17 OCT 2024 - Welcome Back to TorrentFunk! Get your pirate hat back out. Streaming is dying and torrents are the new trend. Account Registration works again and so do Torrent Uploads. We invite you all to start uploading torrents again!
TORRENT DETAILS
Bach - BWV 1014-1026_ChamberWorksTwoOrMoreInstrument_Violin Sonata Suite Fugue_MP3_256kbs
TORRENT SUMMARY
Status:
All the torrents in this section have been verified by our verification system
Bach - BWV 1014-1026_ChamberWorksTwoOrMoreInstrument_Violin Sonata Suite Fugue_MP3_256kbs
BWV 1014-1026;Johan Sebastian Bach; Violin Sonata Suite Fugue; Luis Otavio Santos, Pieter-Jan Belder, Trio Sonnerie, Hélène Schmitt
Music:Classical:MP3:Bach:Violin
Blair Johnston: "A group of the instrumental sonatas J.S. Bach composed while living and working in Cöthen during the late 1710s and early 1720s -- specifically, the six sonatas for violin and harpsichord, the three for viola da gamba and harpsichord, and two of the four authentic flute sonatas -- are especially and rightfully famous for one thing: in these 11 works, by writing out a full harpsichord part on two staves rather than merely writing a bass line and figured bass, Bach promoted the harpsichord from mere continuo foundation to true equal of the solo instrument. Although not as famous as the six Sonatas and Partitas for solo violin, the above-mentioned sonatas for violin and harpsichord are among Bach's most famous chamber pieces; it is possible, assuming that Bach in fact composed it before the other five, that the first of these sonatas, BWV 1014 in B minor, is in fact history's very first modern duo sonata. "
Sonata No.1 in B minor, BWV 1014
Blair Johnston: "The Sonata for violin and keyboard No. 1 in B minor, BWV 1014, falls into four movements that follow the usual slow-fast-slow-fast plan of the Baroque sonata da chiesa, but within that loose framework Bach, as usual in his sonata works, explores diverse forms such as those of the aria and the concerto. The opening Adagio is a rich essay in 6/4 time in which the harpsichord offers an idea built from an arpeggiated bass line and pungent groups of eighth notes in parallel thirds and sixths, and the violin provides an obbligato line whose long-sustained tones invariably taper off into ornate tails that dip and duck into the next phraselet. The following Allegro is an example of that peculiar chamber movement species of which Bach was so fond and which he alone brought to perfection: a full synthesis of dense fugal style, Baroque concerto form and trio sonata part-writing. The movement is in three clear sections (ABA'), with the opening bars returning to usher in the final third of the movement.The third movement, in D major, is a sumptuous Andante in which the two upper voices -- the harpsichord's right hand and the violin -- generally move in counterpoint with one another but come together for a gorgeous subsidiary idea in parallel thirds. The finale is an Allegro whose two main ideas -- a trumpet-like, repeated-note notion and a running sixteenth-note counterpoint to that idea -- are built up into a true binary design complete with repeat signs."
List:
I. Adagio
II. Allegro
III. Andante
IV. Allegro
Sonata No.2 in A major, BWV 1015
Blair Johnston: "Although Bach's Sonata No. 2 in A major for violin and harpsichord, BWV 1015, may seem virtually identical to the first of the set in terms of general structure and movement layout, a closer listen reveals that it is really quite individual in shape, content, and -- most significantly -- character. In the new realm of the duo sonata, it is every bit as warm and ingratiating a piece as its immediate predecessor is stern and, at times, lean. BWV 1015 in A major is, like each of the other five unquestionably authentic violin/harpsichord sonatas, a work whose four movements follow the traditional slow-fast-slow-fast plan of the Baroque sonata da chiesa. The liquid melody that opens the 6/8 time first movement (which has no tempo indication) may be sweetness itself, but Bach still treats it as a subject for imitation in the opening bars; within just a few bars the movement has become a cascade of inviting sixteenth-note gestures in three voices. The Allegro assai second movement is, like the second movement of the Sonata No. 1 in B minor, BWV 1014, a semi-fugal vessel in three sections (ABA'), but there the similarity ends. Its exuberantly arched subject is the antithesis of the compact, Corellian subject used in BWV 1014, and a subsidiary strain that pits leggiero eighth-note arpeggios in the violin against brilliantly scalloped sixteenths in the harpsichord right-hand has no parallel at all in the B minor Sonata movement. The third movement of the Sonata No. 2 in A major, Andante un poco in F sharp minor, is a famous one; it is a strict two-voice canon (with bass accompaniment, of course) from start to finish. But for all its academic contrivance, it is as rich and songful as one might ever hope. The Presto finale is a binary operation, fugal at the start but abandoning that subject for a new idea at the start of the second half (this new idea is actually a derivative of a secondary idea in the first half). Only at the very end does the original subject return -- in flashy, stretto fashion."
List:
I.
II. Allegro
III. Andante un poco
IV. Presto
Sonata No.3 in E major, BWV 1016
Blair Johnston: "Far less famous than Bach's Sonatas and Partitas for unaccompanied violin are the six Sonatas for violin and harpsichord composed at roughly the same time. And yet these works are among the finest treasures that High Baroque chamber music has to offer. BWV 1016, the Sonata in E major for violin and harpsichord was, like the others, composed sometime during his years as Kapellmeister at the court of Cöthen; it shows how well Bach had absorbed the Italian sonata da chiesa tradition, and even better how well able he was to bend that tradition to his own creative will. The four movements of BWV 1016 follow the same basic pattern in the typical Corelli or Handel sonata da chiesa: slow-fast-slow-fast. The opening Adagio, with its very Italianate style of ornamental melodic writing, is in two, nearly equal sections. A slowly-pulsing bassline supports a shining, rising melody in the violin. A kind of Baroque concerto form (really concerto-fugue hybrid) is laid out in the following Allegro, shooting forth on a joyous melody in the harpsichord right-hand, so inviting that that the violin cannot help but imitate it, followed by the bass. During the second portion, a new motive in eighth notes is introduced, occupying the player's thoughts to the near-exclusion of all else. The subject, countersubject, and new motive are all thrown together into one, stunning C sharp minor phrase. With the return to E major, the subsidiary motive is finally completely dispelled. Passsacaglia is the fuel for the third movement, Adagio ma non tanto. Atop a repeating four measure bass pattern rides a florid melody in triplets that, along with some steady accompaniment and a secondary gesture, is developed by the violin and piano treble in the usual give-and-take manner. The movement, with its C sharp minor tonality, is a statement of real, but eminently restrained pathos. Bach sets up a large three-part form (or perhaps four-part, as the middle section falls easily into two halves) in the concluding Allegro, setting two contrasting themes against each other. A running sixteenth-note idea, very similar to the kind frequently found in the keyboard Inventions, fills the opening section, but moves on to triplets as the second begins. At the movement's exact midpoint, the sixteenths return, and a false cadence to E major immediately slides into C sharp minor, allowing the developmental middle section to continue. The movement ends with a exact reprise of the opening section."
List:
I. Adagio
II. Allegro
III. Adagio ma non tanto
IV. Allegro
Sonata No.4 in C minor, BWV 1017
Blair Johnston: "J.S. Bach's six authentic sonatas for violin and keyboard (BWV 1014 - 1019) are unquestionably progressive, not least for their inclusion of fully realized harpsichord parts (as opposed to continuo parts with figured bass). They represent the real beginnings of the duo sonata as the term is understood today. It may well be that the fourth -- the Sonata for violin and harpsichord in C minor, BWV 1017 -- is stylistically-speaking the most unusual and forward-looking. While its four movements are plainly of the traditional church sonata lineage, two of them especially would have turned early eighteenth-century heads. Opening a four-movement sonata with a Siciliano, as Bach does here, is certainly unusual, if not necessarily groundbreaking; the swaying sicilienne rhythm is given to the violin while the harpsichord ponders arpeggios. The content of the Adagio third movement, however, is so unusual for its time (ca. 1717 - 1723) that one cannot but wonder at its creator's inventiveness. It is no ordinary Baroque chamber Adagio that provides the solo instrument's melody with a constant triplet-arpeggio accompaniment in the keyboard right hand and a simple, streamlined bass line in the left -- indeed, the style of the accompaniment is more like something a composer half a century or more later might have concocted -- and in terms of apparent (though by no means actual) simplicity of design and texture, this movement is unrivalled in Bach's sonatas. The remaining two movements -- the two quick movements -- are more standard Bach fare, though hardly less impressive. The second movement (Allegro) is the weightiest of all the violin/harpsichord sonata quick movements, while the finale (also Allegro) is the kind of dense, quasi-fugal binary movement we might expect."
List:
I. Largo
II. Allegro
III. Adagio
IV. Allegro
Sonata No.5 in F minor, BWV 1018
Blair Johnston: "The fifth of J.S. Bach's six authentic sonatas for violin and harpsichord (BWV 1014 - 1019), the Sonata in F minor, BWV 1018, is not the full-blown formal experiment that its immediate successor BWV 1019 in G major is; nor does it offer such stylistic deviation as we find in its immediate predecessor BWV 1017 in C minor. In its own quiet way, however, the Sonata in F minor, BWV 1018, breaks the mold firmly established by the first three of the six violin/harpsichord sonatas. The slow movement that opens this four-movement sonata is of stunning length; the other, internal slow movement is of a kind not found elsewhere in these six sonatas, and its two fast movements appear, as we shall see, in reverse order. Beyond its great length, the Largo first movement of BWV 1018 boasts a texture unlike any other in Bach's chamber music -- a harpsichord part in three voices explores, in detail, the contrapuntal and developmental possibilities latent in a single seven-note subject, while the violin adds a flexible obbligato line. The first of the two fast movements, an Allegro, is of the variety that, if we look elsewhere in the violin/harpsichord sonatas, usually comes last: a quasi-fugal, binary-form essay complete with repeat signs. Melody as we usually understand it is altogether absent throughout the Adagio third movement. Instead, there is a rich four-voice texture divided into two pairs: the violin takes one of the pairs and sets it up as pulsating double-stops, the harpsichord takes the other pair and sets it up as two opposing voices of thirty-second-note bursts. For the final Vivace Bach employs the three-section form usually used for the second movement (here the central section is particularly brief); but it is doubtful that Bach would ever have used such a dance-like movement as the second movement in a chamber sonata, whereas it serves perfectly as a finale."
List:
I. Largo
II. Allegro
III. Adagio
IV. Vivace
Sonata No.6 in G major, BWV 1019
Blair Johnston: "The Sonata for Violin and Keyboard in G major, BWV 1019, is the last of six violin sonatas Bach wrote before 1725, most likely while he was Kapellmeister at Cöthen, and revised several years later. Bach may have written them for Prince Leopold to perform, later revising them for his own performance at his Leipzig concerts. The sonatas as a whole are technically accessible to amateurs, while containing musical subtleties to be explored by fine musicians. Typical Baroque sonatas for two instruments indicated that there were two contrapuntal solo lines plus a basso continuo. Bach combined the second solo voice and continuo into the keyboard part, making the keyboard more of a partner to the violin and utilizing the strengths of both instruments. This sonata differs from the other five in that it is comprised of five movements instead of four. In its final version, an extra Allegro precedes the slow-fast-slow-fast structure of the rest of the sonata. As with other late Baroque sonatas, each movement conveys a particular emotion, or Affekt. The opening Allegro should portray brilliancy. Smooth, flashy running lines in the violin and keyboard right hand fit together closely. The Largo, in E minor, is sorrowful with its singing violin melody supported by a more embellished keyboard countermelody. The third movement, a second Allegro and also in E minor, is for keyboard alone. It displays a pensive and somewhat sad mood, with writing similar to that of his Two-Part Inventions. The fourth movement, Adagio, should be affected with melancholy, "the singular spun out rhythms and the rich harmony of the movement border on the bizarre." It begins with the keyboard stating the slow, B minor melody followed by the violin, passing it back and forth throughout. Syncopations make the listener wait breathlessly for resolution of the harmonies. The last movement is a lively Allegro, based on a theme from the cantata Weichet nur, betrübte Schatten, BWV 202. Back in G major, it is at turns bouncy and fluid, with quick trills attached to sixty-fourth notes and emphasis on the off-beats enlivening the movement. In the first version of the sonata, the fourth movement had been another Adagio, a variation on the Courante and Gavotte of Partita No. 6 for keyboard, BWV 830. In the second version of the sonata, the keyboard Allegro was replaced by a Cantabile ma un poco Adagio for both instruments that had the Affekt of "wheedling (coaxing) and expressive." This was based on an aria from the cantata Gott, man lobet dich in der stille, BWV 120."
List:
I. Allegro
II. Largo
III. Allegro
IV. Adagio
SPURIOUS: Violin Sonata in G minor, This work was formerly attributed to Johann Sebastian Bach as BWV 1020; found to have been composed by Carl Philipp Emanuel Bach (H.542.5)
Violin Sonata in G major, BWV 1021
Blair Johnston: "When taking up J.S. Bach's various sonatas for accompanied violin, it is important not to confuse those written for violin and harpsichord with those written for violin and continuo. The distinction might at first seem small, but it is in fact quite significant. Beyond the simple question of whether or not one is to include a cello, gamba, or some other bass instrument in addition to the harpsichord -- as would be appropriate in the case of continuo -- Bach's six Sonatas for violin and harpsichord, BWV 1014 - 1019 contain, fully realized keyboard parts, rather than just a figured bass line. And so, while the style may today sound to most people quite identical, those six pieces are quite forward-looking in design, while the two authentic sonatas for violin and continuo, composed in the years before 1720, are quite backward-looking, at least in terms of superficial layout. Such a piece is the Sonata for violin and continuo in G major, BWV 1021, composed sometime during the late Weimar or early Cöthen days (ca.1715 - 1720). BWV 1021 has the usual four movements of a sonata da chiesa type of piece, "Adagio," "Vivace," "Largo," "Presto," the latter three quite brief by comparison with the corresponding movements in the somewhat later violin/harpsichord sonatas. The opening Adagio is a truly splendid binary-form piece in which the violin weaves in and around a lightly strolling bass line at will; a fine continuo hand is required, even more so than is the norm, to fill out the harmonies without obtruding on either of the two already present characters. The following wisp of a Vivace seems almost an addendum to the spacious opening movement, but its elegant triple meter and graceful violin multiple-stops move it forward into a space, albeit a small one, all its own. In the E minor Largo, the violin again muses free-form over an all-defining bass; the movement ends, as is usual, in a half-cadence from which the final Presto springs."
List:
I. Adagio
II. Vivace
III. Largo
IV. Presto
SPURIOUS: Violin Sonata in G minor, This work was formerly attributed to Johann Sebastian Bach as BWV 1022; Bach's authorship uncertain; possibly composed by Carl Philipp Emanuel Bach
Violin Sonata in G major, BWV 1021
Blair Johnston: "Most of Bach's accompanied violin sonatas -- distinct from the six great solo sonatas and partitas -- pair the instrument with harpsichord alone, and cast the violin in a supporting role. Two, however, put the violin front and center, supported by a continuo of keyboard and viola da gamba. Of those two, this E minor work is the second, longer, and more emotionally complex of the two (the other being BWV 1021). BWV 1023, unlike any of Bach's other accompanied violin works, falls into only three movements, not four. The first, however, breaks into two sections, both slow. The prelude seems to cry out for organ accompaniment, with its expressive, toccata-like violin line spinning out over a pedal note. This music evokes the earlier violin sonatas of Biber, but also has hints of the famous Prelude from the Partita (BWV 1006). This soon gives way to the more conventional Adagio ma non tanto, which gives the impression of a chorale from one of Bach's cantatas spun out into a somewhat more ornate violin line. The Allemanda is the first of the work's two dance movements -- another feature this sonata has in common with the partitas; dances are excluded from all of Bach's other accompanied violin sonatas, which follow the more abstract slow-fast-slow-fast church sonata format. It is followed by a more intricate, but structurally more compact, Gigue. The challenge in each of these two movements is for the violinist to provide a sense of strong rhythmic movement while maintaining an essentially lyrical line."
List:
I. Preludde and Adagio ma non tanto
II. Allemande
III. Gigue
Violin Sonata in C minor, BWV 1024
List:
I. Adagio
II. Presto
III. Affetuoso
IV. Vivace
Suite in A major, BWV 1025
List:
I. Fantasia
II. Courante
III. Entrée
IV. Rondeau
V. Sarabande
VI. Menuett
VII. Allegro
Fugue in G minor, BWV 1026
Only one mov
VISITOR COMMENTS (0 )
FILE LIST
Filename
Size
BWV 1014 - Violin Sonatas(6)_Sonata No,1 - B Minor.mp3
23.9 MB
BWV 1015 - Violin Sonatas(6)_Sonata No.2 - A Major.mp3
27.6 MB
BWV 1016 - Violin Sonatas(6)_Sonata No.3 - E Major.mp3
30.2 MB
BWV 1017 - Violin Sonatas(6)_Sonata No.4 - C Minor.mp3
29.9 MB
BWV 1018 - Violin Sonatas(6)_Sonata No.5 - F Minor.mp3
32.4 MB
BWV 1019 - Violin Sonatas(6)_Sonata No.6 - G Major.mp3
