Recorded digitally last year in Stuttgart, the set comprises four trios for violin, viola and cello; four for piano, cello and violin, and four for baryton, viola and cello. The musicians' names are hardly household words, but they are all accomplished chamber players and they offer well-recorded readings that are alert, vital and informed. Leonore Klinckerfuss, piano, replaces Mr. Koch for the Piano Trios Nos. Judging by the music on this set and from other performances and recordings, it is clear that Haydn's greatest inspiration is found in the late piano trios.
The reason is simple. The last 19 were composed during the years he was writing the London Symphonies, when he was at the height of his powers. The string trios all date from the 's, when he was in his 30's, as do most of the baryton trios. The baryton is an obsolete instrument, sometimes described as a large viola d'amore, or a viola with an attached harp.
The baryton had six or seven bowed strings and anywhere from eight or nine to as many as 40 sympathetic strings, which were usually plucked. The sound is attractive, but Haydn doubtless would never have composed so many if his patron had not demanded them. As the series goes on, it's apparent the prince must have become more proficient in his instrument, since the later baryton trios are much more demanding.
But the surfaces are flawless.. This means fortepiano, transverse flute, classic cello and violin with gut strings. The sound tends to be rather sweeter and more delicate than it would be from modern instruments. The performances are fluent and lyrical, not nearly as aggressive as those on the Pantheon set. Perhaps, but for most listeners attuned to modern instruments, these performances lack something in bite and brilliance. The results are similar - good, though unspectacular sound.
Their performances are strong and assured, full of zest and viality. The Haydn and Beethoven are good, but the real find is the Goldmark, a lovely, ingratiating piece that sounds like an undiscovered work of Dvorak. We would ask you to confirm both options. Please login Please enter your access information on the righthand side, or sign up as a new member: Register Now!
Process result with the following term. File types. He excelled his forebears and contemporaries, but he did not always receive the respect he deserved in his own lifetime. In he was appointed court organist in Weimar where he composed most of his works for organ. He resigned this post in to become cantor at St. However, Bach did undertake some revisions and corrections at later times. The other sonatas do not show such major changes at any other point in time. The 2 nd stage of development is represented in the incomplete manuscript E.
The latter still shows an overall agreement in regard to Sonata 5 with the manuscripts C and D, but in the 6th Sonata in E, there is a completely new structure which includes several new movements. It is not known when Bach did this nor why. The date for this can not be determined. The 3 rd stage of development can be found in manuscripts A, B, F, G.
Many parallels perhaps dependence upon the same source, because the same errors can be noticed as well are found within the manuscript groups C and D, on the one hand and B and F on the other. BWV a, Sonata V, 3 rd mvt. Based upon all the information above, an organ, even a small one, would not comply with the evidence given. Such performances, however, should not lay any claim to authenticity, even implied, but are certainly permitted to do anything they want in order to present Bach in yet another way.
Gabriel Jackson wrote October 9, : Thomas Braatz wrote: "Here is a 'guess' I'm not 'scared' to use this type of punctuation based upon the research of the NBA editors, whose credentials and musicological methodology are frequently questioned by a certain vociferous, pedigreed member of these Bach lists" It's horriby depressing.
A list member enjoys the use of a chamber organ rather than a harpsichord in some Bach sonatas and enquires as to the existence of other recordings of instrumental sonatas that make the same choice of keyboard instrument. I offer the hopefully useful information that in his recording with John Holloway, Davitt Moroney uses a chamber organ in two sonatas with continuo BWV and Thomas Braatz then decides to weigh in with a lengthy diatribe concluding that Moroney was wrong to use a chamber organ in BWV which, in point of fact, he didn't. That pleasure and delight in a performance of Bach's music has been stamped on with all the ferocity that is Mr Braatz's stock-in-trade when it comes to attacking musicians.
Braatz was to validate the impectable scholarship of the great master, Moroney. But obviously we all see the world in different ways, some more negatively than others.argo-karaganda.kz/scripts/dojanubu/1180.php
Trio sonata in G major, BWV 1038, For 2 Vl. and Vc.
Davitt Moroney needs to have his work validated by Thomas Braatz does he? You're having a laugh as we say in South London I must publicly thank Mr Thomas Braatz and Mr Charles Francis for demonstrating the negative end of that continuum, to an extent I had never dreamed possible before joining these lists. Thank you, gentlemen, for expanding my horizons. Meanwhile, the music is more interesting. A patient is entitled to an opinion about whether they like a particular doctor or whether they FEEL they have been treated well.
But most patients do not know, most of the time, what went through a doctor's mind in embarking on a particular management. They simply do not know for certain whether they have received good treatment. Apart from the well known 6 sonatas for violin and harpsichord, BWV , this recording includes the alternative movements of the G major sonata, as BWV a, which are very nice, and sonatas for violin and basso continuo in G major and E minor.
There are also sonatas in G minor and F major.
Grumiaux is in top form. The tone and all round musicianship are breathtaking. I know little about harpsichord playing, but it seems to me that Jaccottet is also very good here. Highly recommended. Peter Bright wrote August 9, : [To John Pike] I also vouch for this recording - Grumiaux brings tremendous feeling and warmth to the pieces.
Trio Sonata in G major, movt. 2 (score) - BWV scored for Trio Sonata
The only other recording I have heard which comes close although it is very different is the Trevor Pinnock and Rachel Podger set on Channel Classics I am very impressed with Podger all round. I heard her play some solo violin music in Bristol as part of the Bath festival a few years ago We went to her flat to discuss music. I think she must have been at the Guildhall then because her flat was close by and I think she was still studying She was a really very nice person - a pity we never stayed in touch Unfortunately at the time I knew next to nothing about classical music Far superior to the "in your face" products of Heifetz, Milstein et al.
It won't be long before Carmnignola's long awaited solo sonatas and partitas will be on the market. I can hardly wait. A steal! Could you develop your opinion, and tell us why this version has your preference? I listened to a couple of samples on the Internet: Amazon.
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Too much reverb to my taste concerning the recording quality But it were only samples of course. Another recording by Schmid and Spiri appears under a different label Oehms : Amazon. I couldn't listen to the samples of the Oehms recording in order to compare. Looking forward to your comments.
Your comments are interesting, moreover coming from a violin player.
They give me reasons to a second and real chance to listening to this recording, and not to be satisfied with my first impressions to the samples. The 'et orgue' performance is justified in the inset booklet by reference to the earliest extant manuscript copy, so has some authority. On these discs, the orgue part is given equal prominence with the violon, and the music emerges as fully-fledged trio sonatas - a completely different and, to me, astonishing revelation.
Some might find it a travesty, so what are opinions of this on this site? For me it is magical John Pike wrote July 16, : [To Tigger] I don't know this recording but it sounds like an interesting and easily defensible approach. I am thoroughly enjoying them, especially ter Linden on Baroque cello The last sonata, which I think he must play on the 5 string instrument for which it was intended an Amati in this case case I think is superb.
We next have to assume reasonably that the title on top of the 1 st page of the harpsichord part Sonata 1 was written under Bach's direction: "Sonata 1 a Violino solo e Cembalo certato di J. Diese Trio hat er vor seinem Ende componiert [sic]". The earliest complete copy of the score for all 6 sonatas was that by Johann Christoph Alnikol or Altnickol , Bach's son-in-law.
It could not have been copied before and not after , the year of his death. The title over the 1st page of the manuscript the only title in Altnickol's handwriting is "Sonata 1 a Violino Solo e Cembalo Concertato". A cover page added later after Altnickol's death , it is difficult to determine how much later, but it could have been decades later possibly before C. It would appear from this that the harpsichord was the preferred instrument used in performances of this music during Bach's lifetime and in the half century which followed his death.
Believe me, you cannot remain indifferent to this interpretation - you will either love it or hate it. Sometimes the possibilities seem inexhaustible and the music virtually indestructible because it is so flexible and universal.
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Certainly a performance with violin and organ offers a unique perspective which can enhance certain aspects of the music while possibly losing some others. But for one of the concerts we'll be doing it with organ because a harpsichord won't be available. An interesting switch here: it's of course usually for wind instrument either flute or oboe plus plucked strings the two hands on harpsichord , but we're doing it with bowed string on the top line and the other two lines on wind organ.