Name: J.S. Bach - The Six Violin Sonatas, BWV 1014-19 (1717-23) | Videos | Gan Jing World
Uploaded: 2021-12-31T05:00:00.000Z
Duration: 1 h 43 min 7 s
Description: Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the Baroque period. He is known for instrumental comp... | Videos | Gan Jing World

Bartje Bartmans

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Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations as well as for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival he has been generally regarded as one of the greatest composers of all time.

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Uploaded with special permission by performer Peter Watchorn
https://www.musicaomnia.org

Copyist: Johann Christoph Altnikol (1720-1759)
Publisher Info: Manuscript, n.d.(ca.1747-59).

Six sonatas for violin and harpsichord BWV 1014–1019 (1717-23)

Sonata No. 1 in b minor, BWV 1014
1. Adagio (0:00)
2. Allegro (3:18)
3. Andante (6:22)
4. Allegro (9:27)

Sonata No. 2 in A major, BWV 1015
1. (Dolce) (13:09)
2. Allegro (16:11)
3. Andante un poco (19:47) 
4. Presto (22:31)

Sonata No. 3 in E major, BWV 1016
1. Adagio (27:34)
2. Allegro (31:29)
3. Adagio ma non tanto (34:30)
4. Allegro (39:16)

Sonata No. 4 in c minor, BWV 1017
1. Largo (43:20)
2. Allegro (47:39)
3. Adagio (52:39)
4. Allegro (55:41)

Sonata No. 5 in f minor, BWV 1018
1. Largo (1:00:59)
2. Allegro (1:07:52)
3. Adagio (1:12:50)
4. Allegro  (1:15:54)

Sonata No. 6 in G major, BWV 1019
1. Allegro (1:18:38)
2. Largo (1:22:43)
3. Allegro: Cembalo solo (1:24:29)
4. Adagio (1:29:51)
5. Allegro (1:33:08)
6. Cantabile, ma un poco Adagio, BWV 1019a (1:36:55)

EMLYN NGAI, VIOLIN
(anon. after Antonio Stradivari, 1737)
PETER WATCHORN, HARPSICHORD
(A. R. McAllister, after J. H. Harrass, c. 1710)

This recording is dedicated
to Isolde Ahlgrimm (1914–1995)

On October 7, 1774, Carl Philipp Emanuel Bach, then offering a number of old manuscripts for publication, wrote to Johann Nikolaus Forkel:

“The six [sonatas for violin and obbligato harpsichord] are among the best
works of my dear late father. They sound very good even now, and give me
much pleasure, despite their being over 50 years old. They contain some
Adagios which could not be written in a more cantabile manner if they
were composed today…”

This statement illustrates the deep and lasting impression that Bach’s instrumental music, and, specifically, the set of six sonatas for violin and obbligato harpsichord, made upon his contemporaries, including his sons. Emanuel’s statement also gives the lie to the oft-repeated accusation that the younger members of the Bach family displayed indifference to their father’s music. By Carl Philipp Emanuel’s reckoning, the sonatas were
composed during his father’s years as Capellmeister (1717–22) at the court of Prince Leopold of Anhalt-Cöthen. They demonstrate the extent to which Bach had by that time assimilated the contemporary Italian style of concertante writing into his music following his discovery of (in particular) Venetian instrumental music during the 1710s. It is clear that the sonatas were, from the very beginning, reckoned as important works among Bach’s considerable output.
Forkel, in the outline of Bach’s compositions included with his 1802 biography of the composer, places them first in the list of keyboard pieces with the accompaniment of other instruments, thereby emphasizing the role of the keyboard in these works in a way seldom
realized in modern performances.

Bach’s appointment as Capellmeister to the Cöthen court released him from the necessity of writing church music, since the religious orientation of the court was reformed Calvinist, and the services contained little or no music. Finding himself in charge of the prince’s fine secular musical establishment, he turned his attention to instrumental composition, especially chamber music (including concertos, which were then conceived essentially for small groups of players). Prince Leopold’s acquisition, in 1719, of a fine new harpsichord from the workshop of Michael Mietke, the Berlin court instrument maker, or perhaps, the instrument, which Bach himself appears to have owned, built by his close Thuringian neighbour, Johann Heinrich Harraß, who worked in Großbreitenbach, may have provided inspiration for a number of works that flowed from Bach’s pen featuring the harpsichord in a novel concertante role. In addition to the present set of six sonatas, several works for other instruments, such as flute and viola da gamba, with obbligato harpsichord (BWV 1027-9; 1030/2) and the D major triple concerto (BWV 1050a, later revised and presented with five other re-worked concerti to the Margrave of Brandenburg) probably resulted from Bach’s recent access to a really first-rate two-manual harpsichord. #ClassicalMusic