CORO CORO J.S. Bach: Handel:Coronation Anthems Winner of the Classic FM Gramophone Award Cantatas 34, 50, 147 for Baroque Vocal 2009 J.S. BACH Harry Christophers Also includes: The Sixteen · Organ concerto in F Gillian Fisher · Overture to Jephtha Trio Sonatas for Organ David James · Arrival of the Queen Ian Partridge of Sheba. Michael George “Fresh spontaneous “…a pleasure to listen Coronation Anthems Robert Quinney to when played and that leap to the top of cor16039 sung as well as this.” cor16066 the heap.” organ the independent gramophone: editor's Choice A Traditional Christmas O Guiding Night Carol Collection Vol.II The Spanish Mystics with with Robert Quinney organ Robert Quinney organ “Organist Robert “Byrchmore’s instinct for the Quinney provides dramatic erupts fully in wonderful support the crunching organ chords throughout, occasionally launching The Dark Night... stealing the limelight as Harry Christophers and in the organ introduction The Sixteen nail it expertly.” cor16085 to In dulci jubilo.” cor16090 gramophone: international record review editor's Choice To find out more about The Sixteen, concert tours, and to buy CDs visit www.thesixteen.com cor16095 J.S. BACH Trio Sonatas for Organ Sonata I in E flat major 1 Movement 1: [no tempo indication] 3.21 Recording Bach’s Organ Sonatas is perhaps an exercise in hubris, since they are BWV525 2 Movement 2: Adagio 5.15 arguably the most perfect pieces of music ever written for the instrument – and 3 Movement 3: Allegro 3.45 therefore, in their elegant economy and crystalline detail, the least forgiving 4 of an inevitably less-than-perfect performance. Nevertheless, when Harry Sonata II in C minor Movement 1: Vivace 3.40 BWV526 5 Movement 2: Largo 4.04 Christophers asked me for ideas for a short series of Bach organ recordings, 6 Movement 3: Allegro 3.58 the Sonatas sprang immediately to mind; and, while the head warned me of the pitfalls of actually committing a performance to disc, the heart was unable Sonata III in D minor 7 Movement 1: Andante 5.41 to refuse the opportunity. Finding the right instrument was essential: a difficult BWV527 8 Movement 2: Adagio e dolce 6.34 task given our still-developing knowledge of instruments of Bach’s own time, 9 Movement 3: Vivace 3.36 and the many controversies surrounding historically informed performance bl (a field in which the organ, especially in the UK, has often lagged some way Sonata IV in E minor Movement 1: Adagio 2.42 BWV528 bm Movement 2: Andante 4.48 behind the vanguard). In the end, the Frobenius organ of The Queen’s College, bn Movement 3: Un poco Allegro 2.36 Oxford proved as close to ideal as any I could find; I am particularly delighted that this is the first solo recording to have been made on this influential Sonata V in C major bo Movement 1: Allegro 5.03 instrument for almost 20 years. BWV529 bp Movement 2: Largo 5.05 bq Movement 3: Allegro 3.39 Future discs will take the form of mixed recitals, after the model of Peter br Hurford’s recordings of the 1970s and ‘80s, which inspired me greatly as I began Sonata VI in G major Movement 1: Vivace 3.53 BWV530 bs Movement 2: Lento 7.34 to play the organ. The present recording is dedicated to the memory of another bt Movement 3: Allegro 3.31 source of inspiration, and a teacher of total generosity toward me and so many Total Running Time: 78.57 others – David Sanger. 2 3 million more years of evolution produce pieces is clear in the earliest Organ Sonata J.S. BACH Trio Sonatas for Organ a creature better equipped for three movements to be composed. In both While it is impossible to be certain of to any subsequent performer; but equally complex independent parts, it BWV 655 and 664 a motif derived from anything at this distance, it seems likely Bach’s intention may also have been to will need also to have evolved two brains). the opening of the chorale dominates that Bach intended his Six Sonatas à 2 continue his favoured son’s education Characteristically, Bach goes far beyond the whole piece; a similarly high motivic Clav. et Ped. BWV 525-30 to form part in the art of composition – in particular Scheibe’s definition, producing elaborate density characterises movements such of a series of pedagogical works directed the promiscuous combining of styles movements such as Sonata II/1 and as Sonata I/1, in which the broken- at his eldest son, Wilhelm Friedemann. and genres that is arguably the most Sonata V/1, in which the trio texture is chord opening motif is never absent, Bach’s biographer Forkel claims this remarkable feature of Bach’s music. manipulated to produce a clearly audible whether appearing in its prime form, (1802), and there is a copy of the Sonatas This is achieved within the framework division between Ripieno and Solo inverted, or (in longer note values and partly in the hand of Friedemann: of the Italianate trio sonata, transferred passages, with only occasional recourse with a rest inserted) as a bass to imitative Sonatas I-III and the first 15 bars of to the organ ‘on two claviers and pedal’, to violinistic ‘double stops’ within a counterpoint between the hands. Sonata IV, the remaining movements with sophisticated use in three of the part. Moreover, Bach frequently brings being in the hand of his stepmother Anna Sonatas (II, V and VI) of Vivaldian together such unlikely companions as Certain movements – notably Sonata Magdalena. This copy, made shortly after ritornello procedure. These are Sonaten galant gesture and fugal imitation (as in IV/1, which exists in a counterpart Bach’s score was completed, contains auf Concertenart, to use the term coined Sonata II/3); a further transgression of version for oboe, viola da gamba rather more articulation markings than by Johann Adolph Scheibe (1745) to the accepted norms of what a composer and continuo in Cantata 76 – have the autograph (in Sonata VI/2-3 some describe a chamber sonata in which ‘one could do in a given genre. origins in music for other instruments. articulation marks are apparently by the part can be more active than the others Some commentators have assumed composer himself); this may suggest that [i.e. soloistic writing is as important an Bach had written organ trios before, instrumental origins for much of the Friedemann was undertaking serious ingredient as imitative counterpoint]… notably the Italianate trios on Herr Jesu collection, an attitude which perhaps study of the pieces, clarifying and even the lower part cannot be written as Christ, dich zu uns wend BWV 655 and underestimates Bach’s genius for the altering his father’s original notation. elaborately here as in a genuine sonata’ Allein Gott in der Höh sei Ehr BWV 664 reconciliation of apparent opposites (the latter is unavoidable in an organ composed in Weimar (his other chorale within his music: in this case a ‘chamber’ That the Sonatas furnished Friedemann piece, since two feet cannot match five trios owe more of a debt to French organ genre with the most public instrument of with a technical challenge is clear fingers for facility; and, even if several trio movements). The influence of these all, the organ (while the Sonatas might 4 5 well have been practised at home on receive a steady supply of wind and it piled-up clavichords, it seems likely that even has a swell box (the shutters of the organ was the intended performance which remained immobile during all instrument). It does not follow that takes). These features do not, I think, because other composers did not write make it an unsuitable instrument for the trio sonatas for the organ, Bach could present recording; much more important not have conceived some, even many factors are its exquisite voicing, superb of the movements for that instrument. mechanical action, and its modest size. He clearly felt able to demand of it the The latter is significant because the same precision and clarity so easily relatively small separation between the achieved by string or wind instruments. three divisions (Great and Brustpositiv in In a number of places in the autograph the centre, Pedal divided on either side) Bach makes use of quasi-instrumental allows close, chamber-music interplay in articulation marks, suggesting he a way that a large organ, especially one may have been contradicting certain whose secondary division is behind the conventions of organ playing style, or player’s back, would not. Lastly – perhaps at least seeking to expand the range of most important of all – the acoustics of possible styles, perhaps by notating the chapel warmly enhance the singing articulation in a way that reflected his quality of the organ without any loss own, celebrated virtuosity. of clarity. I am grateful to the Provost • and Fellows of The Queen’s College, in particular the Director of Music The 1965 Frobenius organ of The Dr Owen Rees, for granting us permission Queen’s College, Oxford, is not what to use this marvellous instrument. many would regard as a ‘historically accurate’ instrument for Bach. Its pipes © 2011 Robert Quinney 1965 Frobenius organ of The Queen’s College, Oxford 6 7 Robert Quinney Robert Quinney is Sub-Organist of Westminster Abbey. In addition to his daily work at the Abbey, he maintains a busy freelance schedule as a soloist and ensemble player. Since October 2009 he has been Director of Oundle for Organists, whose residential courses offer inspiring tuition for organists of all ages.