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Johann Sebastian Bach Dag Jensen Jensen Christian Ferdinand Abel Zimmermann Stinson Johann Peter Kellner Dreyfus Peters Collegium Musicum Café Zimmermann 1079 1723 1729 1976 1991 2013
00:00 - I. Adagio 04:06 - II. Allegro ma non tanto 07:38 - III. Andante 09:54 - IV. Allegro moderato / Bassoon: Dag Jensen Harpsichord: Knut Johannessen Year of Recording: 2013 / "The sonatas for viola da gamba and harpsichord, BWV 1027–1029, are three sonatas composed by Johann Sebastian Bach for viola da gamba and harpsichord. They probably date from the late 1730s and early 1740s. Although the dating of Bach's three sonatas for viola da gamba and cembalo has presented problems for musicologists, because only an autograph score of the first sonata BWV 1027 survives, there is now general consensus that the works were written in Leipzig at some time in the late 1730s and early 1740s. Prior to that commentators had suggested that they dated from an earlier period when Bach was in Cöthen or even beforehand: the viola da gamba player Christian Ferdinand Abel was one of the court musicians of Prince Leopold at Cöthen. Bach moved to Leipzig as Thomaskantor in 1723 and in 1729 was appointed director of the Collegium Musicum, a chamber music society that put on weekly concerts at the Café Zimmermann. Other versions of BWV 1027 exist: there is a trio sonata for two transverse flutes and continuo (BWV 1039); as well as a trio sonata for organ in three movements. Russell Stinson has determined that the organ work, with the first two movements transcribed from BWV 1039/i and BWV 1039/ii and the last from BWV 1027/iv, is not by Bach but most probably by Johann Peter Kellner. In the late 1980s four new editions of the sonatas appeared, including the Urtext edition of Laurence Dreyfus for C.F. Peters; in a long accompanying text Dreyfus presented detailed arguments for the works to be dated to Bach's period in Leipzig. In a subsequent study of Bach's chamber music, Wolff (1991) came to the same conclusion and gave provisional dates for many of Bach's chamber music and concertos in his Leipzig period. No precedence had been given to BWV 1027 or BWV 1039, beyond the fact that long notes are easier to sustain on a transverse flute than a harpsichord. The dating of BWV 1027–1028 is explained in detail by Jones (2013) in his analysis of Bach's instrumental works. including his flute sonata in E major (BWV 1035), the triple concerto in A minor for flute, violin and harpsichord (BWV 1044) and the trio sonata for flute, violin and continuo from the Musical Offering (BWV 1079)." (Wikipedia) / COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Johann Sebastian Bach Capelle Christian Ferdinand Abel Collegium Musicum 1720 1723 1740
Sonata No. 1 in G major, BWV 1027, Sonata No.2 in D major, BWV 1028, and Sonata No.3 in G minor, BWV 1029, respectively, are three sonatas that Johann Sebastian Bach wrote for viola da gamba and harpsichord. There is no certainty as to when Bach wrote his three viola da gamba sonatas. Various musicologists suggest that they were composed as early as 1720, during Bach's Köthen period, at the court of Prince Leopold, where the Court Capelle included the well-known gamba player Christian Ferdinand Abel. Other evidence suggests that the sonatas were composed in Leipzig around 1740, where Bach was cantor at the St. Thomas Church, as well as director of the Collegium Musicum from 1723 onwards. The Sonata in G Minor (BWV 1029) consists of three movements: Vivace, Adagio & Allegro. Baroque scholar Ulrich Siegele has suggested that Bach's last viola da gamba sonata began as a full concerto, possibly for two traverso flutes. The historian Philipp Spitta has called it "of the greatest beauty and most striking originality." The sonata begins with a theme by the viola da gamba, which is soon joined by the harpsichord. This is driven forward with lively figuration. The middle movement, in B flat major, allows the parts to intertwine even more, ending with the allegro, which begins with repeated notes in the gamba part soon to be taken up by the lower harpsichord part. Source: Wikipedia ((http•••) Although originally written for viola da gamba and harpsichord, I created this arrangement for String trio (Violin, Viola & Cello). Sheet music made with MuseScore - (http•••)
Johann Sebastian Bach Dag Jensen Jensen Christian Ferdinand Abel Zimmermann Stinson Johann Peter Kellner Dreyfus Peters Collegium Musicum Café Zimmermann 1079 1723 1729 1976 1991 2013
00:00 - I. Adagio 01:59 - II. Allegro 05:43 - III. Andante 10:26 - IV. Allegro / Bassoon: Dag Jensen Harpsichord: Knut Johannessen Year of Recording: 2013 / "The sonatas for viola da gamba and harpsichord, BWV 1027–1029, are three sonatas composed by Johann Sebastian Bach for viola da gamba and harpsichord. They probably date from the late 1730s and early 1740s. Although the dating of Bach's three sonatas for viola da gamba and cembalo has presented problems for musicologists, because only an autograph score of the first sonata BWV 1027 survives, there is now general consensus that the works were written in Leipzig at some time in the late 1730s and early 1740s. Prior to that commentators had suggested that they dated from an earlier period when Bach was in Cöthen or even beforehand: the viola da gamba player Christian Ferdinand Abel was one of the court musicians of Prince Leopold at Cöthen. Bach moved to Leipzig as Thomaskantor in 1723 and in 1729 was appointed director of the Collegium Musicum, a chamber music society that put on weekly concerts at the Café Zimmermann. Other versions of BWV 1027 exist: there is a trio sonata for two transverse flutes and continuo (BWV 1039); as well as a trio sonata for organ in three movements. Russell Stinson has determined that the organ work, with the first two movements transcribed from BWV 1039/i and BWV 1039/ii and the last from BWV 1027/iv, is not by Bach but most probably by Johann Peter Kellner. In the late 1980s four new editions of the sonatas appeared, including the Urtext edition of Laurence Dreyfus for C.F. Peters; in a long accompanying text Dreyfus presented detailed arguments for the works to be dated to Bach's period in Leipzig. In a subsequent study of Bach's chamber music, Wolff (1991) came to the same conclusion and gave provisional dates for many of Bach's chamber music and concertos in his Leipzig period. No precedence had been given to BWV 1027 or BWV 1039, beyond the fact that long notes are easier to sustain on a transverse flute than a harpsichord. The dating of BWV 1027–1028 is explained in detail by Jones (2013) in his analysis of Bach's instrumental works. including his flute sonata in E major (BWV 1035), the triple concerto in A minor for flute, violin and harpsichord (BWV 1044) and the trio sonata for flute, violin and continuo from the Musical Offering (BWV 1079)." (Wikipedia) / COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Johann Sebastian Bach Dag Jensen Jensen Christian Ferdinand Abel Zimmermann Stinson Johann Peter Kellner Dreyfus Peters Collegium Musicum Café Zimmermann 1079 1723 1729 1976 1991 2013
00:00 - I. Vivace 04:56 - II. Adagio 10:39 - III. Allegro / Bassoon: Dag Jensen Harpsichord: Knut Johannessen Year of Recording: 2013 / "The sonatas for viola da gamba and harpsichord, BWV 1027–1029, are three sonatas composed by Johann Sebastian Bach for viola da gamba and harpsichord. They probably date from the late 1730s and early 1740s. Although the dating of Bach's three sonatas for viola da gamba and cembalo has presented problems for musicologists, because only an autograph score of the first sonata BWV 1027 survives, there is now general consensus that the works were written in Leipzig at some time in the late 1730s and early 1740s. Prior to that commentators had suggested that they dated from an earlier period when Bach was in Cöthen or even beforehand: the viola da gamba player Christian Ferdinand Abel was one of the court musicians of Prince Leopold at Cöthen. Bach moved to Leipzig as Thomaskantor in 1723 and in 1729 was appointed director of the Collegium Musicum, a chamber music society that put on weekly concerts at the Café Zimmermann. Other versions of BWV 1027 exist: there is a trio sonata for two transverse flutes and continuo (BWV 1039); as well as a trio sonata for organ in three movements. Russell Stinson has determined that the organ work, with the first two movements transcribed from BWV 1039/i and BWV 1039/ii and the last from BWV 1027/iv, is not by Bach but most probably by Johann Peter Kellner. In the late 1980s four new editions of the sonatas appeared, including the Urtext edition of Laurence Dreyfus for C.F. Peters; in a long accompanying text Dreyfus presented detailed arguments for the works to be dated to Bach's period in Leipzig. In a subsequent study of Bach's chamber music, Wolff (1991) came to the same conclusion and gave provisional dates for many of Bach's chamber music and concertos in his Leipzig period. No precedence had been given to BWV 1027 or BWV 1039, beyond the fact that long notes are easier to sustain on a transverse flute than a harpsichord. The dating of BWV 1027–1028 is explained in detail by Jones (2013) in his analysis of Bach's instrumental works. including his flute sonata in E major (BWV 1035), the triple concerto in A minor for flute, violin and harpsichord (BWV 1044) and the trio sonata for flute, violin and continuo from the Musical Offering (BWV 1079)." (Wikipedia) / COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.