideaofphysicalmovement,ofBaroque gesture and dance, has influencedmymanner of playing here.Indeed, in eachmovement of the Solo BWV1013 a different visual hasimprinteditstracesontheauralperformance:intheAllemandeitwastheoratorical actio of Quintilian as reflected in Bulwers Chironomia thatinspiredme;theCorrentewasmeanttoflash likethesteelybladeswungbythecholericsworddancerportrayed inKirchersHallundSchallkunst;the Sarabande I associated with the complex steps of variouschoreographies preserved in the florid beauty of Beauchamp Feuilletdancenotation;and thecomicalBourreanglaiseseemed tobeg for thebizarre dancers of Lambranzis Neue und curieuse theatralische TantzSchul, for their crazy capering, wild leaps and phantasmagoricalcostumes.qaSothesethreetools,art,facts,artefacts,havebeenusedheretocreateyetanothertributetooldJ.S.fromLeipzig,tostrewyetmorerosepetalsontothat mouldering layer of Horizonverschmelzung which obscures Bachstomb. Here I findmyself, for the second time, attachingmy own vainwreathof ribbonsand tinsel tohiswearyoldbones, fullyaware thatnosound at all, neither that of personal interpretation nor of composersintentions,canpenetrateintotheawesome,immenseandeternalsilencewheretheylie.Butaperformerisalwayshimself,andalwaysperformsforanaudiencethatcanhearhim,whichmustneedsbeofhisowntime.Thepast is dead to his exertions, and the future, despite that miraculousmodernmusical preservative, recorded sound,will never hear hisworkwithinthecontext inwhich itwasmade,andthuscanneverhear itas itwasheardwhennew.AndsoalltheperformersofBachsmusic,fromhisdaytothepresent,catchhands inagreatcirclearoundhim;alldancetohismusicwiththeirownsteps,accordingtotheirownnaturesandtotheneeds of their own times. Each generation adds new performers to thewideningcircle,asitgrowseverfartherremovedfromthecomposeratitshub.Itisoftensaidthatvarietyisthespiceoflife,butWilliamBlakeknewbetter:OneLaw for theLionandOx isOppression.Butnatureneedsnoapology.JedWentz,2009LUTEWORKS(CD1516)Nomorethanahandfulofpiecesrepresenttheentiremusicalheritageforbaroque lute by Johann Sebastian Bach not a great deal when weconsider the enormityof the composers completeworks.However, theseven compositions ascribable to the lute have enjoyed and still do extraordinaryattentionon thepartofmusiciansdue to theirexceptionalquality.Theirsuccessislargelyduetotranscriptionsandarrangementsby20thcenturyguitaristsinsearchofanoblerepertoire,andpartlybecauseoftheharpsichordrenaissanceduringthesecondhalfofthelastcentury.Aphilologicalexaminationrevealsthatthesepieceswerenotintendedforaspecific instrument, obliging players and musicologists to find precisecontextual consistencies, or to render the works more agile inperformance. A certain ambiguity still remains today,witnessed by thechangeoftonalitydeliberatelyemployedbyMarioDAgostointhreeoftheworks(BWV996,997and1006a,transposedintoGminor,AminorandFmajor respectively) in order to guarantee an executionmore in keepingwiththetruecapacitiesofthelute.ThepieceshavecomedowntousinavarietyofMSsources,bothinmensuralnotationandinlutetablature,andasmanyasthreeofthemareauthenticautographmanuscripts.

This recording thus presents four compositions in suite form and threepieces of a different nature, all belonging in principle to the floridrepertoireof the courtly Salonmusik in vogue among theGermanupperclassesatthetime.ExtrapolatingthechronologyofthesepiecesasgivenintheBachWerkeVerzeichnis(1990)givesthefollowingtimeline:1.Suite inEminorBWV996 for luteor luteharpsichord (17147), calledSuiteNo.1forlute:PreludeAllemandeCorrenteSarabandeBourreGigue2.FugueinGminorBWV1000forlute(after1720),anarrangementofthefuguefromtheSonatainGminorBWV1001forviolin.3.Prelude inCminorBWV999 for lute (themanuscriptdates fromafter1727,butthepiecewasprobablycomposedinKthenbetween1717and1723).4.Suite inGminorBWV995forlute(172731,autographmanuscript),anarrangementoftheSuite inCminorBWV1011forcello,calledSuiteNo.3for lute: Prelude Allemande Corrente Sarabande Gavotte I andGavotteIIenRondeauGiga5.Partita inEmajorBWV1006aforunspecified instrument,possiblyharp,keyboardor lute (c.173637,autographmanuscript),anarrangementofthePartita inEBWV1006 forviolin.CalledSuiteNo.4 for lute:PreludeLoureGavotteenRondeauMinuetIandMinuetIIBourreGigue6.Partita inCminorBWV997 for luteor luteharpsichord (shortlybefore1740), called SuiteNo.2 for lute:Prelude Fugue Sarabande GigueDouble7. Prelude, fugue and allegro in E flat BWV998 for lute or harpsichord(1740,autographmanuscript).Note that thegroup title Suites for lutegiven to theworksBWV995,996, 997 and 1006a that is often found in practical editions or onrecordings is certainly not attributable either to Bach or to hiscontemporaries, but was first used by the German musicologist HansDagobert Bruger in his pioneering work Johann Sebastian Bach:Kompositionen fr die Laute (1921). In geographical terms, thecompositions originate from Bachs residencies inWeimar, Kthen andLeipzig (the last four), cities where the Kantor made contact with thegreatestexponentsoftheflourishinglutetraditionofGermanyandcentralEurope,atthistimethe lastcontinentalstrongholdofthe lutepriortoitsimminentdeclineinpopularity.BachthushadpersonalcontactwithSilviusLeopoldWeiss,thegreatestrepresentativeofthatworthyschool,JohannKropfgans,JohannChristianWeyrauch(towhomweowethelutetablatureofBWV997and1000)aswellasAdamFalckenhagen,ErnstGottliebBaron,JohannLudwigKrebsandRudolphStraube,amongothers.WeisswasmuchrespectedbyBach,whoarrangedtheformersSonataNo.47 inAfor luteashisownSuiteinABWV1025forviolinandharpsichord.ThepresenceofthesepersonalcontactsdoesnotanswerthequestionofwhetherornotBachwasabletoplaythe lutehimself,but itdoessufficientlyclarifythathewasfamiliarwithitsbestperformancepractice.Bachalsousedthelutein other compositions where, rather than employing it as a soloinstrument,ittakestheroleofthebassocontinuo:CantataBWV198Lass,Frstin,lassnocheinenStrahl(TrauerOde),theopeningthemesoftheStMatthewPassion244bandof theSt JohnPassionBWV245, theCantataBWV244aKlagt,Kinder,klagtesderWelt(Trauermusik),andtheStMarkPassionBWV247.The instrument inuse at this timediffered greatly from the renaissancelute, conserving the original form but greatly increasing the dimensionsandextendingthenumberofcoursesto13(thefirsttwoassinglestrings,andthe lasttwoorfiveaccordingtothemodelbeingstrungofftheneckandusedasbourdons, thanks to the socalled theorbostylehead).Thetuning,with the firstsixcourses forminga fullDminorchord, facilitatedtheflatkeys(asopposedtotherenaissancemodel),anditssonorityaddedappreciablecolourtochamberensembles,whereitcouldbeusedeitherasaconcertanteorasacontinuoinstrument.Arareexceptiontothisgeneralmodel appears in the Suite BWV995, where a 14course instrument isrequiredtoproducealowG.The notation of lutemusic generally followed French tablature, a directconsequenceoftheprofoundmusicalinfluenceexertedbyFranceovertheGermanspeaking countries. Ornamentation was at the heart ofperformance practice, with a wide variety of approaches and resultsaccording to the nationality, school and personality of the performer.

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Notationdidnotcrystallizetheworkintosomethingimmutable:themusicwas animated and renewedwith each new performance.Within certainlimits, however; within the abundance of treatises expounding on thevariousmethods, ErnstGottliebBaron in hisHistorischtheoretische undpractische Untersuchung des Instruments der Lauten (1727) speaks ofnumerousmethods ofornamentationother than thoseheproposes.Heexplains in detail how individual taste and ability are necessary in thechoiceofoneembellishmentoveranother,andhowinfastmovements itis preferable to be clear and precise: If anyone wished to employnumerousotheradditions,theywouldbeasridiculousaschasingrabbitswithsnailsandcrabs!Finally,itisworthmentioninganinstrumentwhichBachoftenequatedtothe lute, and forwhich hewrote the two suitesBWV 996 and 997: theLautenwerk (Lautenklavecimbel or Lautenklavier). The luteharpsichord, as it translates, was essentially a one or twomanualharpsichord strung for themost partwith gut, having a similar, but notalways corresponding, extension to the harpsichord. Because of its fewmetallicstrings,theinstrumentssoundwassoftandcantabilefullerthanthe luteandnotasdryastheharpsichordand itappearstohavebeenparticularlyappreciatedbyBach,whoatthetimeofhisdeathownedtwo(one of them built by the renowned harpsichord maker ZachariasHildebrandt).Naturally the Lautenwerk, especially in the lower register,permitted amuch richer andmore agile polyphony than the lute. Thiscouldbeoneplausiblemotive,asidefromitsfascinatingtimbre,forBachsmotivationinemployingit.Luteorluteharpsichord,however,weobserveonceagainwithaweandreverenceasfromBachshandthesemagnificentseven of superb instrumental pieces spring, as fresh and alive today astheywerethen.MarioTorta,2012VIOLADAGAMBASONATAS(CD17)ItisnotdifficultforamusichistoriantodiscernmanyoftheelementsthatrenderBachssonatasforvioladagambaandharpsichordlikesomuchofhismusic so remarkable:amixingofvirtuallyeveryconceivablegenre,form,style,mediumandgestureofthelateGermanBaroque;aforgingofconnectionsthathadneverhithertobeenmade,apenetratinginsightintothe multidimensional potentialities of each motive, theme, andpolyphoniccomplex.Butwhat ismore remarkable still is that historical study only tends toconfirmwhatthemusicseemstoofferinitsownterms;itseemstoworkwell even when its historical nature is ignored. Indeed Bach could beviewed historically as amusical cul de sac: he did little to extend themusicalvocabularyofhisage,hismusichardlyservedasabasisforthatofthe succeeding generation. Yetwhat hasmade him a summit formanywitha certain conceptionofmusicalperfection ishisapparentability totranscendhistorical contingency, somehow to stop the clockofoutwardprogressandrearrangeandrecreatetheworldasheknewit.Bachmaybeimportantnots


Cantata BWV0130

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Excerpts from Missa Cantata, Evangelia Cantata, and ... · Excerpts from Missa Cantata, Evangelia Cantata, and Lectiones Cantatae These excerpts are for use solely in the workshop

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