Bach - Sonata for violin and harpsichord no. 6 in G major BWV 1019c | Netherlands Bach Society
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- čas přidán 13. 07. 2024
- Like the other sonatas for violin and harpsichord, this Sonata in G major BWV 1019, performed here by Shunske Sato and Diego Ares for All of Bach, originated in the period of Bach’s big solo works that were created before 1720. The six sonatas, of which this is the last in the series, may have been arrangements of lost trio sonatas. Two later variations of this Sonata in G major have survived in several sources. The last one dates from the 1740’s, which is quite exceptional.
In this sonata, Bach appears to have mixed and matched his music to his heart’s content. A Courante for harpsichord solo moved to the third movement of Partita no. 6 BWV 830, the versions differed in the order and even the number of their movements, and over the years Bach replaced most of the movements with new music (from his archive?). So it looked as if he still performed the sonata regularly. To make things easier, Shunske Sato and Diego Ares recorded all the versions - for the puzzlers, enthusiasts and completists among us. This is the third version, the other versions can be viewed here:
BWV 1019a (first version, ca. 1725): • Bach - Sonata for viol...
BWV 1019b (second version, ca. 1730): • Bach - Sonata for viol...
Recorded for the project All of Bach on 4 November 2020 at Studio 150 - former Bethlehemchurch - in Amsterdam. If you want to help us complete All of Bach, please subscribe to our channel bit.ly/2vhCeFB and consider donating bit.ly/3J5uprM.
This recording was made with support of Walter Snoijink, the Netherlands.
For more information on BWV 1019 and this production go to www.bachvereniging.nl/en/bwv/...
All of Bach is a project of the Netherlands Bach Society, offering high-quality film recordings of the works by Johann Sebastian Bach, performed by the Netherlands Bach Society and its guest musicians. Visit our free online treasury for more videos and background material on www.bachvereniging.nl/en/allo.... For concert dates and tickets go to www.bachvereniging.nl/en/conc....
Shunske Sato, violin
Diego Ares, harpsichord
Instrument: Joel Katzman, 1991 after Ruckers, 1638
0:00 Vivace
3:52 Largo
5:16 Allegro
9:54 Adagio
12:50 Allegro - Hudba
Like a butterfly floating effortless from flower to flower. Exquisitely beautiful!
I love hearing Bach played so joyously and so technically perfect. Thank you for sharing this gorgeous music with us all!
They both respect what each instrument means. How it exists. Perfection to absolute relevance.
With this top-notch performance, I'd believe it if someone argued Bach had been born in Netherlands.
😂
Dutch did study Bach more seriously as Germans. See complete re edited Bach works with scientific approach
0:06 Vivace
3:52 Largo
5:16 Allegro
9:54 Adagio
12:50 Allegro
Fantastic! perfect way to start the day! Thank you Johann and these amazing musicians that bring your music to life!
My God Mr. Ares is killing it on harpsichord, not to mention M. Sato. What a piece of music..
Beautiful left hand work!😁
So true!
I think it's really adorable how Sato is truly into the playing at 9:30 and that his shirt's colour is the same as the inside of the harpsichord.
Very good. Like how you captured the film crew and the smiles between the artists. Makes us feel we are there and part of the in-crowd. Love the causal feel to this one
Thank you wonderful angels of Bach ! Heaven on earth! Who says Bach is dead or that death even exist - no it rises to utmost - massless music!
Gloria in excelsis Deo!
Amen! All praise to GOD and HIS son Jesus!😇
This is definitely the most mature of the three versions. The only one not to reuse the first movement as the last. Thanks for all three!
Listening again and again and again ..... I am far from done with the experience. Not getting over it. Merci infiniment.
divine simplicity
I prefer this version over your first and second takes! Thank you. This is my favorite among the violin sonatas!
Danke. Lebensenergie pur
I really miss the interviews! So many interesting facts to learn about...
Again a feast of beauty AND bliss!Thank you both...!
Lebhafte und wunderschöne Aufführung dieser perfekt komponierten Sonate in verschiedenen Tempi mit seidigem doch gut phrasiertem Ton der unvergleichlichen Violine und zurückgehaltenem doch klarem Klang des genialen Cembalos. Der vierte Satz klingt besonders schön und echt lyrisch. Im Kontrast klingt der letzte Satz echt lebhaft und auch begeisternd. Der intime und perfekt entsprechende Dialog zwischen den beiden Virtuosen ist wahrlich ergreifend. Faszinierend vom Anfang bis zum Ende!
Ja, fantastisch!!!!
Bravo!!!👏👏👏👏👏👏👏
It reminds me of the harpsichord solo of Brandenburg No. 5, it seems that it was already a preview of the great piano works of his disciples.
GOD bless NBS, Shunske Sato and Diego Ares in the name of Jesus! Wonderful!😁
Sublime.! Ik hou van de result of uw work! 😇🥰🥍
Very beautiful🍃thank you
👏👏👏👏👏👏👏 Bravo!!!💐💐💐
Wonderful playing . Great musicians!!
The harpsichordist ist großartig !!!!!
Thank you for sharing your superb talents with the rest of world via CZcams!!!!
Большое спасибо музыкантам за прекрасное исполнение! Эта запись - как раз то, что мне было необходимо!
Тоже рада прекрасному видео и звуку! Давно слушаю. От Михаила Казиника здесь 🌞!
@@IamMari92 Рад, что Вам понравилась запись, а вот мне - наоборот показалось, что запись технически просто уничтожает тембр скрипки. Самого же музыканта заподозрить в плохом владении смычком не осмеливаюсь.
Yes, wonderful musians playing Bach. Congratulations on such an exquisite performance. The notes of all instruments, MUSCIANS resonating perfection. Well done. Reverence ✨️ ❤️
🏃💨
Me when I see a new Sato recording released
Magnific !!!!!Thanks for sharing .
Amazing!
Absolument magnifique! Merci!
Love Shunsuke Sato.
Beautiful!
Diego ♥️♥️ y bravii tutti!
In this days i made a discovery: the reconstructin of the lost opera: Konzert für viol, streichorchester und basso continuo in E-s dur (after bwv 1053).
I think that is a piece that you have to execute because is gorgeous to hear and fantastic to play
And up to your precedent works i can only wait the best version ever made
Very well Done
1:06 B&W Matrix 801 standing in the background 🥰
Interesting to think about the occasions for which Bach may have busted out this sonata. It's like it was a reliable piece in his back-pocket, ready to be reworked to suit a given situation.
Let's put gorgeous Bach entertainment to our hearts fans& never let any evil dare to harm you guys, let's dedicate this awesome performance those who need to become your supporters from now on, enjoying classy cool music of a kind, sounds like...make love not war, put some flowers in your hair and forget any evil threat, yeah, yeah what a wonderful world this could be fans
Wonder!!!!
Fabulosa interpretación‼ Shunske Sato , eres un excelente violinista barroco 👏👏👏. Saludos desde Calama, Chile .
👏👏👏👏👏👏👏👏🌞❤️
I love the last shot
Gratidão 🙏🌹
i am waiting with such high expectations for the sonata sopra'll soggetto reale
I love the new intro of this channel. It used be sorta loud and annoying tbh.
Is that a Fender Rhodes in the background?
❤️.❤️
NBS, if you don't mind being asked, why are the camera angles so shaky in this recording? It is quite distracting at times, as are the foreground obstructions.
The filming is intentionally informal, but the microphones and music making remain rock steady. If the filming bothers you, it might be best you close your eyes. That way what is truly important will reach your ears without distraction.
@@pierrot6598 nice answer
Glückwunsch. Im Barock das tempo wie ein bach sein...
Eventually, we have a good balance, here ...
where is the "deng deng" intro?
Nếu thích bản cover này của Đức Phúc thì hãy chia sẻ thật nhiều ạ. Ekip sẽ có động lực tiếp tục ra mắt nhiều ca khúc tiếp theo nè ❤
Was this recording made on a smartphone!
No certainly not on a smartphone, we worked with handheld cameras stabilized by a harness.
❤️🇨🇴🌟👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻
The sound between the harpsicord and the violin seems to be okey, if I so to say diminish my words a little bit.
i stg i thought that was the schirmer edition on the harpsichord desk, lmao
Would be absolute blasphemy at the NBS
The accompanied sonatas are strange creatures. There is something about them which makes it difficult to extract and project the greatness of the music. Sometimes this mystery effect leads a perfectly wonderful violinist to bind themselves so strictly to the keyboardist's rhythm that they lose much of their unique phrasing. I hadn't previously run into the other option--that of the violinist playing so freely that it often seems as though one is listening to two different pieces played at the same time. I wonder if it is an artifact of the harpsichord as accompaniment, or maybe of the harpsichord as accompaniment trying to be the two other instruments in what was once a trio. I would love to hear an early violinist play them accompanied on an early Cristofori fortepiano. I suspect that would iron out the artifact and allow these pieces to bloom.
There is no accompanying instrument in this sonata. If there were to be one, it would be the violin, never the harpsichord. The keyboard sonata with violin accompaniment became very popular during the second half of the 18th century. The language of this sonata is pure counterpoint. Each voice is of equal importance. Whether the harpsichord part should be played on a Crisofori pianoforte or another type of polyphonic instrument should not contribute to a better understanding of this work. If the violinist phrases freely, it is because his voice is not subject to the harpsichord voices: it dialogues with them. Neither does the violin voice submissively accompany the harpsichord voices, nor do the harpsichord voices slavishly accompany the violin one. Perhaps the problem is not so much in the composition as in the prejudice, or should I say mistake, that it is a work for violin accompanied by a harpsichord.
Thanks for the clarification. It illuminates the problem, which is that the prejudice you speak of is widespread enough that it infuses the approach to recording these pieces, probably in great part because typically it is the 'big name' violinist whose presence is the genesis of the project. As to the rest of your comments, perhaps I will come back to wrestle with you later. To make that less likely, I will state that I shall think better of myself if I don't bother. 🙃
Bach’s sonatas for obbligato harpsichord and violin are some of the earliest compositions to emancipate the harpsichord from its “traditional” role of supportive basso continuo in chamber music. The harpsichord part is fully written out, instead of just bass line with figured bass. That’s why it is “obbligato” (obligated). The other answer is correct to say that there is no “accompanying” instrument in these sonatas. Both instruments are on equal footing, they are each a distinctive voice that spars, responds, and dialogues with each other. I have learned these sonatas on both harpsichord and fortepiano, though I have only ever performed them on harpsichord, and it is actually much easier to hear (and play) the polyphony on harpsichord - the writing is really harpsichord writing, not fortepiano. The harpsichord doesn’t overshadow the violin part, whereas the density of notes in these harpsichord parts will easily bury the violin if played on fortepiano or modern piano - then it ends up sounding more like a piano sonata with incidental violin accompaniment, instead of an equal partnership.
For all of his masterly playing, Mr. Sato’s violin sounded flat against the tone of the harpsichord. And yes,the shaky camera was distracting. Did the cameraman have a nervous tie?
That's a really odd piece with a break for the violinist. The other 5, especially the first 3 sonatas are so similar that I really wonder why Bach included this last one in such a different style. Admittedly, I like it least of all 6 although the keyboard solo movement is very good, it should have been put into a keyboard suite, not a violin sonata...
There are multiple versions which speaks to Bach’s changing demands with the piece. Imagine this at Zingerman’s coffee house and the violinist needs a break while Bach shows off for a spell?
You don't know what you're talking about. Spare us your naive aesthetic judgments.
@@biberfan It's Zimmermann, not "Zingerman." How could you get it so wrong?
@@herrickinman9303 You are correct. Typing on my phone with autocorrect often is a burden. However I wouldn’t mind hearing this piece at Zingerman’s either (AA, Mich). Lighten up.
Мені здається, що звуковий баланс тут не досягнуто - клавесин звучить жахливо. Не знаю, від чого це залежить - це такий інструмент, чи поганий запис, але скрипка його "забиває" повністю!
Vodka, bears, Putin, Stallin
The violinist is completely wonderful, but the balance between the two is awful, the sound editor really messed up….the harpsichord sounds so muddy, with only occasional moments of clarity at some of the cadences when suddenly you can hear a few distinct notes from the right hand. Otherwise, the harpsichord’s part is nothing more than a confused noise within, even with my earbuds in. Disappointing.
Honestly, the hairiest hands I've ever seen 🧐
what could possibly prompt you to make a comment like that lol
Please refrain from using God’s name in vain.
god does not exist
China no good tone (((
?