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1 LP -
A 00327 L - (p) 1957
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| 1 CD -
fr 492 - (c) 2011 |
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| Johann Sebastian
Bach (1685-1750) |
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| Die Drei Sonaten für
Viola da gamba und obligates Cembalo |
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Sonate Nr. 1 G-dur
für Viola da gamba und Cembalo, BWV 1027
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13' 09" |
A1 |
| - Adagio |
3' 03" |
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- Allegro, ma non tanto
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4' 01" |
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| - Andante |
2' 42" |
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- Allegro moderato
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3' 20" |
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Sonate Nr. 2 D-dur für Viola da
gamba und Cembalo, BWV 1028
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14' 31" |
A2 |
| - Adagio |
1' 39" |
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| - Allegro |
4' 07" |
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| - Andante |
4' 06" |
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| - Allegro |
4' 38" |
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Sonate
Nr. 3 G-moll für Viola da
gamba und Cembalo, BWV 1029
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14' 38" |
B1 |
| - Vivace |
5' 48" |
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Adagio |
4' 39" |
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| - Allegro |
4' 10" |
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| Sonate
G-dur für Flöte,
Violine und Generalbass, BWV 1039 |
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14' 12" |
B2 |
| - Allegro |
3' 21" |
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| - Allegro |
3' 44" |
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| - Allegro |
3' 41" |
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| - Allegro |
3' 15" |
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| BWV 1027-1029 |
BWV 1039 |
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| Isolde
Ahlgrimm, Cembalo |
Isolde
Ahlgrimm, Cembalo |
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| Nikolaus
Harnoncourt, Viola da gamba |
Ludwig
von Pfersmann, Flöte |
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| Josef
Herrmann, Viola da gamba |
Rudolf
Baumgartner, Violin |
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Nikolaus
Harnoncourt, Viola da gamba |
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Luogo e data
di registrazione
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- Palais Licchtenstein, Vienna
(Austria) - 5/6 gennaio 1955 - (BWV
1027) *
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Palais Licchtenstein, Vienna
(Austria) -
16/17 marzo 1955 - (BWV 1028) *
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Palais Licchtenstein, Vienna
(Austria) -
19/20 marzo 1955 - (BWV 1029) *
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Palais Licchtenstein, Vienna
(Austria) -
1955 (BWV 1039) *
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Registrazione
live / studio
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| studio |
Producer / Engineer
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Prima Edizione
CD
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FORGOTTEN RECORDS - fr 492 -
(1 cd) - 56' 30" - (c) 2011 - ADD
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Prima
Edizione LP
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Philips "Minigroove" - A 00327
L - (1 lp) - 56' 30" - (p) 1957
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| Note |
| * = Informazione desunta
dall'Appendice 1 al testo di Peter
Watchorn "Isolde Ahlgrimm, Vienna and
the Early Music Revival", Routledge
2016. |
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Notes
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Bach wrote most of his
chamber music between 1717 and 1723,
when he was musical director at the
court of the Prince of Anhalt-Cöthen.
Here, too, the three sonatas for viola
da gamba and harpsichord were written,
for the gamba virtuoso Christian
Ferdinand Abel, who was a member of
the Cöthen orchestra for a time. In
these sonatas three equal parts are
worked out in counterpoint. One of
these parts, usually the middle one,
is played by the gamba, while the
soprano and bass lines are given to
the harpsichord. As the tone of the
harpsichord was usually too delicate
to stand up to a string or wind
instrument, it was customary at that
time to support the bass line (ledt
hand) of the harpsichord part with
another instrument (gamba, cello, or
bassoon). The gamba part in these
sonatas is written for a
seven-stringed gamba and the works can
be successfully performed only on such
an instrument, for which they were
expressly intended by Bach; in the
autograph the titles of two of these
sonatas red: "Sonata a cembalo e Viola
da Gamba."
In the present recording the
instruments used were a seven-stringed
gamba by Christoph Klinger, of
Rattenberg in the Tyrol (1683) and a
five-stringed gamba (continuo) made in
Northern Italy around 1530 by Johannes
Maria. According to an inscription on
the new peg-box of the first of these
instruments, it was rebuilt as a cello
in 1807. The original head was
preserved, so it was possible to
restore the instrument to its previous
state. This recording of the gamba
sonatas were made at a time when
"authentic" instrumentation was still
in its "pioneering" stage.
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Nikolaus
Harnoncourt (1929-2016)
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