The father of the Baroque period, Johann Sebastian Bach is one of the greatest composers of all time. His works, covering a wide range of instruments and voice types, continue to flourish to this day, forming a core part of musical learning. This special disc brings together the Trio Sonatas BWV525–530, works that originally appeared in a manuscript of works for organ. In this form, the pieces naturally became part of Bach’s teaching – a notable contribution to his oldest son Wilhelm Friedemann’s virtuoso organ technique.
Built in the 1760s, "Blue House" is one of the most beautiful palaces of Basel from the late Baroque period. The wealthy owner, Lucas Sarasin, was an avid amateur musician; he put on not only an instrument but also a music collection, of which over 1,300 titles are preserved in the University Library Basel. The Trio Sonatas for two violins and basso continuo take, with 214 titles, a special place and were probably acquired in order for Sarasin and its concertmaster could play together: works of the best contemporary composers, of which for this SACD the "Mannheim" Johann and Carl Stamitz and Anton Fils and the "Milan" Sammartini, Conti, Pugnani and J. Chr. Bach were chosen. The award-winning young ensemble "The musical garden" makes this music "between the Baroque and Classical" into an impressive experience.
Rarely do we feel the presence of Bach so vividly on a recording as we do here with this set of Trio Sonata arrangements, performed by violins, viola da gamba, and harpsichord. What a perfect combination, thanks to Richard Boothby's settings and to the wonderfully synergistic interaction among these very experienced early music players--violinists Catherine Mackintosh (in her best recorded performance in a while) and Catherine Weiss, gambist Boothby, and harpsichordist Robert Woolley. There's certainly nothing wrong with arranging Bach's music like this--and indeed, Boothby does "mix things up" by transposing keys and instrumental lines--as Bach himself reused, rearranged, and transposed his own and others' music. In these string versions of pieces normally performed on the organ we hear occasional enticing hints of the violin concertos and, because of the instruments' different registers and colors, the lines emerge in new and surprising ways. This disc makes a nice companion to Bernard Labadie's arrangement of the Goldberg Variations for strings and continuo, recorded with Les Violons du Roy on Dorian (see reviews and features): both are distinguished for their learned, totally faithful, yet refreshingly entertaining and enlightening recastings of music that's not only timeless but seemingly limitless in its revelatory capacity. The sound is demonstration quality--this is one of those recordings that when you turn it up to just the right level, the instruments come to stunningly real, three-dimensional life, no fancy surround-sound or other high end equipment needed.ClassicsToday - David Vernier
With these words ("Great virtuoso of the violin, and our contemporary Orpheus"), Francesco Gasparini, writing in his 1708 figured bass tutor, succinctly described Arcangelo Corelli, one of the most revered and influential composers of the entire baroque era.
If one tends to associate Albinoni, the Venetian-born contemporary of Vivaldi with the infamous and spurious Adagio, or at least a handful of his authentic oboe concertos, it is worth noting that he also wrote some 55 operas and nine opuses worth of instrumental pieces. Among these are the twelve Trio Sonatas, op. 1  […] In all ways, these are splendid performances, beautifully articulated, sensitive as to dynamic contrasts, carefully guaged rhythmically […] The players catch the gravity of the slow movements especially well, often with a Corellian sweetness […] The reproduction of the instruments, fairly high in level, is bright but wonderfully clear in a natural acoustic. (Igor Kipnis, Goldberg)
Virtuoso 17th-century sonatas - Johann Philipp Krieger's Trio Sonatas draw upon the influence of the Northern German, Italian and English consort music traditions to create music of irressistible appeal and flair. Parnassi Musici give spirited and vibrant interpretations of this repertoire, which lovers of Baroque ensemble music will adore. (www.savd.com.au)
Until recently it was believed that the only extant copy … was permanently lost during the Second World War, but a surviving example was recently located by the undersigned. It is extraordinary music, perhaps the best of Schenck's works. These twelve sonatas demonstrate an astonishing variety of affects through which the composer displays a noteworthy sensitivity for the different keys, lending each sonata its own particular character.
Nowhere else in Schenck's works is the influence of Italian instrumental music so obvious; the clearest influence is the trio sonatas of Arcangelo Corelli but there are also traces of Giovanni Legrenzi's style as well as allusions to contemporary German and Dutch publications. (Pieter Dirksen)