Bach: Triosonatas for Organ

Reine-Marie Verhagen, Tini Mathot

Paru le 30/12/08 chez Challenge Classics
Artistes principaux : Reine-Marie Verhagen Tini Mathot
Genre : Classique

Disponible en

16-Bit/44.1 kHz Stereo

Musique illimitée

Écoutez cet album en haute-qualité dès maintenant dans nos applications

Démarrer ma période d'essai et lancer l'écoute de cet album

Profitez de cet album sur les apps Qobuz grâce à votre abonnement

Souscrire

Profitez de cet album sur les apps Qobuz grâce à votre abonnement

Téléchargement digital

Téléchargez cet album dans la qualité de votre choix

Langue disponible : anglais

The booklet notes by Ton Koopman, who produced this release, issued it on his Antoine Marchand (that's French for "Ton Koopman") imprint, and featured on keyboard his wife, Tini Mathot, speak of "an effort to recover some of the lost chamber music of the Leipzig cantor," Johann Sebastian Bach. It's indeed likely that Bach wrote a lot of chamber music that has since been lost, but this arrangement of Bach's organ trio sonatas is really something other than a pure attempt at transcription. There are quite a few arrangements of these trio sonatas for chamber ensemble; naturally enough, for Bach was himself imitating a chamber genre on the keyboard in this set of works. The majority of such arrangements, however, use the typical trio sonata grouping of two melody instruments (often two violins, or violin and flute). This one, along with various others, uses one melody instrument plus keyboard, with the right hand of the keyboard part serving as a partner to the melody instrument rather than to its own left hand, something in itself fairly typical of Bach's contrapuntal thinking. Where recorder player Reine-Marie Verhagen and Mathot break new ground is in the use of an organ in three of the six sonatas; the other three are played on a recorder and harpsichord. This complicates the range of possibilities still more, for a listener in Bach's time would have perceived a kinship between the sound of the recorder and that of the organ. Even now, the right hand of the organ enters the listener's consciousness as a second wind instrument, and the original trio sonata texture of the music is emphasized -- more so than in the pieces played on a harpsichord. The problem with calling this a "recovery" of Bach chamber music is that the recorder-organ combination was a rare one in Bach's time. But as a speculative endeavor intended to explore how the ear follows counterpoint and texture in Bach's music, it's fascinating. The players are terrific: lively, clear, and crisp. And they're aided by instruments that seem tailor-made for the recording; the little chamber organ by Marc Garnier is especially notable. A standout among recordings of these sonatas by a chamber grouping, even if it's not exactly what it claims to be.
© TiVo

Plus d'informations

Bach: Triosonatas for Organ

Reine-Marie Verhagen

Vous êtes actuellement en train d’écouter des extraits.

Écoutez plus de 100 millions de titres avec votre abonnement illimité.

Écoutez cette playlist et plus de 100 millions de titres avec votre abonnement illimité.

À partir de 12,49€/mois