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J.S. Bach: Sonatas for Viola da Gamba, BWV 1027-1029
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J.S. Bach: Sonatas for Viola da Gamba, BWV 1027-1029
Current price: $20.99
Barnes and Noble
J.S. Bach: Sonatas for Viola da Gamba, BWV 1027-1029
Current price: $20.99
Size: OS
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The booklet for this
Challenge Classics
release by viola da gamba player
Sergei Istomin
(apparently no relation to
Eugene
) and fortepianist
Viviana Sofronitsky
(indeed the daughter of
Vladimir
) delves into the dating of
Bach
's viola da gamba sonatas and describes the rich-toned viol
Istomin
plays, a
Stainer
instrument, but curiously it has little to say about the most novel feature of the album, the fortepiano played by
Sofronitsky
, a splendidly clear copy of a
Silbermann
instrument by builder
Paul McNulty
. The instrument is mentioned, but there is nothing about why it should have been used. The sonatas were composed for the harpsichord; the sole surviving autograph among the three clearly says "Cembalo" at the top of the keyboard part, but, on the other hand,
is known to have heard fortepianos as early as the 1730s (when he criticized them) and the late 1740s (by which time he had changed his tune and apparently played one for the Prussian king). Sound ideals may often precede the technological innovations needed to realize them.
Ike Turner
's producer put a microphone in a toilet bowl to create a primitive reverb, and those of
Marty Robbins
rejoiced at the broken amplifier that created a fuzztone guitar sound. Here, the fact is that
's fortepiano creates a fascinating effect at a time when
's conservative style was under siege by all kinds of new developments. Sample the slow movement, where it adds an almost operatic mystery. The players themselves seem to have realized the importance of
's innovation, for they program a keyboard-only piece, the Ricercar from the
Musical Offering, BWV 1079
. By the time that work was composed, several years after the sonatas, a fortepiano was definitely a possibility, and the piece rests very comfortably on
's instrument. It is still very rare to hear
on a fortepiano, but the accomplishment of
and
here suggests possibilities for the future in
's late music and that of his contemporaries and sons.
' chilly Westvest Church sound, however, is not right for this chamber music. ~ James Manheim
Challenge Classics
release by viola da gamba player
Sergei Istomin
(apparently no relation to
Eugene
) and fortepianist
Viviana Sofronitsky
(indeed the daughter of
Vladimir
) delves into the dating of
Bach
's viola da gamba sonatas and describes the rich-toned viol
Istomin
plays, a
Stainer
instrument, but curiously it has little to say about the most novel feature of the album, the fortepiano played by
Sofronitsky
, a splendidly clear copy of a
Silbermann
instrument by builder
Paul McNulty
. The instrument is mentioned, but there is nothing about why it should have been used. The sonatas were composed for the harpsichord; the sole surviving autograph among the three clearly says "Cembalo" at the top of the keyboard part, but, on the other hand,
is known to have heard fortepianos as early as the 1730s (when he criticized them) and the late 1740s (by which time he had changed his tune and apparently played one for the Prussian king). Sound ideals may often precede the technological innovations needed to realize them.
Ike Turner
's producer put a microphone in a toilet bowl to create a primitive reverb, and those of
Marty Robbins
rejoiced at the broken amplifier that created a fuzztone guitar sound. Here, the fact is that
's fortepiano creates a fascinating effect at a time when
's conservative style was under siege by all kinds of new developments. Sample the slow movement, where it adds an almost operatic mystery. The players themselves seem to have realized the importance of
's innovation, for they program a keyboard-only piece, the Ricercar from the
Musical Offering, BWV 1079
. By the time that work was composed, several years after the sonatas, a fortepiano was definitely a possibility, and the piece rests very comfortably on
's instrument. It is still very rare to hear
on a fortepiano, but the accomplishment of
and
here suggests possibilities for the future in
's late music and that of his contemporaries and sons.
' chilly Westvest Church sound, however, is not right for this chamber music. ~ James Manheim
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