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TRIO SONATAS Johann Sebastian Bach

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TRIO SONATAS Johann Sebastian Bach TRIO SONATAS Johann Sebastian Bach The Trost Organ of the Municipal Church, Waltershausen - Simon Reichert Trio Sonatas BWV 525 - 530 Johann Sebastian Bach SONATA NO. 1 IN E-FLAT MAJOR 01 . I (without indication) ............................................................................................... 02:59 02. II Adagio ....................................................................................................................... 07:1 5 03. III Allegro ...................................................................................................................... 03:48 SONATA NO. 2 IN C MINOR 04. I Vivace .......................................................................................................................... 03:47 05. II Largo .......................................................................................................................... 02:53 06. III Allegro ...................................................................................................................... 04:05 SONATA NO. 5 IN C MAJOR 07. I Allegro ........................................................................................................................ 05:03 08. II Largo .......................................................................................................................... 05:1 0 09. III Allegro ...................................................................................................................... 04:08 SONATA NO. 4 IN E MINOR 1 0. I Adagio - Vivace ........................................................................................................ 02:36 1 1 . II Andante .................................................................................................................... 04:42 1 2. III Un poco allegro .................................................................................................... 02:43 SONATA NO. 3 IN D MINOR 1 3. I Andante ..................................................................................................................... 05:47 1 4. II Adagio e dolce ........................................................................................................ 06:1 8 1 5. III Vivace ........................................................................................................................ 03:48 SONATA NO. 6 IN G MAJOR 1 6. I Vivace .......................................................................................................................... 04:23 1 7. II Lento .......................................................................................................................... 07:50 1 8. III Allegro ...................................................................................................................... 03:47 TOTAL: ................................................................................................................................................ 80:56 Sechs Sonaten oder Trio für zwey Claviere mit dem obligaten Pedal SixSonatas or trios for two manuals with obligato pedal The Six Sonatas BWV 525-530 are found in VI. The obligatory Baroque figured bass, the Autograph p.271 , which can be dated which is found in chamber music works between 1 727 and 1 731 in Leipzig. They such as the Six Sonatas for Violin and obli- were composed as a masterpiece for gato Harpsichord BWV 1 01 4-1 01 9 or the Bach’s oldest son Wilhelm Friedemann, three Sonatas for Gamba and Harpsichord from whom stems the copy on p.272, BWV 1 027-1 029, disappears. The model for which he completed in 1 733 with Anna the trio sonatas is formed by certain Magdalena Bach, so just before his ap- chamber music works which must how- pointment as organist of the Sophienkir- ever count as largely lost. The works are che Dresden. To this wrote Nikolaus Forkel pleasing to the ear already at first hearing in 1 802: “Bach has laid down for his eldest through their characteristic gallant light- son, Wilh. Friedemann, that with which he ness. Moreover the contrapuntally com- had to prepare to become a great organist, plex composition, typical for late Bach which he later became.” works, is not missing. To this Forkel writes The trio sonata was a well-loved chamber “One cannot say enough about their beau- music form of the Baroque period; the ty. They are made at the author’s most transfer of this form to the organ is how- mature age, and can be seen as a core ever new. Each hand plays one line on sep- work of the same in this art.” arate manuals; the pedals play the third A liturgical function is however missing, voice, which is at the same time just as elab- meaning that the sonatas could at most orately composed as the two upper voices. be played “sub communione” in services. To make the three polyphonic lines audi- For this reason some authors express a ble, technical perfection and high concen- strong preference for performance on clavi- tration are required from the player, chord, the organists’ practice instrument especially with a view to “gaining a canta- of the time, which could also consist of bile art in the playing.” two manuals and pedals. A performance The sonatas belong to the most technically on the organ is however just as rationally and musically demanding works of organ possible, and hugely extends the sound literature, in particular the Sonatas II, V and spectrum, for which particularly an instru- - 4 - ment like the exceedingly colourful Trost the second movement is in b minor, al- organ in Waltershausen offers excellent though the first and third movements are possibilities. It was also quite normal in the also in the minor key of e minor. 1 8th Century to perform “Claviermusik” on Today research assumes that the Sonatas I different keyboard instruments, which also and III-V were for the most part already ex- included the organ. tant and compiled in the mid 1 720s. The six sonatas are laid out in three move- Sonata II was arguably composed and ment form, and orient themselves thus to- transcribed directly into the manuscript wards the modern Italian concerto. The p.271 , and Sonata VI was only added later, fourth sonata is an exception, in which the which can be verified by the order of the first movement includes a preceding Ada- papers. The source p.272 offers, next to gio introduction. The Ritornello structure, small deviations from the reading, above which forms the basis of most of the outer all numerous articulation markings, which movements and also two of the middle arguably lead back to Bach himself. The movements, is a further connection to the order of the sonatas is handed down un- Italian concerto. The Ritornelli modulate to ambiguously in both sources, but the or- different keys in the process. The frequent der does not seem necessarily logical. This imitation is also typical of Bach’s style. The recording puts the fifth sonata in the place pedals are usually included in the imita- of the third, leading to a greater variation tion only in the third movements, which in character. could be seen as a parallel to the Prelude and Fugue form (Sonata II, IV, V). Bach creates the middle movements above all as a two part song form, as in Sonatas I, III and VI. The third movement of the first sonata, also based on a two part song form, is an exception. The middle move- ments are all composed in the sonatas’ relative keys, apart from in BWV 528. Here - 5 - Sonata I in E-flat major, BWV 525 The opening Ritornello motif, a rising triad, remains constant throughout the first move- ment, and is used further in the episodes: an interplay using this motif is developed between the upper voices, accompanied by chains of semiquavers. Towards the end of the movement the pedals also take up the opening motif. An original version of the first movement could have already orig- inated in Weimar, so before 1 71 7, which the shortness of the Ritornello and little harmo- nic variety point to. The second movement follows the layout of the two part song form, with each part being repeated. After the presentation of the opening theme in both of the upper voices the pedal takes over the sequenc- ing of the motivic material. The second part is char-acterised by a turning around of the theme, with the pedals leading back to its opening presentation. The third is the only outer movement in the group of works not constructed as a Ritornello form, instead laid out as a two part song form. The pedals are involved in the motivic development. The theme, clearly structured in two bars, is turned around in the second part. The use of the - 6 - whole manual and pedal compass of that by a downwards directed Figura Corta time is characteristic of Bach. (short, short, long). After the last entry of the theme in the closing Ritornello in the Sonata II in c minor BWV 526 upper voice a tonic pedal in C in the left The together with BWV 530 technically hand heralds the end of the work. most demanding work of the collection begins with a homophonic Ritornello, Sonata V in C major BWV 529 which connects it with the final sonata. The joyful emotion of the first movement’s The theme consists of a motif guided by da capo form (ABA) fits well with its key of thirds in the upper voices, which is charac- C major. The Ritornello theme consists of a terised by spectacular leaps. The episodes triadic two bar motif. After the voices are in between are sequences, which are ac- swapped and sequences a dominant companied by descending bass lines. The pedal over G is reached, which with its no- third Ritornello is followed by an
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